Chad Wilson Bailey Song List
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Working 9 to 5: Embracing the Eighth Amendment Through an Integrated Model of Prison Labor
Valparaiso University Law Review Volume 43 Number 3 Spring 2009 pp.1425-1482 Spring 2009 Working 9 to 5: Embracing the Eighth Amendment Through an Integrated Model of Prison Labor Amy L. Riederer Follow this and additional works at: https://scholar.valpo.edu/vulr Part of the Law Commons Recommended Citation Amy L. Riederer, Working 9 to 5: Embracing the Eighth Amendment Through an Integrated Model of Prison Labor, 43 Val. U. L. Rev. 1425 (2009). Available at: https://scholar.valpo.edu/vulr/vol43/iss3/11 This Notes is brought to you for free and open access by the Valparaiso University Law School at ValpoScholar. It has been accepted for inclusion in Valparaiso University Law Review by an authorized administrator of ValpoScholar. For more information, please contact a ValpoScholar staff member at [email protected]. Riederer: Working 9 to 5: Embracing the Eighth Amendment Through an Integra WORKING 9 TO 5: EMBRACING THE EIGHTH AMENDMENT THROUGH AN INTEGRATED MODEL OF PRISON LABOR I. INTRODUCTION The numbers are disheartening: there were 2,293,157 prisoners in federal, state, and local jails and prisons in 2007.1 States used 38.2 billion dollars for correctional expenditures in 2001.2 Sixty-eight percent of state prisoners did not receive a high school diploma.3 The average recidivism rate of prisoners incarcerated for common crimes is 74.2%.4 At the very least, these statistics suggest that the American prison system is dysfunctional.5 This dysfunction is indicative of the historical friction between the goals of imprisonment—punishment and rehabilitation—and the rights the Constitution guarantees to prisoners.6 1 U.S. -
Austinmusicawards2017.Pdf
Jo Carol Pierce, 1993 Paul Ray, Stevie Ray Vaughan, and PHOTOS BY MARTHA GRENON MARTHA BY PHOTOS Joe Ely, 1990 Daniel Johnston, Living in a Dream 1990 35 YEARS OF THE AUSTIN MUSIC AWARDS BY DOUG FREEMAN n retrospect, confrontation seemed almost a genre taking up the gauntlet after Nelson’s clashing,” admits Moser with a mixture of The Big Boys broil through trademark inevitable. Everyone saw it coming, but no outlaw country of the Seventies. Then Stevie pride and regret at the booking and subse- confrontational catharsis, Biscuit spitting one recalls exactly what set it off. Ray Vaughan called just prior to the date to quent melee. “What I remember of the night is beer onto the crowd during “Movies” and rip- I Blame the Big Boys, whose scathing punk ask if his band could play a surprise set. The that tensions started brewing from the outset ping open a bag of trash to sling around for a classed-up Austin Music Awards show booking, like the entire evening, transpired so between the staff of the Opera House, which the stage as the mosh pit gains momentum audience visited the genre’s desired effect on casually that Moser had almost forgotten until was largely made up of older hippies of a Willie during “TV.” the era. Blame the security at the Austin Stevie Ray and Jimmie Vaughan walked in Nelson persuasion who didn’t take very kindly About 10 minutes in, as the quartet sears into Opera House, bikers and ex-Navy SEALs from with Double Trouble and to the Big Boys, and the Big “Complete Control,” security charges from the Willie Nelson’s road crew, who typical of the proceeded to unleash a dev- ANY HISTORY OF Boys themselves, who were stage wings at the first stage divers. -
The Parish Magazine for the Presteigne Group of Parishes Has Continued to Appear – Either Online Or in Print
Your Parish Magazine Throughout the Covid-19 pandemic crisis, the Parish Magazine for the Presteigne Group of Parishes has continued to appear – either online or in print. The parish magazine Deadline dates for Copy and Artwork For as at 28th April 2021 Presteigne With th Wednesday 19 May June issue Discoed, Kinsham, Lingen and Knill rd Wednesday 23 June July/August issue Wednesday 18th August September issue Here Is your socially-distanced but Colourful We are particularly grateful to the Town Council, our friends in Lingen, our gardener, our new weather reporter and our occasional nature-noter. We include requests for support from community groups and charities. We hope to inform and Online MERRY MONTH OF may 2021 Issue, Fa La perhaps entertain you. The Editor welcomes announcements (remember them?) and appreciates contributions from anyone and everyone from our churches and parishes, groups, schools etc. Artwork (logos, etc) should be not too complicated (one day we will be printing again in black only on a photocopier so please keep designs simple). Articles as well as artwork must be set to fit an A5 page with narrow margins. The editor reserves the right to select and edit down items for which there is insufficient space. While you may be reading this issue on screen, you can print the whole issue, or selected pages, on A4 paper in landscape to both sides (Duplex). We suggest you select ‘short-side stapling’. Note: The ‘inside’ pages have been consecutively numbered on each sheet - unlike the pages which normally make up a magazine. You are encouraged to forward this magazine to others by email or as hard copy, as above – on condition that it is neither added to, nor the text altered, in any way. -
'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Glasgow School of Art: RADAR 'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir) David Sweeney During the Britpop era of the 1990s, the name of Mike Leigh was invoked regularly both by musicians and the journalists who wrote about them. To compare a band or a record to Mike Leigh was to use a form of cultural shorthand that established a shared aesthetic between musician and filmmaker. Often this aesthetic similarity went undiscussed beyond a vague acknowledgement that both parties were interested in 'real life' rather than the escapist fantasies usually associated with popular entertainment. This focus on 'real life' involved exposing the ugly truth of British existence concealed behind drawing room curtains and beneath prim good manners, its 'secrets and lies' as Leigh would later title one of his films. I know this because I was there. Here's how I remember it all: Jarvis Cocker and Abigail's Party To achieve this exposure, both Leigh and the Britpop bands he influenced used a form of 'real world' observation that some critics found intrusive to the extent of voyeurism, particularly when their gaze was directed, as it so often was, at the working class. Jarvis Cocker, lead singer and lyricist of the band Pulp -exemplars, along with Suede and Blur, of Leigh-esque Britpop - described the band's biggest hit, and one of the definitive Britpop songs, 'Common People', as dealing with "a certain voyeurism on the part of the middle classes, a certain romanticism of working class culture and a desire to slum it a bit". -
5, 2015 •Marina Park, Thunder
14TH ANNUAL BLUESFEST Your free festival program courtesy of your friends at The Chronicle-Journal JOHNNY REID • JULY 3 - 5, 2015 JULY • MARINA PARK, THUNDER BAY KENNY WAYNE SHEPHERD BAND PAUL RODGERS JOHNNY REID • ALAN FREW • THE PAUL DESLAURIERS BAND • THE BOARDROOM GYPSIES • KENNY WAYNE SHEPHERD BAND • ALAN DOYLE • THE WALKERVILLES • KELLY RICHEY • BROTHER YUSEF • THE BRANDON NIEDERAUER BAND • THE GROOVE MERCHANTS • LOOSE CANNON• PAUL RODGERS • DOYLE BRAMHALL II • WALTER TROUT • THE SHEEPDOGS • THE BROS. LANDRETH • JORDAN JOHN • THE HARPOONIST AND THE AXE MURDERER • THE KRAZY KENNY PROJECT THE VOICE... KEN WRIGHT rock guitar for more than two decades, Kenny Wayne SPECIAL TO THE CHRONICLE-JOURNAL Shepherd will hot wire the marquee on Saturday. Not to be missed, Paul Rogers, the peerless, 90-million-record-sell- What is it about a blues festival, that antsy sense of ing, oh-so-soulful voice of authoritative bands Free, Bad anticipation that we feel? It's a given that the music and Company and Queen will close the festival with the ulti- Ken Wright its performers will be royally entertaining. Yet, we all arrive mate in front man style and swagger on Sunday. with fingers crossed, hoping for that transcendent experi- Newfoundland's unstoppable native son, Alan Doyle, will Has the blues, but in a good way. He writes about them. A veteran director of ence that will reverse the spin of our world if only for an introduce East Coast reels to Top 40 pop with mandolins, fiddles and bouzoukis. Considered by Eric Clapton to be the Thunder Bay Blues Society, Wright puts his writing ability together with an hour to be relived again and again with all who shared it. -
Rll I!Sj Llzli R-- - N I Os Oil a Seiy Ran
29, 1S34 Pago 10 Daily Nebraskan Wednesday, February ri rt fi rlL i!sJ LLzli r-- - n I oS oil a Seiy ran T By Peter Palermo Learning to Crawl, the Pretenders' third album, could well be the record to thrust this group into stardom. Two years ago, however, you would have found it difficult to find anyone who would say that riches lay ahead for Chrissie Hynde and her boys. When James Honeyman-Scot- t, the 2CT.ii Century Fox group's talented guitarist, and Pete Farndon, Nastassja Kins!d and Dudley Moore in Unfaithfully Yours. bass player and sometime lover to Hynde, both died within months of each other, the band's future (to say the least) was in doubt. Dudley Moore gets drunk again By Christopher Burbsch suspicion of infidelity by the latter's wife provides the movie's only wit. Coincidentally, Brooks scenes The purchase price of a ticket into the wonderful are also the film's closest brushes with sincerity. world of cinema is roughly 1 times the cost of two Elecords hours of television and a six pack of BEER. A good As recent Dudley Moore productions have been Yours teems movie, for this reviewer, provides VA times more wont to do, Unfaithfully with slapstick But when Hynde gave birth early last year to tears and or than does an of drunken Dudley slapstick, that is. a it marked a transition in the laughs, insight evening daughter, band, All Night Live and 72 ounces of that evil plain label or what was left of it. -
Violent Femmes Why Do Birds Sing? Mp3, Flac, Wma
Violent Femmes Why Do Birds Sing? mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Why Do Birds Sing? Country: UK Released: 1991 Style: Alternative Rock, Folk Rock MP3 version RAR size: 1558 mb FLAC version RAR size: 1349 mb WMA version RAR size: 1675 mb Rating: 4.7 Votes: 439 Other Formats: MIDI XM MOD ASF VQF AAC AHX Tracklist A1 American Music A2 Out The Window A3 Look Like That A4 Do You Really Want To Hurt Me A5 Hey Nonny Nonny A6 Used To Be B1 Girl Trouble B2 He Likes Me B3 Life Is A Scream B4 Flamingo Baby B5 Lack Of Knowledge B6 More Money Tonight B7 I'm Free Companies, etc. Phonographic Copyright (p) – Slash Records Copyright (c) – Slash Records Manufactured By – Festival Records Pty. Ltd. Mastered At – Masterdisk Credits Design, Photography – Hanson Graphic Mastered By – Howie Weinberg Mixed By – David Vartanian, E.T. Thorngren* Producer – Brian Ritchie, Gordon Gano, Michael Beinhorn, Victor DeLorenzo Recorded By – Susan Rogers Notes ℗ © 1991 Slash Records, U.S.A. Manufactured by Festival Records Pty, Ltd, Australia. Barcode and Other Identifiers Barcode: 9 399603 055144 Other versions Category Artist Title (Format) Label Category Country Year Violent Why Do Birds Sing? (CD, Slash, Reprise 9 26476-2 9 26476-2 US 1991 Femmes Album) Records Violent Why Do Birds Sing? Slash, Reprise 92 64764 92 64764 Canada 1991 Femmes (Cass, Album, Dol) Records Violent Why Do Birds Sing (LP, Slash, Liberation L30551 L30551 Australia 1991 Femmes Album) Records Violent Why Do Birds Sing? (CD, Slash, Reprise CD 26476 CD 26476 Canada 1991 Femmes Album) Records Violent Why Do Birds Sing? (CD, D 30551 Liberation Records D 30551 Australia 1991 Femmes Album) Related Music albums to Why Do Birds Sing? by Violent Femmes Violent Femmes - Add It Up (1981-1993) Los Lobos - Will The Wolf Survive? Violent Femmes - Violent Femmes Violent Femmes - Hallowed Ground Violent Femmes - American Music Violent Femmes - Permanent Record: Live & Otherwise Violent Femmes - Permanent Record: The Very Best Of The Violent Femmes Various - Slash Cuts. -
Sara Kays Is Like the One Friend You Have Who Actually Listens and Watches As Much As She Speaks
Sara Kays is like the one friend you have who actually listens and watches as much as she speaks. For the most part, her life is “quiet.” Her free time consists of hanging out with her brother and mother, playing soccer with her friends, and frequenting thrift shops. She loves warm beanies and also doesn’t understand “why people don’t eat croutons like chips.” When she does get “loud,” everybody else listens just as intently. She’s unassumingly built a rapt audience of 2 million followers across social media platforms, gathered hundreds of millions of streams, and received acclaim from Billboard, People, BuzzFeed, American Songwriter, Flaunt, FLOOD and more. Observations, thoughts, and truths straight from the Notes app on her phone inform diary-style stories often upheld by not much more than gentle acoustic guitar, soft ukulele, and a keyboard murmur. In 2021, the Nashville-based solo singer and songwriter makes a heart-to-heart connection on her Struck By Lightning EP [Atlantic Records] and more music on the horizon. “I was pretty surprised when people connected to the personal things I’ve gone through,” she admits. “I started seeing messages, and it made me more aware. It’s comforting to share in the same struggles.” After getting her first guitar at the age of twelve, she cut her teeth by busking for hours on end throughout high school. She performed staples such as “Champagne Supernova” by Oasis and Elvis Presley’s “Can’t Help Falling In Love With You.” Personally, she drew on influences as diverse as A Day To Remember, Mayday Parade, Panic! At The Disco, Alec Benjamin, Jake Bugg, and Kacey Musgraves. -
Les Sirènes Female Chamber Choir There Is No Rose
Les Sirènes Female Chamber Choir There is No Rose NI6249 Les Sirènes Royal Conservatoire of Scotland At the Royal Conservatoire we are creating the Female Chamber Choir future for performance. There is No Rose We provide vocational education at the highest professional level in dance, drama, music, production, and screen. We offer an extraordinary blend of intensive BENJAMIN BRITTEN (1913-1976) TARIK O’REGAN (b.1978) tuition, world-class facilities, a full performance A Ceremony of Carols, Op.28 (23:25) 16. Bring Rest, Sweet Dreaming Child (4:25) schedule, the space to collaborate across the disciplines, 1. Procession (1:51) teaching from renowned staff and industry practitioners, 2. Wolcum Yole! (1:21) TRADITIONAL arranged LIONEL SALTER (1914-2000) and unrivalled professional partnerships. 3. There is no rose (2:44) 17. The Coventry Carol (2:44) 4. That yongë child (1:43) World premiere recording We have over 900 students from around the world 5. Balulalow (1:28) studying on our specialist undergraduate and postgraduate degree programmes. Alongside, we offer 6. As dew in Aprille (1:01) GUSTAV HOLST (1874-1934) evening and weekend classes, short courses, summer 7. This little babe (1:30) 18. Jesu, thou the Virgin-born (2:56) schools, and a programme of continuing professional 8. Interlude (3:46) development. Our Junior Conservatoire for 7-18 year 9. In freezing winter night (3:38) SIR PHILIP LEDGER (1937-2012) olds nurtures young musical talent and we also organise 10. Spring carol (1:14) 19. Matthew, Mark, Luke and John (2:46) the Royal Conservatoire Music Centres programme, 11. -
Persona, Autobiography and the Magic of Retrospection in Bruce Springsteen's Late Career
Persona Studies 2019, vol. 5, no. 1 BRILLIANT DISGUISES: PERSONA, AUTOBIOGRAPHY AND THE MAGIC OF RETROSPECTION IN BRUCE SPRINGSTEEN’S LATE CAREER RICHARD ELLIOTT ABSTRACT Popular musicians with long careers provide rich source material for the study of persona, authenticity, endurance and the maintenance (and reinvention) of significant bodies of work. The songs of successful artists create a soundtrack not only to their own lives, but also to those of their audiences, and to the times in which they were created and to which they bore witness. The work of singers who continue to perform after several decades can be heard in terms of their ‘late voice’ (Elliott 2015a), a concept that has potentially useful insights for the study of musical persona. This article exploits this potential by considering how musical persona is de- and re-constructed in performance. I base my articulation of the relationship between persona, life-writing and retrospective narrativity on a close reading of two late texts by Bruce Springsteen: Born to Run, the autobiography he published in 2016, and Springsteen on Broadway, the audiovisual record of a show that ran from October 2017 to December 2018. In these texts, Springsteen uses the metaphor of the ‘magic trick’ as a framing device to shuttle between the roles of autobiographical myth-breaker and lyrical protagonist. He repeatedly highlights his songs as fictions that bear little relation to his actual life, while also showing awareness that, as often happens with popular song, he has been mapped onto his characters in ways that prove vital for their sense of authenticity. -
The Uses and Misuses of Popular Music Lyrics in Legal Writing, 64 Wash
Washington and Lee Law Review Volume 64 | Issue 2 Article 4 Spring 3-1-2007 [Insert Song Lyrics Here]: The sesU and Misuses of Popular Music Lyrics in Legal Writing Alex B. Long Follow this and additional works at: https://scholarlycommons.law.wlu.edu/wlulr Part of the Legal Writing and Research Commons Recommended Citation Alex B. Long, [Insert Song Lyrics Here]: The Uses and Misuses of Popular Music Lyrics in Legal Writing, 64 Wash. & Lee L. Rev. 531 (2007), https://scholarlycommons.law.wlu.edu/wlulr/vol64/iss2/4 This Article is brought to you for free and open access by the Washington and Lee Law Review at Washington & Lee University School of Law Scholarly Commons. It has been accepted for inclusion in Washington and Lee Law Review by an authorized editor of Washington & Lee University School of Law Scholarly Commons. For more information, please contact [email protected]. [Insert Song Lyrics Here]: The Uses and Misuses of Popular Music Lyrics in Legal Writing Alex B. Long* Table of Contents I. For Those About To Rock (I Salute You) .................................... 532 II. I'm Looking Through You ........................................................... 537 A. I Count the Songs That Make the Legal Profession Sing, I Count the Songs in Most Everything, I Count the Songs That Make the Young Lawyers Cry, I Count the Songs, I Count the Songs ................................................. 537 B . A dd It U p ............................................................................... 539 C. I'm Looking Through You .................................................... 541 1. It Takes a Profession of Thousands To Hold Us Back .... 541 2. Baby Boomers Selling You Rumors of Their History ..... 544 3. -
Vf & Tso Mofo Mr
VIOLENT FEMMES AND THE TASMANIAN SYMPHONY ORCHESTRA World Premiere Monday 22 & Tuesday 23 January Due to popular demand Mona Foma today announced an extra show for the world premiere of the Violent Femmes performing with the TSO. For two nights only, the Violent Femmes will take their acoustic punk-rock and work with the Tasmanian Symphony Orchestra to reimagine it as a full orchestra experience. Conducted by Hamish McKeich they’ll perform a long list of cult classics such as Add It Up, Blister In The Sun, Kiss Off, Gone Daddy Gone, American Song and Gimme The Car at The Federation Concert Hall on Monday 22 and Tuesday 23 January. “Most rock bands would blow off an orchestra with the amplifiers, but for these two shows we’re prepared to back off on the volume and actually play almost at the same volume as the orchestra musicians and create a more unified approach, “ said Brian Ritchie. The Violent Femmes were formed in 1981 as an acoustic band playing on the streets of Milwaukee. Their main influences at that time were Gene Vincent and the Blue Caps and The Velvet Underground. Enduring a couple of hiatuses throughout their 36-plus year career, the band — original members Gordon Gano and Brian Ritchie, along with drummer John Sparrow have been performing steadily since reuniting again in 2013. The TSO’s performance with the Violent Femmes represents another innovative collaboration for the orchestra, which in 2017 alone has seen sold out concerts with vocal star Kate Miller-Heidke, a Dark MOFO collaboration with Norwegian metal band Ulver, an original show with comedy trio Tripod and a sold out concert with ARIA award-winning and multi-platinum artist Megan Washington.