DOCSLIB.ORG

In This Moment Beautiful Tragedy Full Album Download in This Moment: Beautiful Tragedy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
In This Moment Beautiful Tragedy Full Album Download in This Moment: Beautiful Tragedy in this moment beautiful tragedy full album download In This Moment: Beautiful Tragedy. Be original! That’s all we ask of today’s young crop of today’s metalcore bands, and considering how many bands continue to emerge from out of nowhere to suddenly garner a million plays on MySpace and score a subsequent record deal, this point cannot be reiterated often enough. Take Southern California-based In This Moment, for example; they know how to make an impression. Musically, they do nothing new, specializing in the same kind of mildly pleasing fusion of hardcore breakdowns and melodic metal riffs and harmonies that every other Killswitch Engage copycat has done, but when singer/screamer Maria Brink steps up to the mic, we take notice. Marketed by label Century Media as a tattooed blonde bombshell, right down to the cleavage-exposing photo on the back of the CD, teenage boys who spend their time drooling over photos of Marta Peterson and Cristina Scabbia will draw to this band like moths to a patio light, but it’s Brink’s voice that quickly becomes the clincher, which exudes enough ferocity and passion to intimidate all her pubescent admirers. Possessing a unique, self-taught singing voice along with a feral, earsplitting scream, Brink comes off as much more than a simple angry young woman on Beautiful Tragedy , her band’s debut album. Unlike other female bellyachers like Otep Shamaya (Otep) and Lacey Mosley (Flyleaf), Brink brings a lot more to the table, her multiple vocal personalities commanding our attention immediately. One second, she’s spewing spoken word poetry and howling in a husky voice à la Patti Smith, the next she’s displaying the passion and range of Sleater-Kinney’s Corin Tucker, the next she’s cooing like a demented Tori Amos, and the next she’s emitting screams so primal, they rival Walls of Jericho’s formidable Candace Kucsulain. It’s an absolutely dominant, charismatic performance, and is the primary reason why Beautiful Tragedy succeeds. For all of Brink’s vocal emoting and lyrical purging, the rest of the band holds up its end of the bargain, presenting a backdrop that, while sounding a bit predictable here and there, displays enough variety to hint at some real musical growth on future albums. Guitarists Chris Howorth and Blake Bunzel keep things interesting when Maria’s not in the foreground, providing sharp dual harmonies, buzz-saw thrash riffs, more subtle touches that brazenly swipe from the more “emo” post-hardcore sound, and even the odd acoustic moment or two. But for all the six-string proficiency, it all boils down to how well Brink sells each track. The album is not without the odd misfire, but the way the singer bares her soul with confidence, refusing to pander to her audience, compels us to let the occasional gaffe slide. “Prayers” explodes out of the gate, Brink altering between clean and rough vocals, often double-tracking with both, her melodies strong enough to make her confessional style of songwriting convincing: “These memories run through my veins / Injecting me with one last kiss, screaming why.” Her performance on “Ashes” is brilliant, her snarl during the verses offset by a rousing chorus, everything building to an enthralling, highly bipolar breakdown. “Daddy’s Falling Angel” might stray a bit too close to rote hardcore (including a mind-numbing one-note breakdown), but Brink rescues the song from the metalcore quagmire by singing a compelling, heart-wrenching lament from the point of view a fatherless girl (“In my dreams last night I saw your face / You held me and washed away my tears / Then I woke to realize you’re gone / I’m drowning in solitude again”). Meanwhile, “Beautiful Tragedy” draws heavily from My Chemical Romance and AFI with its goth-infused punk sound, anchored by the album’s best vocal hook, which also happens to feature Brink’s strongest melodic singing on the disc. It’s enough of a challenge for a singer to perform a song as emotionally raw as “The Legacy of Odio” in any other genre and make it sound sincere, but to hear Brink do so with a metal band is all the more remarkable. Her tribute to a deceased friend takes the simple approach, and pulls no punches during the shockingly majestic chorus (“The time has come for you to fly / Now that you’re free / You will always live in me”), only to completely pull the rug out from under us during the devastating bridge, which has Brink sounding as if she’s choking back tears as she screams, “I see your smiles and love in your sister’s eyes.” A lesser vocal talent would have made such a song sound cloying, but by sparing nothing, Brink wins us over. With a voice and personality so strong, it’s a good bet that In This Moment will easily outlast the metalcore trend. Beautiful Tragedy already has them off to a very assured start. Beautiful Tragedy. Los Angeles' In This Moment had two years in which to hone and perfect their material before getting to work on this, their debut album, but the resulting tunes still impress for containing not a single wasted note or poorly rendered song idea. Beautiful Tragedy's best single is precisely its title track, whose duality of meaning concurrently defines the band's intention to mine the rich rewards afforded by the melodic metalcore template. To the fulfillment of that purpose, vocalist and focal point Maria Brink is of course crucial and inseparable; her fierce screeching providing the necessary counterpoint for her own soaring clean singing, which she alternates so effortlessly that she qualifies as the female foil to metalcore's premiere vocalist Howard Jones. Coincidentally, In This Moment's musical template bears almost disturbing similarities to that of his band, Killswitch Engage, appropriating their same skill for musical contrast (supple lullabies and sublime dual guitar harmonies offset by complex, but meticulously performed riffs and drum patterns) into remarkably sticky tracks like "Ashes," "Daddy's Falling Angel," and "Next Life." So sticky, in fact, that one feels compelled to overlook their obvious debt to KSE's influence when faced with the sheer wealth of instinctive hooks dripping from additional standouts "Prayers," "He Said Eternity," and the string-laden ballad "The Legacy of Odio" (closing acoustic weeper "When the Storm Subsides" is the disc's only superfluous cut). True, with the exception of Brink's anomalous female presence, In This Moment tenders nothing truly original to the state of early-2000s metal on Beautiful Tragedy; but in a genre too often marred by the misuse of volume and aggression over substance, sometimes great songs should be cause enough for celebration. Filter Stream. Hey Fellow-Music Luvers! Thanks Truckloads 4 being friends on MySpace;) Wanted to let y'all know that I have just created a FaceBook Music Page! www.facebook.com/NallyJayROCKS Would really digg your support if you could "like" my page and leave positive comments! Cheers! Keep ROCKIN' ;) Nally-Jay. Whore (Ep) Search Myspace. Your search did not return any results. Please try again. You're now in slide show mode. Hitting < pauses the slideshow and goes back. Hitting > pauses the slideshow and goes forward. SPACEBAR resumes the slideshow. Press ESC to exit. Sign in to Myspace. Use Facebook, Twitter or your email to sign in. Don't have a Myspace account yet? No worries, joining is easy. Forgot your password? Password request sent. Join Myspace. Getting in is easy. Use one of your social networks or start fresh with an email address. Already have a Myspace account? Sign in. Join with your email address. You're almost ready. We loaded your account with your Facebook details. Help us with just a few more questions. You can always edit this or any other info in settings after joining. You're almost ready. We loaded your account with your Twitter details. Help us with just a few more questions. In This Moment – Beautiful Tragedy. In this moment are an LA based metalcore act with a difference. No, it�s not just that they�re fronted by a frock wearing female vocalist with a pretty impressive set of lungs; their distinguishing factor is more that they have created their status as a truly rereshing and exciting metal act from absolutely nothing; all before the release of their debut. Two years ago this band didn�t even exist, and they are currently plying their trade at festivals across the globe, thanks to a combination of dedication, a stunning front-woman, and some damn fine tunes to boot. Prayers documents both the bands most brutal and tuneful sides; Maria�s first vocals utterances being a guttural roar, quickly replaced by her distinctive melodic tones, which continue to flicker throughout this brilliant slice of female fronted hard rock. The swirling guitar riffs are clearly influenced by the abrasive verse vs. huge chorus of the Killswitch Engage school, a lesson from which they benefit greatly; thanks to drummer Jeff Fabb�s ability to replicate some of the tightest double kick work this side of Justin Foley�s metalcore monopoly of the skins. The title track should be a alt-radio hit of the ilk that catapulted Nickelback to fame with the cringe worthy How You Remind Me a few years back. However, given Miss Brink�s desire to let the world know she can roar with rage just as well as she can bring a tear to your eye with the sweetest melodies they may well find themselves confined to the underground a while longer.
Load more

Recommended publications
  • From Matieland to Mother City: Landscape, Identity and Place in Feature Films Set in the Cape Province, 1947-1989.”
    “FROM MATIELAND TO MOTHER CITY: LANDSCAPE, IDENTITY AND PLACE IN FEATURE FILMS SET IN THE CAPE PROVINCE, 1947-1989.” EUSTACIA JEANNE RILEY Thesis Presented for the Degree of DOCTOR OF PHILOSOPHY in the Department of Historical Studies UNIVERSITY OF CAPE TOWN December 2012 Supervisor: Vivian Bickford-Smith Table of Contents Abstract v Acknowledgements vii Introduction 1 1 The Cape apartheid landscape on film 4 2 Significance and literature review 9 3 Methodology 16 3.1 Films as primary sources 16 3.2 A critical visual methodology 19 4 Thesis structure and chapter outline 21 Chapter 1: Foundational Cape landscapes in Afrikaans feature films, 1947- 1958 25 Introduction 25 Context 27 1 Afrikaner nationalism and identity in the rural Cape: Simon Beyers, Hans die Skipper and Matieland 32 1.1 Simon Beyers (1947) 34 1.2 Hans die Skipper (1953) 41 1.3 Matieland (1955) 52 2 The Mother City as a scenic metropolitan destination and military hub: Fratse in die Vloot 60 Conclusion 66 Chapter 2: Mother city/metropolis: representations of the Cape Town land- and cityscape in feature films of the 1960s 69 Introduction 69 Context 70 1 Picturesque Cape Town 76 1.1 The exotic picturesque 87 1.2 The anti-picturesque 90 1.3 A picturesque for Afrikaners 94 2 Metropolis of Tomorrow 97 2.1 Cold War modernity 102 i Conclusion 108 Chapter 3: "Just a bowl of cherries”: representations of landscape and Afrikaner identity in feature films made in the Cape Province in the 1970s 111 Introduction 111 Context 112 1 A brief survey of 1970s film landscapes 118 2 Picturesque
    [Show full text]
  • The Critical Impact of Transgressive Theatrical Practices Christopher J
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2011 (Im)possibilities of Theatre and Transgression: the critical impact of transgressive theatrical practices Christopher J. Krejci Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Theatre and Performance Studies Commons Recommended Citation Krejci, Christopher J., "(Im)possibilities of Theatre and Transgression: the critical impact of transgressive theatrical practices" (2011). LSU Doctoral Dissertations. 3510. https://digitalcommons.lsu.edu/gradschool_dissertations/3510 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. (IM)POSSIBILITIES OF THEATRE AND TRANSGRESSION: THE CRITICAL IMPACT OF TRANSGRESSIVE THEATRICAL PRACTICES A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Theatre by Christopher J. Krejci B.A., St. Edward’s University, 1999 M.L.A, St. Edward’s University, 2004 August 2011 For my family (blood and otherwise), for fueling my imagination with stories and songs (especially on those nights I couldn’t sleep). ii Acknowledgements I would like to thank my advisor, John Fletcher, for his expert guidance. I would also like to thank the members of my committee, Ruth Bowman, Femi Euba, and Les Wade, for their insight and support.
    [Show full text]
  • CSUSM Departmental Signature Page
    Mogil 1 To: Professor Mark Wallace Professor Yuan Yuan Professor Dawn Formo From: Blaine H. Mogil Date: April 25, 2014 Rip Van Winkle in the Twenty-first Century Part I The year was 2013, and it was on the dark evening of the sixth day of November. I was driving with the windows down—the cool night air washing over my face—and after a year of reading, researching and writing, I had an epiphany. The creative story that follows had finally been fully drafted the week before, and now it struck me—the story written unwittingly draws heavily from issues that have troubled me about American politics, American history, and the vanishing freedoms and personal liberties here in the United States. The story that follows is not my story, but one that traces its origins back to my awakening from a political and intellectual slumber on September 11, 2001. I was born in a dominantly white, middle class neighborhood into a highly conservative Republican family in which acceptance of the status quo was not only a norm, but an aspirational ideal seen as an essential milestone in achieving the American Dream. Thinking wasn’t discouraged, but thinking progressively, thinking creatively, thinking counter to any accepted Mogil 2 norm was radical and was to be avoided at all costs or else the communist dominoes would be unleashed, toppling the American way of life and unraveling the very fabric of American culture. It was in this state of inculcation as a privileged white, middle-class American male that I remained passively for my first forty-three years.
    [Show full text]
  • THIS BEAUTIFUL TRAGEDY Rev. Scott W. Alexander, Preaching Sunday, February 23, 2020 Unitarian Universalist Fellowship of Vero Beach
    1 THIS BEAUTIFUL TRAGEDY Rev. Scott W. Alexander, Preaching Sunday, February 23, 2020 Unitarian Universalist Fellowship of Vero Beach THE MORNING’S MEDITATION: This morning’s meditation is by the American artist and writer Peter Marin. He is describing the soul‐satisfaction he felt one summer day, while enjoying an afternoon picnic outdoors with dear friends. Close your eyes, listen to his words, and imagine yourself there with them…I will end our period of silent meditation (that will follow his words) with the ringing of the bell: Sometimes, somehow, almost as if by accident, we get things right. Now at noon, we sit on the grass beneath this tall tree, having within reach the fruits of countless harvests: wine, bread, cheeses, fruit, chocolate. I look at the grass, the sky, the passerby, my companions, and my heart fills with a joy equal to any more obviously mystical or religious sentiment I have ever had. There is nothing beyond the absolute beauty of the transience of this day – this wind, this ease, this flesh. It arises from the heart in answer to a human presence, and one understands – if only for a moment – what it would mean to be free. It is a passion beyond all possessiveness, a fierce love of the world, and a fierce joy in the transience of things made beautiful by their impermanence. I would not trade this day for heaven (no matter what name we call it by). Or rather, I think that if there IS a heaven, it is something like THIS…a pleasure taken in life, this gift of one’s comrades at ease momentarily under the trees, and the taste of satisfaction and the promise of grace, alive in one’s hands and mouth.
    [Show full text]
  • National Trauma and Romantic Illusions in Percy Shelley's the Cenci
    humanities Article National Trauma and Romantic Illusions in Percy Shelley’s The Cenci Lisa Kasmer Department of English, Clark University, Worcester, MA 01610, USA; [email protected] Received: 18 March 2019; Accepted: 8 May 2019; Published: 14 May 2019 Abstract: Percy Shelley responded to the 1819 Peterloo Massacre by declaring the government’s response “a bloody murderous oppression.” As Shelley’s language suggests, this was a seminal event in the socially conscious life of the poet. Thereafter, Shelley devoted much of his writing to delineating the sociopolitical milieu of 1819 in political and confrontational works, including The Cenci, a verse drama that I argue portrays the coercive violence implicit in nationalism, or, as I term it, national trauma. In displaying the historical Roman Cenci family in starkly vituperous manner, that is, Shelley reveals his drive to speak to the historical moment, as he creates parallels between the tyranny that the Roman pater familias exhibits toward his family and the repression occurring during the time of emergent nationhood in Hanoverian England, which numerous scholars have addressed. While scholars have noted discrete acts of trauma in The Cenci and other Romantic works, there has been little sustained criticism from the theoretical point of view of trauma theory, which inhabits the intersections of history, cultural memory, and trauma, and which I explore as national trauma. Through The Cenci, Shelley implies that national trauma inheres within British nationhood in the multiple traumas of tyrannical rule, shored up by the nation’s cultural memory and history, instantiated in oppressive ancestral order and patrilineage. Viewing The Cenci from the perspective of national trauma, however, I conclude that Shelley’s revulsion at coercive governance and nationalism loses itself in the contemplation of the beautiful pathos of the effects of national trauma witnessed in Beatrice, as he instead turns to a more traditional national narrative.
    [Show full text]
  • BEAUTIFUL TRAGEDY a Black Cracked Wall with Blood Stains From
    BEAUTIFUL TRAGEDY A black cracked wall with blood stains from my knuckles just like a bull when the matador is sticking knives in the bulls back but my twisted mind thinks of the matador dressed in his traditional clothing but in black with gouged out eyes and pale skin stabbing me with colorful long knifes like the broken plates with caviar on the floor I see myself in a tuxedo with a straight jacket over it in the corner of a luxury mansion sobbing into the fancy red carpet with a beam of moonlight on me the emotion makes me see red like when I can't carry a heavy weight in the gym and it falls to the floor making a heavy sound like it mocks you The emotion is like poison from a black widow spider going through your blood slowly making it toxic I’ve never felt more of this feeling than when I let the bullies win the bruises were on me like stitches on a sweet fluffy toy I felt like a toy they could just throw around the O-blood was rushing in the shower like a hypnotizing red river The words were in my head going back and forth like a ping pong game but the ball is covered in spikes making my brain mush until I choose to be the bigger person in my throne of skulls and victory I rose over the bullies they have won the fight but I have won the war of acceptance for who I am and how I am slowly fighting threw the savage jungle of life like Lana living in the land of gods and monsters I was an angel, who's wing got cut off and had to staple them back on.
    [Show full text]
  • Nr Kat Artysta Tytuł Title Supplement Nośnik Liczba Nośników Data
    nr kat artysta tytuł title nośnik liczba data supplement nośników premiery 9985841 '77 Nothing's Gonna Stop Us black LP+CD LP / Longplay 2 2015-10-30 9985848 '77 Nothing's Gonna Stop Us Ltd. Edition CD / Longplay 1 2015-10-30 88697636262 *NSYNC The Collection CD / Longplay 1 2010-02-01 88875025882 *NSYNC The Essential *NSYNC Essential Rebrand CD / Longplay 2 2014-11-11 88875143462 12 Cellisten der Hora Cero CD / Longplay 1 2016-06-10 88697919802 2CELLOSBerliner Phil 2CELLOS Three Language CD / Longplay 1 2011-07-04 88843087812 2CELLOS Celloverse Booklet Version CD / Longplay 1 2015-01-27 88875052342 2CELLOS Celloverse Deluxe Version CD / Longplay 2 2015-01-27 88725409442 2CELLOS In2ition CD / Longplay 1 2013-01-08 88883745419 2CELLOS Live at Arena Zagreb DVD-V / Video 1 2013-11-05 88985349122 2CELLOS Score CD / Longplay 1 2017-03-17 0506582 65daysofstatic Wild Light CD / Longplay 1 2013-09-13 0506588 65daysofstatic Wild Light Ltd. Edition CD / Longplay 1 2013-09-13 88985330932 9ELECTRIC The Damaged Ones CD Digipak CD / Longplay 1 2016-07-15 82876535732 A Flock Of Seagulls The Best Of CD / Longplay 1 2003-08-18 88883770552 A Great Big World Is There Anybody Out There? CD / Longplay 1 2014-01-28 88875138782 A Great Big World When the Morning Comes CD / Longplay 1 2015-11-13 82876535502 A Tribe Called Quest Midnight Marauders CD / Longplay 1 2003-08-18 82876535512 A Tribe Called Quest People's Instinctive Travels And CD / Longplay 1 2003-08-18 88875157852 A Tribe Called Quest People'sThe Paths Instinctive Of Rhythm Travels and the CD / Longplay 1 2015-11-20 82876535492 A Tribe Called Quest ThePaths Low of RhythmEnd Theory (25th Anniversary CD / Longplay 1 2003-08-18 88985377872 A Tribe Called Quest We got it from Here..
    [Show full text]
  • Verses from Jordan a Play About Chasing
    University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses 5-15-2009 Verses from Jordan A Play About Chasing Bradley Troll University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation Troll, Bradley, "Verses from Jordan A Play About Chasing" (2009). University of New Orleans Theses and Dissertations. 932. https://scholarworks.uno.edu/td/932 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Verses from Jordan A Play About Chasing A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Fine Arts In English Creative Writing, Playwriting by Bradley Troll B.S. McNeese State University, 2001 M.A. McNeese State University, 2006 May, 2009 - Characters - *Four actors play all the roles: The actor playing JORDAN. The actor playing JAKE as well as JORDAN’S DOUBLE and various characters behind the scrim.
    [Show full text]
  • The Exotic Musical Stylings of DJ Lain Weekend of 12.14-15.2019 Playlist
    Japan is Dumb: The Exotic Musical Stylings of DJ Lain Weekend of 12.14-15.2019 Playlist [Re-Broadcast of Weekend of 11.29-30.2008 Show] SpiritPlants Radio: http://www.spiritplantsradio.com 1. in this moment - rabbit hole, all for you 2. cradle of filth - nymphetamine 3. in this moment - lost at sea, mechanical love, her kiss, into the light, the dream 4. dir en grey - red soil, glass skin, dozing green 5. girugamesh - dead world, angry juice 6. coal chamber - my frustration 7. in this moment - beautiful tragedy, this moment 8. nonpoint - wake up world, bullet with a name on it, buscadome 9. killswitch engage - the end of heartache, when darkness falls 10. kidney thieves - creature, swansong, feathers, serene dream, placebo 11. placebo - infra red, english summer rain 12. sunna – preoccupation Japan is Dumb: The Exotic Musical Stylings of DJ Lain Weekend of 01.31-02.01.2009 Playlist SpiritPlants Radio: http://www.spiritplantsradio.com 1. Flaw - Medicate • Endangered Species • All The Worst • You’ve Changed • Final Cry • Only The Strong • Whole, Payback • One More Time 2. Five Bolt Main - Bid Farewell • Pathetic • Descending • What You Are • Main Slip • Made Like This 3. Discreate - Drift In Evil • System Soul • Ssixx • Given Into Sin • Lessons Of The Burned 4. Godspeed You Black Emperor - The Dead Flag Blues • East Hastings • Providence 5. Marilyn Manson - Heart Shaped Glasses (When The Heart Guides The Hand) (Inhuman Remix By Jade E Puget), • Slutgarden 6. Puscifer - Indigo Children (meletonin Rx overdose remix by celariom) 7. Maynard James Keenan - Rev 22 20 (Dry Martini Mix) 8.
    [Show full text]
  • The Discursive Construction of Ideal Heavy Metal
    1 Vulgar Discourses of Power: The Discursive Construction of Ideal Heavy Metal Subjectivity and the Erasure of Black, Indigenous, and Women of Colour in Heavy Metal Music Culture By Michelle Bona A Thesis Submitted to Saint Mary’s University, Halifax, Nova Scotia in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Women and Gender Studies April 2021, Halifax, Nova Scotia Copyright Michelle Bona, 2021 Approved: Dr. Tatjana Takševa Supervisor Approved: Dr. Jacqueline Warwick Examiner Approved: Dr. Tracy Moniz Reader Date: 23 April 2021 2 Abstract Vulgar Discourses of Power: The Discursive Construction of Ideal Heavy Metal Subjectivity and the Erasure of Black, Indigenous, and Women of Colour in Heavy Metal Music Culture By Michelle Bona Heavy metal music culture has been a bastion of working-class white masculinity since its beginnings in the early 1970s. Through canonization and Historical documentation, white male dominance has been ensured, obscuring contributions made by white female performers and erasing black, Indigenous, and women of colour (BIWoC) from the genre. Utilizing feminist critical discourse analysis (feminist CDA) to examine texts by canonized male bands reveals the discursive parameters of ideal heavy metal subjectivity (IHMS). Exploration of texts created by white female performers, including a case study of Arch Enemy vocalist Alissa White-Gluz, isolates the necessity for white female performers to reproduce the discourses of IHMS in order to secure their participation in the culture, further contributing to the erasure of BIWoC performers. However, feminist CDA also reveals transformative potential within these texts to de-centre IHMS as the default subject position and shows white women’s agency and resiliency as performers.
    [Show full text]
  • December, 2009
    In-depth 'Light the Way' coverage, pages 12-13 LVOL. 110, NO. 5 GOSwww.uiw.edu/logos December 2009 Broadway-BurrPedestrian crosswalk gets special peril attention Project Africa holds Date Auction; photo spread, pg 8 Fall seasons begin, end, pg 9 & 10 Disclaimer: This is a photo illustration done by Nick Baker, Logos Photo Editor. No one was hurt in the process of shooting this photo. By Teresa Velasco accidents at the dan- measure the speed of second, four-way light walk. Two University LOGOS NEWS EDITOR gerous Broadway-Burr vehicles as well as the since there is a 30-sec- of the Incarnate Word Campus and San An- crosswalk. number of pedestri- ond crosswalk there, students -- Maria Cer- tonio traffic administra- Campus police is ans crossing the inter- administrators said. vantes Wilburn, 40, tors are taking a closer engaged in a 90-day section daily, officials Any improvement and Gabriella Melissa look at a proposal to study with the City of said. might reduce the dan- Torres, 26 – were in- increase safety for pe- San Antonio Public The study might ger to motorists and pe- Cont. on pg. 2 destrians and reduce Works Department to lead to a proposed, 30- destrians at the cross- -Intersection Christmas concert dates set, pg 12 Chow down: free spaghetti, waffles on menu By Brittany Valadez in Marian Hall’s dining Agnese and other ad- ally being served by the LOGOS STAFF WRITER area for the 24th annual ministrators prepare the faculty of the school,” Free spaghetti or President’s Spaghetti plates based on orders senior Tasha Williams waffles? Take your pick.
    [Show full text]
  • Page 1 of 42 Nielsen Soundscan Charts 4/4/2007
    Nielsen SoundScan Charts Page 1 of 42 CHART: Top Current Albums Week Ending: 04/01/2007 Display: % CHG Weeks 2W LW TW TW % LW RTD On Label Rank Rank Rank Artist Title Sales CHG Sales Sales 1 CURB 1 MCGRAW*TIM LET IT GO 325,009 999 209 325,258 1CAP 2 VARIOUS NOW 24 229,998 999 147 230,145 1INT 3 YOUNG BUCK BUCK THE WORLD 140,250 999 565 141,083 1CAP 4 MIMS MUSIC IS MY SAVIOR 77,596 999 247 77,849 20 KUSU 5 6 5 AKON KONVICTED 66,844 -3 68,567 1,998,950 19 RCA 4 4 6 DAUGHTRY DAUGHTRY 66,456 -13 76,231 2,105,793 1EPIC 7 GOOD CHARLOTTE GOOD MORNING REVIVAL 65,956 999 372 66,341 2 VRGN 2 8 STONE*JOSS INTRODUCING JOSS STONE 58,105 -51 118,039 176,319 1ISL 9 JOHN*ELTON ROCKET MAN-NUMBER ONES 49,153 999 26 49,179 1EPIC 10 LOPEZ*JENNIFER COMO AMA UNA MUJER 48,149 999 260 48,411 WE WERE DEAD BEFORE THE 2 EPIC 1 11 MODEST MOUSE 48,084 -63 128,564 176,903 SHIP E 3 UNIV 7 10 12 WINEHOUSE*AMY BACK TO BLACK 46,300 -3 47,667 144,922 1DEF 13 REDMAN RED GONE WILD 44,356 999 185 44,564 1ASWB 14 LIL' FLIP I NEED MINE (2CD SET) 43,296 999 151 43,447 17 INT 22 25 15 STEFANI*GWEN SWEET ESCAPE 42,367 64 25,813 1,070,242 72 ARI 10 15 16 UNDERWOOD*CARRIE SOME HEARTS 39,245 4 37,663 5,155,202 29 JIVE 11 11 17 TIMBERLAKE*JUSTIN FUTURESEX/LOVE SOUNDS 37,144 -11 41,881 3,038,716 28 AAM 13 13 18 FERGIE DUTCHESS 35,404 -11 39,678 1,677,716 3 ATLG 1 8 19 MUSIQ SOULCHILD LUVANMUSIQ 35,152 -35 53,807 238,733 CRYSTAL VISIONS:VERY BEST OF 1WAR 20 NICKS*STEVIE 33,828 999 114 33,944 S 3 UNIV 2 7 21 LLOYD STREET LOVE 33,220 -40 55,492 233,384 78 ROAD 17 17 22 NICKELBACK ALL THE
    [Show full text]