Dossier D'accompagnement De La Conférence / Concert Du Samedi 6
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Call out Miutia in Pennsy Strike Pledges Continue To
VOL. U L, NO. 256. Philaddphia Strikere Picket Hosiery Mills PLEDGES CONTINUE CALL OUT MIUTIA n m F A T A L IN PENNSY STRIKE TO COME IN FROM TO H0]D DRIVER ALL OVER NATION Martial Law to Be Pro- ARREST THIRD MAN Yondi ffit by (^r Dmeu by daoM d ia Fayette Connty IN SYLLA MURDER RockriDe Wonian Tester- M EHCAN BEATEN Officials Busy Explaining ?A ere 15,000 Miners day Passes Away at Hos BY SrA M SB COPS Various Pbases ef die Have Defied Authorities. Stanley Kenefic Also Comes pital This Momiug. Program— Coal and Ante* from Stamford — Police Raymond Judd Stoutnar, 17, son Pl^debpbia Man (Sves Ifis mobiles Next to Be Taken lUrrlsburf, Pa., July 29—(AP)— of Mr. and Mrs. John Stoatnar of Governor Plnchot told early today Seek Fourth Suspect. 851 Tolland Turnpike died at 7:30 m Up— Monday Sled h r jna-tlal law will be proclaimed in Side of His Arrest this morning at the Manchester Me Fayette county, heart of the turbu strike there. morial hospital from injuries re dnstry WiD Disenss Code. lent coal strike area, with the ar New York, July 29.—(AP)— A Barcelona. ceived early yesterday afternoon rival of National Guard troops now third man from Stamford, Conn., enroute. when thrown from his bicycle when Three hundred state soldiers, was booked on a homicide charge to MAY REQUEST LOAN hit by an automobile driven by Mrs. New York, July 29—(AP) — The Washington, July 29.—(AP)— eoulpped with automatic rifles, day In the slaying of Dr. -
Sidvd504 Musicspectr
Music Spectrum Page 5 of 23 death: “Dear God, take him, take them, take anyone, the stillborn, the newborn, the NorthernBlue infirm, take anyone, take people from Pittsburgh, Pennsylvania, just spare me.” Most of us 95North Reco wouldn’t say it out loud, but Morrissey outs our true sinister thoughts that pass through Or Music our brains. Palm Pictures Parasol Planetary Gro The Smiths: Under Review, An Provident Lab Independent Critical Analysis Righteous Ba The traditional topics in any Smiths Rhino biography are all covered here: the band Rough Trade name, traditional four piece lineup, Runway Netw ambiguous nature of Morrissey’s Ryko Music sexuality, being a household name in the Salt Lady Re UK (but not the U.S.), “Suffer Little Sanctuary Re Children” (Moors murders), album sleeves, singles slump, role of Mike Joyce Sounds Fami and Andy Rourke, reluctance to do videos Special Ops M in MTV era, Craig Gannon, and the split. Team Clermo However, while some of the information Theory 8 Rec may not be new, because The Smiths: Telarc Under Review, An Independent Critical Analysis is a video documentary, it is a comforting Transmit Sou companion for any Smiths fan or seeker. TVT Records Unschooled Having never attended a Smiths Convention http://www.musicconventions.com/, and Vanguard Re having very few close friends who are Smiths fans, sitting and watching so many writers, Wampus Rec musicians, and people in the circle discuss what the Smiths meant and mean is like Warp Record discovering that you’re not alone. Others have also spent hours thinking about why this Wind-up Rec band affected them so much. -
Happy Mondays Kinky Afro Mp3, Flac, Wma
Happy Mondays Kinky Afro mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Rock Album: Kinky Afro Country: UK Released: 1990 Style: Leftfield, Indie Rock MP3 version RAR size: 1652 mb FLAC version RAR size: 1251 mb WMA version RAR size: 1528 mb Rating: 4.1 Votes: 430 Other Formats: WAV DMF AU VQF DXD AUD ASF Tracklist Hide Credits Kinky Afro A Engineer [Assistant, Recording] – Cam Engineer [Recording] – Ray BlairProducer, Arranged By, Mixed By – Paul Oakenfold And Steve Osborne* Kinky Afro (Live) B Mixed By, Recorded By – Simon Machan Companies, etc. Recorded At – Sound Factory, New York Credits Artwork [Kinky Artwork] – Central Station Design Written-By, Performer – Happy Mondays Notes Published By London Music ℗ + © 1990 Factory Communications Ltd. Track B recorded live at the 'Sound Factory' N.Y.C. July 18th 1990. Initial copies came in a 12 x 12" package . Containing a T-shirt with the band's logo on the front. There was also a information sticker attached. Barcode and Other Identifiers Barcode: 9 399601 025675 Other versions Category Artist Title (Format) Label Category Country Year Happy Kinky Afro (7", Single, FAC 302/7 Factory FAC 302/7 UK 1990 Mondays Pap) Happy Kinky Afro (VHS, FAC 302 Factory FAC 302 UK 1990 Mondays Promo, PAL) London Happy Kinky Groovy Afro Records, 869 353-2 869 353-2 France 1990 Mondays Remix (CD, Single) Barclay, Factory London Happy Kinky Groovy Afro KINKR 1 Records, KINKR 1 UK 1990 Mondays (Remix) (12", Promo) Factory Happy Kinky Afro Remix Festival DMX 76737/8 DMX 76737/8 Australia 1990 Mondays (12", Promo, W/Lbl) Records Related Music albums to Kinky Afro by Happy Mondays Happy Mondays - Hallelujah Happy Mondays - W.F.L. -
Joy Division and Cultural Collaborators in Popular Music Briana E
Western University Scholarship@Western Electronic Thesis and Dissertation Repository August 2016 Not In "Isolation": Joy Division and Cultural Collaborators in Popular Music Briana E. Morley The University of Western Ontario Supervisor Dr. Keir Keightley The University of Western Ontario Graduate Program in Popular Music and Culture A thesis submitted in partial fulfillment of the requirements for the degree in Master of Arts © Briana E. Morley 2016 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Music Commons Recommended Citation Morley, Briana E., "Not In "Isolation": Joy Division and Cultural Collaborators in Popular Music" (2016). Electronic Thesis and Dissertation Repository. 3991. https://ir.lib.uwo.ca/etd/3991 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected], [email protected]. Abstract There is a dark mythology surrounding the post-punk band Joy Division that tends to foreground the personal history of lead singer Ian Curtis. However, when evaluating the construction of Joy Division’s public image, the contributions of several other important figures must be addressed. This thesis shifts focus onto the peripheral figures who played key roles in the construction and perpetuation of Joy Division’s image. The roles of graphic designer Peter Saville, of television presenter and Factory Records founder Tony Wilson, and of photographers Kevin Cummins and Anton Corbijn will stand as examples in this discussion of cultural intermediaries and collaborators in popular music. -
Peter Hook L’Haçienda La Meilleure Façon De Couler Un Club
PETER HOOK L’HAÇIENDA LA MEILLEURE FAÇON DE COULER UN CLUB LE MOT ET LE RESTE PETER HOOK L’HAÇIENDA la meilleure façon de couler un club traduction de jean-françois caro le mot et le reste 2020 Ce livre est dédié à ma mère, Irene Hook, avec tout mon amour Reposez en paix : Ian Curtis, Martin Hannett, Rob Gretton, Tony Wilson et Ruth Polsky, sans qui l’Haçienda n’aurait jamais été construite LES COUPABLES Bien sûr que ça me poserait problème. Lorsque Claude Flowers m’a suggéré en 2003 d’écrire mes mémoires sur l’Haçienda, la première chose qui me vint à l’esprit est cette célèbre citation au sujet des années soixante : si vous vous en souvenez, c’est que vous n’y étiez pas. Tel était mon sentiment au sujet de l’Haç. J’allais donc avoir besoin d’un peu d’aide, et ce livre est le fruit d’un effort collectif. Claude a lancé les hostilités et m’a invité à me replonger dans de très nombreux souvenirs que je pensais avoir oubliés, tandis qu’Andrew Holmes m’a fourni ces « interludes » essentielles tout en se chargeant des démarches administratives. Je m’attribue le mérite de tout ce qui vous plaira dans ce livre. Si des passages vous déplaisent, c’est à eux qu’il faudra en vouloir. Avant-propos Nous avons vraiment fait n’importe quoi. Vraiment ? À y repenser aujourd’hui, je me le demande. Nous sommes en 2009 et l’Haçienda n’a jamais été aussi célèbre. En revanche, elle ne rapporte toujours pas d’argent ; rien n’a changé de ce côté-là. -
Sterkari Staða Þrátt Fyrir Minna Framboð
&RESTURTILAÈSKILAUMSËKNUMÅ2ANN ²TSALAERHAFINÅ)KEAOGSTENDURHÒN .ÕGJALDSKR¹FYRIRGREIÈSLUÖ¹TTTÎKU4RYGG Kýr fá ekki frí SËKNARSJËÈOG4¾KJASJËÈERTILOKTËBER YFIRTILJÒLÅ¥)KEAM¹FINNAÕMISLEGT INGASTOFNUNARVEGNAÖJËNUSTUSJ¹LFST¾TT N¾STKOMANDIOGERAUGLÕSTEFTIR SNIÈUGTFYRIRHEIMILIȹGËÈUVERÈI STARFANDISÁRFR¾ÈINGAÅHJARTAL¾KNINGUM Strákarnir á Stærri- UMSËKNUMÅSJËÈINA2ANNSËKNARSJËÈUR AUKÖESSSEMNÒEREINNIGH¾GT SEMERU¹NSAMNINGSVIÈSTOFNUNINAVAR STYRKIRSKILGREINDRANNSËKNARVERK AÈKÅKJAVIÈÅS¾NSKA NÕLEGAGEFINÒTAF(EILBRIGÈIS OGTRYGG suðurland Bæ II sitja ekki auðum EFNIEINSTAKLINGA RANNSËKNARHËPA MATARHORNINU¹VEIT INGAM¹LAR¹ÈUNEYTINUOGTËKHÒN höndum í sumar BLS. 2 H¹SKËLA RANNSËKNASTOFNANAOG INGSTAÈNUMOGPRËFA GILDIJÒLÅVEF4RYGGINGA ÞRIÐJUDAGUR 10. JÚLÍ 2007 FYRIRT¾KJAOGSKIPTASTSTYRKIRNIR EITTHVAÈNÕTT STOFNUNAR WWW ÅVERKEFNISSTYRKI ÎNDVEGISSTYRKI TRIS M¹SJ¹ OGRANNSËKNASTÎÈUSTYRKI GJALDSKR¹NA (%)-),) (%),3! (²3"®2. .- &%2¨)2-!452 "¥,!2 4¥3+!'2*52!46)..! 4),"/¨ 6)..56¡,!2 /&, 35¨52,!.$ Herpes-veiran gæti nýst leið. Veiran virðist sam- í baráttunni við kvæmt fyrstu gögnum ekki gera heilbrigð- krabbamein. um frumum mein. „Við vonumst Ein tegund herpes- með þessu til að Kýr fá ekki veirunnar sem geta veitt með- vísindamenn hafa ferð við krabba- þróað gæti reynst meini án auka- 505)3$!6¥¨3$«44)2 vel í baráttunni við áhrifa,“ segir krabbamein. Ný Dr. Axel Mes- rannsókn sem kynnt cheder hjá líf- var á læknaráðstefnu tæknifyrirtækinu í Lugano í Sviss gefur til MdiGene í München. -!2¥!3*®&.$ kynna að veiran eyði Veiran hefur verið krabbameinsfrumum. prófuð á dýrum -
Masteroppgave.Guro.Pdf (671.5Kb)
“Please Help The Cause Against Loneliness” The Importance of being a Morrissey fan Guro Flinterud Master Thesis in History of Culture Program for Culture and Ideas Studies Spring 2007 Department of Culture Studies and Oriental Languages, University of Oslo 2 Contents Chapter 1: Theorising Morrissey-fans……………………………………………………….5 Introduction..................................................................................................................................5 Who are The Smiths and Morrissey?...........................................................................................8 Overview of the field of fan studies……………………………………………………………11 Fans as source material………………………………………………………………………...14 Selected themes and how to reach them……………………………………………………….18 Speech genres and cultural spheres…………………………………………………………….23 Emotion and the expression of personal significance………………………………………….26 Narcissism, gender and individuality…………………………………………………………..29 Chapter 2: Fandom and love…………………………………………………………………35 The Fan and narcissism………………………………………………………………………...35 Self-reflection and the “new sort of hero”………………………………………………..........41 “Oh, I can’t help quoting you”; Morrissey in Odda……………………………………............45 The emotional dimension of music…………………………………………………………….50 Chapter 3: “I had never considered myself a normal teenager” Emotion, gender and outsiderness…………………………………………………………...56 The indie scene and masculinity………………………………………………………………..58 Morrissey fans contesting hegemonic masculinity……………………………………………..61 Non-gendered identification -
Joy Division, Sessions 1977-1981
PIERRE-FRÉDÉRIC CHARPENTIER JOY DIVISION SESSIONS 1977-1981 LE MOT ET LE RESTE PIERRE-FRÉDÉRIC CHARPENTIER JOY DIVISION sessions 1977-1981 le mot et le reste 2020 En mémoire de Philippe Pascal (1956-2019) Note : Les paroles des chansons ainsi que leur traduction française, ne sont pas repro- duites in extenso dans ces pages, car elles l’ont déjà été à plusieurs reprises auparavant. Le lecteur pourra ainsi se reporter à l’annexe des mémoires de Deborah Curtis, Touching from a Distance (1998), de même qu’aux carnets de Ian Curtis, So This Is Permanence (2014). Traduits ou non, les textes d’origine sont par ailleurs aisément trouvables sur l’Internet. Toutes les traductions dans l’ouvrage sont de l’auteur. « DON’T DIE, PLEASE » « 3, 5, 0, 1, 2, 5, go! » Il y a quarante ans, le 18 mai 1980, Joy Division disparaît en pleine gloire naissante avec le suicide de son chanteur emblé- matique, Ian Curtis. Au terme d’un peu moins de trois années d’existence, le groupe anglais a rassemblé la matière première musicale de deux albums avant-gardistes, Unknown Pleasures (1979) et ’Closer’ (1980, posthume), dont l’influence sur la musique rock s’avère à la fois profonde et durable. Une collec- tion de singles remarqués parus hors album et d’autres morceaux inédits, publiés tour à tour sur les compilations Still (1981), puis Substance (1988), permettent en outre de doubler largement le nombre de ses chansons. Souvent référencées, « Transmission », « She’s Lost Control », « Atmosphere » et plus encore le tube « Love Will Tear Us Apart », sans oublier son titre édité par New Order, « Ceremony », ont propulsé le groupe au firmament du rock international. -
New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry
New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry by Evan Landon Wendel B.S. Physics Hobart and William Smith Colleges, 2004 SUBMITTED TO THE DEPARTMENT OF COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2008 © 2008 Evan Landon Wendel. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: _______________________________________________________ Program in Comparative Media Studies May 9, 2008 Certified By: _____________________________________________________________ William Uricchio Professor of Comparative Media Studies Co-Director, Comparative Media Studies Thesis Supervisor Accepted By: _____________________________________________________________ Henry Jenkins Peter de Florez Professor of Humanities Professor of Comparative Media Studies and Literature Co-Director, Comparative Media Studies 2 3 New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry by Evan Landon Wendel Submitted to the Department of Comparative Media Studies on May 9, 2008 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies Abstract This thesis explores the evolving nature of independent music practices in the context of offline and online social networks. The pivotal role of social networks in the cultural production of music is first examined by treating an independent record label of the post- punk era as an offline social network. -
Punk Is Dead” Catalog Includes, the SST Records the Inventory Representing the “Punk Is Collection, C
2016 PUNK IS DEAD Lux Mentis, Booksellers Lux Mentis Booksellers specializes in fine press, artist books, first editions, Punk rock evolved over several and esoterica with a particular emphasis generations and manifestations of youth on challenging and unusual materials. culture beginning in the 1970s. Even after 40 years, punk subculture still We actively collaborate with archives demonstrates the capability to influence and special collections libraries to meet successive contemporary elements of the research and collecting needs of art, music, and fashion regardless of its public learning institutions, private, original intention to lambast conformity. independent libraries and collections with primary sources. Selected inventory in the “Punk is Dead” catalog includes, the SST Records The inventory representing the “Punk is Collection, c. 1979-1996; original Dead” collection is a retrospective artwork from famed punk artist, selection of critical primary source Raymond Pettibon; correspondence materials documenting the punk rock from Gordon Gano, original member of movement of the 1970s-1990s. The the Violent Femmes; and several unique collection illustrates the profound fanzine and alternative publications. subculture of punk from an artistic and politically fueled era from Los Angeles, Lux Mentis regularly features and New York, and London. showcases punk culture related materials at major ABAA book fairs and Please contact us for an appointment or continues to cultivate the acquisition of with questions regarding the inventory. subculture materials for research and collection development purposes. 110 Marginal Way #777 Portland, ME 04101 Member: ILAB/ABAA T. 207.329.1469 Email: [email protected] Front cover image: From the SST [email protected] Records Collection, detail of “Outcry” Web: http://www.luxmentis.com magazine Blog: http://www.asideofbooks.com Cataloged created by Kim Schwenk and edited by Ian Kahn 2 Ginn, Greg, Pettibon, Raymond, et al. -
'Words Which Could Only Be Your Own': the Crossroad Between Lyrics
- 1 - Ministério da Educação Universidade Federal dos Vales do Jequitinhonha e Mucuri – UFVJM Minas Gerais – Brasil Revista Vozes dos Vales: Publicações Acadêmicas Reg.: 120.2.095–2011 – UFVJM ISSN: 2238-6424 Nº. 02 – Ano I – 10/2012 http://www.ufvjm.edu.br/vozes ‘Words which could only be your own’: the crossroad between lyrics translation, culture, Brazilian fans, and non-professional translators Luciana Kaross PhD Candidate in Translation and Intercultural Studies School of Arts, Languages and Cultures The University of Manchester, Lancashire, UK E-mail: [email protected] Renata Spinola Doutoranda em Literatura e Cultura Instituto de Letras Universidade Federal da Bahia, Bahia, Brasil E-mail: [email protected] Resumo: Nos estudos da tradução, um tópico que tem rendido discussões interessantes se apoia na intervenção do tradutor no que se refere à transferência de aspectos culturais do texto de origem para o texto de chegada. No entanto, a pesquisa concernente à tradução da música pop para fins de entendimento tem sido negligenciada. As diferentes mídias em que letras traduzidas podem ser encontradas no Brasil e os diversos perfis de seus tradutores proporcionam um campo de estudo ainda inexplorado. Esse artigo tem por objetivo estabelecer até que ponto as fontes de acesso às letras traduzidas domesticam ou estrangeirizam os aspectos culturais presentes nas letras do cantor Morrissey. Apesar de não baseado em técnicas acadêmicas, mas em aprendizado empírico, o trabalho coletivo dos fãs produz um texto final de boa qualidade. Palavras-chave: Tradução. Prática metodológica, Cultura. Letras de Música. Tradutores amadores. Revista Vozes dos Vales da UFVJM: Publicações Acadêmicas – MG – Brasil – Nº 02 – Ano I – 10/2012 Reg.: 120.2.095–2011 – PROEXC/UFVJM – ISSN: 2238-6424 – www.ufvjm.edu.br/vozes - 2 - Introduction The importance of popular music in the Brazilian Culture is undeniable. -
The History of Rock Music: 1976-1989
The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore 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 © 2009 Piero Scaruffi) Punk-rock (These are excerpts from my book "A History of Rock and Dance Music") London's burning TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The effervescence of New York's underground scene was contagious and spread to England with a 1976 tour of the Ramones that was artfully manipulated to start a fad (after the "100 Club Festival" of september 1976 that turned British punk-rock into a national phenomenon). In the USA the punk subculture was a combination of subterranean record industry and of teenage angst. In Britain it became a combination of fashion and of unemployment. Music in London had been a component of fashion since the times of the Swinging London (read: Rolling Stones). Punk-rock was first and foremost a fad that took over the Kingdom by storm. However, the social component was even stronger than in the USA: it was not only a generic malaise, it was a specific catastrophe. The iron rule of prime minister Margaret Thatcher had salvaged Britain from sliding into the Third World, but had caused devastation in the social fabric of the industrial cities, where unemployment and poverty reached unprecedented levels and racial tensions were brooding.