Employed Students Increased at UWM SA Left out of Campus Event Panel Urges Better Awareness of Date Rape At
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Blank Generation
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) The Blank Generation (These are excerpts from my book "A History of Rock and Dance Music") Akron 1976-80 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The "blank generation" came out of a moral vacuum. While punks roamed the suburban landscape, blue-collar workers were feeling the pinch of an economic revolution: human society had left the industrial age and entered the post-industrial age, the age in which services (such as software) prevail over manufacturing. Computers now rule the world, from Wall Street to Boeing. The assembly line took away a bit of the personality of the worker, but that was nothing: the new service- based economy takes away the worker completely, physically. In the post-industrial society the individual is even less of a "person". The individual is merely a cog in a huge organism of interconnected parts that works at the beat of a gigantic network of computers. This highly sophisticated economy treats the individual as a number, as a statistic. The goal is no longer to create a robot that behaves like a human being, but to create a human being that behaves like a robot: robots are efficient and lead to manageable and profitable businesses, whereas humans are inefficient and difficult to manage. -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE -
Humanities Research Vol XIX. No. 2. 2013
Nations of Song Aaron Corn Eye-witness testimony is the lowest form of evidence. — Neil deGrasse Tyson, astrophysicist1 Poets are almost always wrong about facts. That’s because they are not really interested in facts: only in truth. — William C. Faulkner, writer2 Whether we evoke them willingly or whether they manifest in our minds unannounced, songs travel with us constantly, and frequently hold for us fluid, negotiated meanings that would mystify their composers. This article explores the varying degrees to which song, and music more generally, is accepted as a medium capable of bearing fact. If, as Merleau-Ponty postulated,3 external cultural expressions are but artefacts of our inner perceptions, which media do we reify and canonise as evidential records of our history? Which media do we entrust with that elusive commodity, truth? Could it possibly be carried by a song? To illustrate this argument, I will draw on my 15 years of experience in working artistically and intellectually with the Yolŋu people of north-east Arnhem Land in Australia’s remote north, who are among the many Indigenous peoples whose sovereignty in Australia predates the British occupation of 1788.4 As owners of song and dance traditions that formally document their law and are performed to conduct legal processes, the Yolŋu case has been a focus of prolonged political contestation over such nations of song, and also raises salient questions about perceived relations between music and knowledge within the academy, where meaning and evidence are conventionally rendered in text. This article was originally presented as a keynote address to the joint meeting of the Musicological Society of Australia and the New Zealand Musicological Society at the University of Otago in Dunedin, New Zealand, in December 2010. -
Recommendations
Recommendations - Top 50 Essential Albums of the 80s ARTIST ALBUM 1927 ….ish ABC The Lexicon of Love AC/DC Back in Black Angels Dark Room Australian Crawl The Boys Light Up Australian Crawl Sirocco Billy Idol Whiplash Smile Billy Idol Rebel Yell Bon Jovi Slippery When Wet Bruce Springsteen The River Bruce Springsteen Born In The USA Cold Chisel East Cold Chisel Circus Animals Crowded House Crowded House Crowded House Temple Of Low Men Culture Club Colour By Numbers Cyndi Lauper She's So Unusual Daryl Braithwaite Edge David Bowie Let's Dance Def Leppard Hysteria Diana Ross Diana Dire Straits Brothers In Arms Divinyls What A Life Don Henley Building The Perfect Beast Duran Duran Rio Elton John Too Low For Zero Eurythmics Revenge Eurythmics Be Yourself Tonight Fine Young Cannibals The Raw & The Cooked Fleetwood Mac Tango In The Night Flowers Icehouse Frankie Goes To Hollywood Welcome To The Pleasuredome George Michael Faith Guns n' Roses Appetite For Destruction Hoodoo Gurus Blow Your Cool Hoodoo Gurus Mars Needs Guitars Hunters & Collectors Human Frailty Icehouse Man Of Colours Icehouse Primitive Man INXS Kick INXS The Swing INXS Listen Like Thieves Jimmy Barnes Freight Train Heart Jimmy Barnes For The Working Class Man John Farnham Whispering Jack John Farnham Age Of Reason John Lennon Double Fantasy John Mellencamp Scarecrow John Mellencamp Lonesome Jubilee John Mellencamp American Fool Johnny Diesel Johnny Diesel & The Injectors Kate Bush Hounds of Love Kylie Minogue Kylie Lionel Richie Can't Slow Down Madonna Like A Virgin Madonna True -
Comstftuctlon of 3-Clgjcway 141 and TWESTNT1-43 Txthtsslvay
COMSTftUCTlON Of 3-ClGJCWAy 141 AND TWESTNT1-43 TXTHTSSlVAy COMTILTTt, JAND WESTARCtfEV By MIMI BI'KD 1982-1992 Thotographs By Mimi 'BirdandBernice Xiedrow, 3-feraCd Trio tographer JArchivaCmateriaCs, incCuding the aCBum, were donated by the yvhitefish Bay foundation £ COMPILED AND RESEARCHED BY MIMI BIRD, THESE VOLUMES ARE HER LEGACY TO WHITEFISH BAY AND AN INVALUABLE CONTRIBUTION TO OUR KNOWLEDGE OF LOCAL HISTORY. Ky MIMI BIRD, 1933-2002 Mimi Bird knew just what she wanted for a final resting place. After all, she spent years of her life exploring the Town of Milwaukee Union Cemetery, tucked away north of Bayshore Mall in Whitefish Bay. She remembered running through the cemetery as a girl "to scare ourselves on Halloween". Years later, as a neighbor and a historian, she began tending the litde cemetery and quite literally, uncovering its history. Bird died of emphysema Thursday at the Glendale condominium she called home the last four years. She was 69. "She really died from cigarette smoking" said husband John D. Bird. "That's what did it." She was born Miriam Young in Milwaukee. When she was 4, her parents moved to Whitefish Bay. That was where she grew up and spent her adult life. It was also where she became the undisputed expert on local history, both in the village and the greater North Shore area. In her earlier years Bird had worked as a secretary. She met her husband when their mothers—concerned about their two twenty-something children remaining unmarried—managed to fix them up for a date. She spent the next decades in volunteer work, including at their children's schools, and working part time for the Whitefish Bay Public Library. -
ARIA Charts, 1987-10-04 to 1987-12-20
SINGLES CHART AUTHORISED AND ENDORSED BY THE AUSTRALIAN RECORD INDUSTRY ASSOCIATION WEEK ENDING 4th OCTOBER. 1987 TW LW TI TITLE/ARTIST Co. Cat. No. 1 2 6 LA BAMBA Los Lobos POL 886 168-7 2 1 10 LOCOMOTION Kylie Minogue FES K 319 3 5 4 ELECTRIC BLUE Icehouse FES K 389 4 3 12 OLD TIME ROCK AND ROLL Bob Seger EMI CP 1192 5 8 6 STAR TREKKIN' The Firm POL 885 987-7 6 6 7 FALL OF ROME James Reyne EMI CP 1992 7 4 11 SUDDENLY Angry Anderson FES K 363 8 7 6 BEDS ARE BURNING Midnight Oil CBS 651015 7 • 9 NEW BAD Michael Jackson CBS 651100 7 10 10 6 TRUE FAITH New Order CBS FAC 1837 11 9 10 WHEN YOU WALK IN THE ROOM Paul Carrack FES K 269 12 14 5 LET'S DANCE Chris Rea POL 885 888-7 13 11 11 WILD HORSES Gino Vannelli POL 885 580-7 14 12 9 IT'S A SIN Pet Shop Boys EMI A 1970 15 13 7 YOU I KNOW Jenny, Morris WEA 7258299 • 16 24 3 WISHING WELL Terence Trent D'Arby CBS 650923 7 17 17 14 CRAZY Icehouse FES K 292 18 15 9 WHO'S THAT GIRL? Madonna WEA 728341 19 23 3 PAPER IN FIRE John Cougar Mellencamp POL 888 763-7 20 20 5 HEART AND SOUL T'Pau VIR/EMI SRN 41 21 16 18 RESPECTABLE Mel & Kim CBS LS 1933 22 21 12 ALONE Heart EMI CP 1944 23 19 4 FLM Mel & Kim CBS LS 1976 24 18 15 HE'S GONNA STEP ON YOU AGAIN Party Boys CBS 650906 7 • 25 37 3 LIVE! ON TOUR (EP) Bon Jovi POL 888 820-7 26 25 8 FRIDAY ON MY MIND Gary Moore VIR/EMI TEN 164 27 28 5 DIDN'T WE ALMOST HAVE IT ALL Whitney Houston BMG/RCA 104722 • 28 38 3 SHATTERED DREAMS Johnny Hates Jazz VIR/EMI VS 948 29 26 4 NEVER SAY GOODBYE Bon Jovi POL 888 819-7 30 35 8 WHEN SMOKEY -
Midnight Oil „The Dead Heart“
Midnight Oil „The Dead Heart“ Das Jahr 2000. In Sydney werden die Olympischen Spiele durchgeführt. Wohl zum ersten Mal wird die Welt mit dem Schicksal und der aktuellen Situation der australischen Aborigines konfrontiert. Wegen erwarteter (und auch durchgeführter) Proteste der australischen Ureinwohner organisiert die Festspielleitung zahlreiche symbolische Aktionen, um den Aborigines entgegen zu kommen und die Olympischen Spiele als eine „powerful healing statement for Aboriginal Australia“ (Geoff Clark, Gründer der „Aboriginal and Torres Strait Islander Commission“) zu inszenieren. Die legendäre Aborigines-Spitzensportlerin Cathy Freeman hat nicht nur die Olympische Fackel entzündet sondern auch nach Ihrem Goldmedaillensieg die (verbotene) Aborigines-Flagge gezeigt. Und in der Abschiedszeremonie durfte die australische Gruppe „Midnight Oil“ einen Song aus ihrer 1987 entstandenen CD „Diesel and Dust“ singen. Cathy Freeman zeigt neben der australischen auch die verbotene Aborigines-Flagge 2000 im Olympiastadion in Sydney 2 Das Jahr 1987. Die 1971 gegründete Rock-Band The Farm aus Sydney gab sich 1976 den Namen „Midnight Oil“ in Anspielung auf eine Redensart „burning of the midnight oil“ für „Arbeiten bis in die Nacht hinein“. 1986 wurde „Midnight Oil“ von der Aboriginales-Band „Warumpi“ zu einer gemeinsamen Tour „Blackfella/Whitefella“ („Schwarze und Weiße Kerle“, auch ein Songtitel von „Warumpi“) durch einige Homelands eingeladen. 1987 wurde unter dem Eindruck dieser Begegnung mit der Welt der Aborigines das Album „Diesel and Dust“, das sich mit der Ausbeutung von Aborigines-Land durch „Mining Companies“ und - kurz gesagt - den „White Man“ beschäftigt. „The Dead Heart“ ist das in dieser Beziehung wohl deutlichste Lied der CD. „Diesel and Dust“ verhalf „Midnight Oil“ zu ihrem internationalen Durchbruch, der bis heute - mit Unterbrechungen - anhält: Nachdem der Leadsänger Peter Garrett 2002 die Band verlassen hatte, um Berufspolitiker (u.a. -
Beds Are Burning – Midnight Oil
Beds are Burning – Midnight Oil Keywords Presentation Title This song is called Beds are burning, it was released in the Name album Diesel and Dust in 1987 and became an international Meaning success. It means that there is an emergency. Release The rock group Midnight Oil sings this song. The last CD they released in 2008 was a special edition of Instruments Diesel and Dust. We can hear the drums, the keyboard, the guitars and the bass. In this band Rob Hirst plays the drums, Jim Moginie and Martin Rotsey play the guitar, Bones Hillman plays the bass. On the video the lead singer ( Peter Garrett) is standing in the foreground, Martin is playing the guitar in the foreground on the right hand side. In the background Rob is playing the drums. Style It is an alternative rock band and they come from Australia. They look cool and outgoing. The singer, Peter Garrett looks crazy and angry. They usually wear casual clothes. They look Goal like cowboys with their tight slacks and boots. They are protesters, they fight against political injustice and climate change. They sang this song in protest against the white Last concert Australian who refused to give the Aboriginals their land back. Their last two concerts took place in 2009.They were situated in Sydney and Melbourne.I have never been to their concert but I wish I had. I absolutely love this music and I share their point of view. Last action In support to the campaign for climate justice they made a new version of Beds are burning, it was called TickTckTck. -
Healing Stone the Best of Yothu Yindi
HEALING STONE THE BEST OF YOTHU YINDI HISTORY is one thing. Mandawuy Yunupingu has been living it since his father signed a bark petition to the Australian Parliament in 1963 demanding recognition of the Yolngu people. As an educator, storyteller, cultural ambassador, 1992 Australian of the Year, and founder and chairman of the Yothu Yindi Foundation and the Garma Festival of Traditional Culture, his immense historic legacy is all but carved in stone. MUSIC is something else. It carries stories of time immemorial, the raw emotions of here and now and messages of hope and change for an eternal future. Songs are forever in the moment. Always with the gift of remembering, always with the power to heal. "HEALING STONE" is the first new song by Yothu Yindi in 12 years. Co-written by Mandawuy and INXS tunesmith Andrew Farriss, it’s as culturally urgent, profoundly personal and ultimately universal as any song in the world-renowned Arnhem Land band's 27-year history. "'HEALING STONE' is a song about disease and prevention. And it is a message – a simple message to the whole community that kidney disease is a massive problem in Aboriginal communities across Australia and that understanding and action is needed to fix it,” Mandawuy says. "I was diagnosed with End Stage Renal Disease four years ago, and I just hope that this song, and telling my story, helps build that understanding and action – action to improve prevention and treatment of this dietary affliction and help create a better future for my people." The stunning video for "HEALING STONE" pulls no punches. -
Tobacco Industry Reports
Influence of the Tobacco Industry on Wisconsin Tobacco Control Policies A report of the Monitoring and Evaluation Program University of Wisconsin Comprehensive Cancer Center October 2002 1 Table of Contents Sections Page • Executive Summary 5 • Introduction 8 o Early History 9 • I) Tobacco’s Economic Impact in Wisconsin 11 o Corporate Overview 11 o The Tobacco Institute 12 Lobbying and Legislative Activity 13 • Youth Access 14 • Market Expansion 14 • Clean Indoor Air 15 • “The List” 16 Manipulating the Media 17 Undermining Science 19 Conclusion 19 o Philip Morris (Altria) 20 Lobbying and Political Action 22 Media Advocacy 26 Opposition of Organized Tobacco Control Efforts 29 Federal Action from Wisconsin 31 Opposition to Tobacco Excise Taxes 32 Opposition of Clean Indoor Air Activities 33 o R.J. Reynolds 35 o Brown and Williamson 37 o U.S. Tobacco 37 o Lorillard Inc. 38 o Agriculture 40 o Manufacturing 42 o Advertising and Promotions 42 o Philanthropy 46 o Cigarette Prices and Tobacco Taxation 48 o Tobacco Retail Sales 53 o Cigarettes and Convenient Stores 53 • II) Tobacco and the State Political Process 57 o Allied Industry Organizations 58 Petroleum Marketers of WI / WI Association of Convenience Stores (PMAW/WACS) 59 Wisconsin Grocers Association 60 Wisconsin Restaurant Association 61 Wisconsin Tavern League 65 Wisconsin Tobacco Growers Association 66 o Political Action 66 Issue Campaigns 66 Industry Contributions to Campaigns 67 2 Individual Contributions from Tobacco Industry Employees 69 U.S. Senate 70 U.S. House -
Innovation & Expansion
WISCONSIN COLORADO DENVER INNOVATION & EXPANSION 2017 Annual Report Our VISION We envision a world without AIDS and strive to assure that everyone with HIV disease will live a long and healthy life. Our MISSION We are at the forefront of HIV prevention, care and treatment and are dedicated to providing quality medical, dental, mental health and social services for all people with HIV. Michael J. Gifford and Jerry Janis Special message from our President and Chief Executive Officer Michael J. Gifford Booker Gatson II Victor Miranda, MD Board of Directors Apple Inc. 3M Healthcare Eldonna Hazen Peter Newcomer, MD First Congregational United UW Health Church of Christ Jerry Janis, Board Chair Chris Price Janis Strategies, LLC Mike Hughes International Community Development Hughes Collaboration Mike Anderes Tracy A. Rogers Inception Health Jackie Joseph-Silverstein Ascension Wisconsin UW-Colleges Jane Appleby Tamim Sifri, DDS Aurora Healthcare Brad Kalscheur Smart Dental, LLC Michael Best Brett Davis Lisa Vanlerberghe Aspirus Arise Dan Kaplan MillerCoors Foley & Lardner Ronald Dunn, Vice Chair Portia Young Luminex Corporation George MacKinnon III, Ph.D., MS, RPh Sargento Foods, Inc. Nancy Flagg Medical College of Wisconsin EY Pharmacy School OUR HIV MEDICAL HOME MEDICAL LEGAL Key Our HIV Medical Home High quality, comprehensive primary Direct representation in appeals of the care and HIV treatment is provided to denial of public and private benefits, Performance ensures patients all patients, uniquely integrated with cases of discrimination, advance receive innovative care health and social services to ensure directives and other legal matters. Indicators to support them in the best clinical outcomes. acheiving optimal Our outcomes health outcomes. -
John Doe Tells All by Brian Jendryka and Carey Brian Meadors What to Think of It Because the Political About This Crap," Wynne Said
~~"'__ "">"V ••'I>.W~"'-'it\!"'*'#-t40-'<l<}.·''''~';'''!''~'~H.'$I!AA<'-'~'''I'{'~:i!~'''''''' """""""~"~" ''"'W' THE MICHIGAN REVIE Volume 8, Number 7 March 1990 John Doe Tells All By Brian Jendryka and Carey Brian Meadors what to think of it because the political about this crap," Wynne said. Action Office. Well, it says right here, For nearly a year, Wesley Wynne climate at the University of Texas is The last straw, however, was the by God, you're guilty of discrimina has led a double life as a graduate stu much different." pamphlet, "What students should tory harassment." dent in psychology and as John Doe, Seven months later, after graduat know about discrimination and dis ToWynne,thiswasablatantviola the plaintiff in the case that ruled the ing with a degree in psychology from criminatory harassment," that he re tion of students' First Amendment University of Michigan's policy on the University of Texas, Wynne en ceived in the mail in October 1988. rights. "I think the student's idea discriminatory harrassment unconsti rolled in the U- M's graduate school. "I looked through it and was com would be a dubious hypothesis, but tutional last August. Now, nearly His interest in the issue was rekindle-d pletely shocked," said Wynne. "It was one that should be allowed to be stated eight months later, Wynne has shed ~~ r)l=t~ill~ __--'-l:_J _ "~ _ m~~ ~~ saying that if you were a student and in an institution whose primary pur his alias and speaks freely about his ex you commit any of these particular pose is the open discussion of ideas," periences.