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Beginner's Puzzle Book
CRASS JOURNAL: A record of letters, articles, postings and e-mails, February 2009 – September 2010 concerning Penny, Gee and Allison’s ‘Crassical Collection’. 1 Mark Hodkinson Pete Wright POMONA 22nd March, 2004 Dear Mark, I was sent a copy of your book, ‘Crass - Love Songs’ by Gee recently. Having read your introduction, and the preface by Penny, I felt moved to write to you. Crass was a group functioning on consensus with the occasional veto thrown in for good measure, so I thought you might be interested in a slightly different view of the proceedings. From the nature of your introduction, I’d say that you have a pretty thorough grounding in certain aspects of the band. I’d like to broaden the context. Things were fine when we started gigging, before we had any status or influence. The main discomfort I felt and still feel about what the band promoted, started when I realised that Thatcher’s sordid right-wing laissez-faire was little different from what we were pushing. It was an unpleasant shock. Neither Thatcher nor we considered the damage done. We concentrated on the ‘plus’ side always. To say that everyone can ‘do it’, and counting it a justification when the talented, the motivated, or the plain privileged responded, while ignoring the majority who couldn’t ‘do it’, and those who got damaged trying, is a poor measure of success. Just as Putin has become the new Tzar of Russia, Crass used the well worn paths to success and influence. We had friends, people with whom we worked and cooperated. -
Mythopoesis, Scenes and Performance Fictions: Two Case Studies (Crass and Thee Temple Ov Psychick Youth)
This is an un-peer reviewed and un-copy edited draft of an article submitted to Parasol. Mythopoesis, Scenes and Performance Fictions: Two Case Studies (Crass and Thee Temple ov Psychick Youth) Simon O’Sullivan, Goldsmiths College, London Days were spent in fumes from the copying machine, from the aerosols and inks of the ‘banner production department’ – bed sheets vanished – banners appeared, from the soldering of audio, video, and lighting leads. The place stank. The garden was strewn with the custom made cabinets of the group’s equipment, the black silk- emulsion paint drying on the hessian surfaces. Everything matched. The band logo shone silver from the bullet-proof Crimpeline of the speaker front. Very neat. Very fetching. Peter Wright (quoted in George Berger, The Story of Crass) One thing was central to TOPY, apart from all the tactics and vivid aspects, and that was that beyond all else we desperately wanted to discover and develop a system of practices that would finally enable us and like minded individuals to consciously change our behaviours, erase our negative loops and become focussed and unencumbered with psychological baggage. Genesis P-Orridge, Thee Psychick Bible In this brief article I want to explore two scenes from the late 1970s/1980s: the groups Crass (1977-84) and Thee Temple ov Psychick Youth (1981-). Both of these ‘performance fictions’ (as I will call them) had a mythopoetic character (they produced – or fictioned – their own world), perhaps most evident in the emphasis on performance and collective participation. They also involved a focus on self- determination, and, with that, presented a challenge to more dominant fictions and consensual reality more generally.1 1. -
SENATE-Wednesday, August 24, 1994
23898 CONGRESSIONAL RECORD-SENATE August 24, 1994 SENATE-Wednesday, August 24, 1994 (Legislative day of Thursday, August 18, 1994) The Senate met at 10 a.m., on the ex- At 10:30 a.m., the Senate will resume We are prepared also to vote on the piration of the recess, and was called to debate on the pending crime bill. This majority leader's substitute on the order by the President pro tempore will be the third day of debate. It is my health care bill, and to do that today, [Mr. BYRD]. hope that the Senate will be able to maybe, if we finish the other, or maybe The PRESIDENT pro tempore. The proceed promptly to vote on that meas- tomorrow or Friday or next week. Senate Chaplain, Dr. Richard C. Hal- ure. We want to dispel any perception out verson, will lead the Senate in prayer. I believe that a substantial majority there that somehow Republicans are Dr. Halverson. of Senators favor the bill and will vote not cooperating or not moving ahead. for its passage when given the oppor- We are prepared to move ahead. But we PRAYER tunity to do so. have rights, as every Member has The Chaplain, the Reverend Richard We had a series of meetings yester- rights, and each party has rights, and C. Halverson, D.D., offered the follow- day involving an exchange of proposals we intend to protect those rights. ing prayer: between the distinguished Republican We will have further discussion today Let us pray: leader and myself and other interested on the crime bill and why we believe it In a moment of silent prayer, let us Senators. -
The Politics of Anarchy in Anarcho Punk,1977-1985
No Compromise with Their Society: The Politics of Anarchy in Anarcho Punk,1977-1985 Laura Dymock Faculty of Music, Department of Music Research, McGill University, Montréal September, 2007 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Master of Arts, Musicology © Laura Dymock, 2007 Libraryand Bibliothèque et 1+1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada Your file Votre référence ISBN: 978-0-494-38448-0 Our file Notre référence ISBN: 978-0-494-38448-0 NOTICE: AVIS: The author has granted a non L'auteur a accordé une licence non exclusive exclusive license allowing Library permettant à la Bibliothèque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans loan, distribute and sell theses le monde, à des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, électronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in et des droits moraux qui protège cette thèse. this thesis. Neither the thesis Ni la thèse ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent être imprimés ou autrement may be printed or otherwise reproduits sans son autorisation. -
Punk Lyrics and Their Cultural and Ideological Background: a Literary Analysis
Punk Lyrics and their Cultural and Ideological Background: A Literary Analysis Diplomarbeit zur Erlangung des akademischen Grades eines Magisters der Philosophie an der Karl-Franzens Universität Graz vorgelegt von Gerfried AMBROSCH am Institut für Anglistik Begutachter: A.o. Univ.-Prof. Mag. Dr. Hugo Keiper Graz, 2010 TABLE OF CONTENTS PREFACE 3 INTRODUCTION – What Is Punk? 5 1. ANARCHY IN THE UK 14 2. AMERICAN HARDCORE 26 2.1. STRAIGHT EDGE 44 2.2. THE NINETEEN-NINETIES AND EARLY TWOTHOUSANDS 46 3. THE IDEOLOGY OF PUNK 52 3.1. ANARCHY 53 3.2. THE DIY ETHIC 56 3.3. ANIMAL RIGHTS AND ECOLOGICAL CONCERNS 59 3.4. GENDER AND SEXUALITY 62 3.5. PUNKS AND SKINHEADS 65 4. ANALYSIS OF LYRICS 68 4.1. “PUNK IS DEAD” 70 4.2. “NO GODS, NO MASTERS” 75 4.3. “ARE THESE OUR LIVES?” 77 4.4. “NAME AND ADDRESS WITHHELD”/“SUPERBOWL PATRIOT XXXVI (ENTER THE MENDICANT)” 82 EPILOGUE 89 APPENDIX – Alphabetical Collection of Song Lyrics Mentioned or Cited 90 BIBLIOGRAPHY 117 2 PREFACE Being a punk musician and lyricist myself, I have been following the development of punk rock for a good 15 years now. You might say that punk has played a pivotal role in my life. Needless to say, I have also seen a great deal of media misrepresentation over the years. I completely agree with Craig O’Hara’s perception when he states in his fine introduction to American punk rock, self-explanatorily entitled The Philosophy of Punk: More than Noise, that “Punk has been characterized as a self-destructive, violence oriented fad [...] which had no real significance.” (1999: 43.) He quotes Larry Zbach of Maximum RockNRoll, one of the better known international punk fanzines1, who speaks of “repeated media distortion” which has lead to a situation wherein “more and more people adopt the appearance of Punk [but] have less and less of an idea of its content. -
Crass Bomb DIY L'azione Diretta Nel Punk
DIY agenziax crass bomb l’azione diretta nel punk agenziax 2010, Agenzia X Copertina e progetto grafico Antonio Boni Contatti Agenzia X, via Giuseppe Ripamonti 13, 20136 Milano tel. + fax 02/89401966 www.agenziax.it e-mail: [email protected] Stampa Bianca e Volta, Truccazzano (MI) ISBN 978-88-95029-41-2 XBook è un marchio congiunto di Agenzia X e Associazione culturale Mimesis, distribuito da Mimesis Edizioni tramite PDE Hanno lavorato a questo libro... Marco Philopat - direzione editoriale Andrea Scarabelli - editor Milin Bonomi - traduzione dallo spagnolo Agenzia X - redazione Paoletta “Nevrosi” Mezza - impaginazione Michele Bertelli - ufficio stampa Il capitolo Investigando l’ascella privata è stato tradotto dall’inglese da Andrea Scarabelli Le canzoni sono state tradotte da Manlio Benigni, Alessandro Be- retta, Laura Carroli, Franco Catinelli, Matteo Di Giulio, Paoletta Ne- vrosi, Gianni Pannofino, Marco Philopat, Robx, Andrea Scarabelli, Helena Velena, Xina Le poesie sono state tradotte da Vincenzo Latronico DIY crass bomb l’azione diretta nel punk crass bomb Non esiste autorità al di fuori di te stesso 7 Marco Philopat La bomba dei Crass 19 Servando Rocha Tutti abbiamo sbagliato e tutti abbiamo avuto ragione 29 Biografia estratta dall’album Best Before L’ultimo degli hippies 45 Penny Rimbaud Informazioni sovversive 75 Intervista pubblicata su “Maximum Rock‘n’Roll”, 1984 Non siamo mai stati una band 87 Intervista di Richie Utenberg a Penny Rimbaud Investigando l’ascella privata 95 Penny Rimbaud Canzoni 123 Bannati dal Roxy – Banned from the Roxy 125 Devono darci da vivere (...o no?) – Do They Owe Us a Living? 128 Il punk è morto – Punk Is Dead 130 E allora? – So What 132 Women – Donne 135 Grande uomo, grande U.O.M.O. -
“There Is No Authority but Yourself ”: the Individual and the Collective in British Anarcho-Punk
“There Is No Authority But Yourself ”: The Individual and the Collective in British Anarcho-Punk RICH CROSS You must learn to live with your own conscience, your own morality, your own decision, your own self. You alone can do it. There is no authority but yourself Crass Yes Sir, I Will 1983 Introduction British anarchist punk band Crass’s fifth studio album Yes Sir, I Will (released on the band’s own label in 1983) was the most challenging and demanding record the group had yet committed to vinyl. 1 Its tone was dark, the musical delivery harsh and disjointed, the political invective stark and unrelenting. The entire record seethed with anger, incredulity, and indignation. For the moment in which it was produced, Yes Sir, I Will was an entirely fitting testament to the position in which “anarcho-punk” now found itself. From its own origins in 1977, this dissident strand within British punk had connected with a new audience willing to take seriously the “revolutionary” cultural and political aspirations that punk rock had originally championed. Anarcho-punk concerned itself with urging the individual to prize themselves free of social conformity and the shackles of societal constraint, championing personal independence and the exercise of free will. At the same time, anarcho-punk declared, as an indivisible and parallel objective, its support for the liberation of the planet from the tyranny of the “war state” and the overthrow of the disfiguring and alienating capitalist system. These intertwined aims were pursued with both intense determination and unflagging self-belief. By 1983, however, the limitations and inadequacies of the new anarcho-punk movement had become as transparent as its evident strengths, even to the band that had served as the movement’s principal catalyst. -
Financial Investigation Agency 2005 Annual Report
FINANCIAL INVESTIGATION AGENCY Annual Report 2005 FINANCIAL INVESTIGATION AGENCY P. O. Box 4090, Pasea Estate, Road Town, Tortola, British Virgin Islands TABLE OF CONTENTS List of Abbreviations i Executive Summary ii 1. The Organisation 1-5 Introduction Mission Statement Vision Statement Staffing 2. The Operating Environment 6-11 FIA Logo Legislation Training/Events 2005 Major Challenges Outstanding Issues 3. The Year in Review 12-21 Suspicious Transaction Reports, 1998 – 2005 Requests for Legal Assistance Company Inquiries Other Achievements 4. Financial Performance 22 5. Conclusion 23 6. Appendices 24-42 Appendix I - Egmont Group Members Appendix II - The FIA Board 2005 Appendix III - FIA Staff & Organisation Appendix IV - Chronology of Events Leading to the creation of the Financial Investigation Agency Appendix V - Procedures followed from the making of a disclosure in relation to the exchange of information Appendix VI - The FIA Steering Committee Appendix VII - FIA Unaudited Financial Statements for the year ended 31st December, 2005 Appendix VIII - Statistical Summary of FIA Performance 1998 - 2005 LIST OF ABBREVIATIONS FIA Financial Investigation Agency CFATF Caribbean Financial Action Task Force STR Suspicious Transaction Report FIU Financial Intelligence Unit FSC Financial Service Commission MLAT Mutual Legal Assistance Treaty RVIP Royal Virgin Islands Police i EXECUTIVE SUMMARY The purpose of the Financial Investigation Agency (FIA) is to lead the British Virgin Islands (BVI) effort in its contribution to the global fight against money laundering, terrorist financing and drug trafficking, through monitoring of financial services activities. Our mission is to provide effective, professional and transparent, international co- operation and financial investigation services that build, consolidate and guard the reputation of the BVI as a financial centre. -
Crass DIY Exposition ➨ 26/09/18 ➨ 22/12/18
1 place Attane F – 87500 Saint-Yrieix-la-Perche cdla www.cdla.info ❚ [email protected] ❚ http://lecdla.wordpress.com Lecentre tél. + 33 (0) 5 55 75 70 30 ❚ fax + 33 (0) 5 55 75 70 31 des livres d’artistes https://www.facebook.com/cdla.saintyrieixlaperche https://twitter.com/CdlaMathieu PARTENAIRES INSTITUTIONNELS ministère de la Culture – DRAC Nouvelle-Aquitaine, Région Nouvelle-Aquitaine, Ville de Saint-Yrieix-la-Perche, Conseil départemental de la Haute-Vienne. crass DIY exposition ➨ 26/09/18 ➨ 22/12/18 Il y a bientôt deux ans, je cherchais des informations sur le festival ICES1 et l’œuvre d’Anthony McCall «Landscape for Fire». Moteur de recherche aidant, je suis tombé sur des passages d’un livre de George Berger The Story of Crass (Oakland, PM Press, 2009). J’y découvre que ce sont Penny Rimbaud, Gee Vaucher et quelques autres, membres d’un groupe de musique expérimentale nommé «Exit», qui vont aider Anthony McCall à mettre en œuvre cette pièce («Exit» est la continuation de deux ensembles de musique expérimentale, le Stanford Rivers Quartet puis Ceres Confusion). Nos premières œuvres, influencées par les théories d’artistes du Bauhaus et par des compositeurs comme Berio ou Varèse portaient sur la relation entre le son et un imaginaire visuel. A partir de là nous avons développé une méthode de notation utilisant des tracés sur du papier millimétré pour déterminer la durée, la hauteur et l’intensité ; les partitions qui en résultaient avaient plus à voir avec la peinture qu’avec la musique. De la même façon, en plaçant une grille sur n’importe quelle image trouvée, nous pouvions la traduire en sons.2 Penny Rimbaud dans : George Berger The Story of Crass (Oakland, PM Press, 2009), page 28. -
Stopthecity-Pamphlet-Web.Pdf
Rich Cross ‘STOP THE CITY SHOWED ANOTHER POSSIBILITY’ Mobilisation and movement in anarcho-punk ‘All ofcers should bear in mind that this is not a lawful protest/ march/demonstration. It is a deliberate attempt to paralyse the fnancial heart of the country by mainly unlawful means… All [protestors] are anti-establishment, uncooperative with the police, and in the case of some extremists, potentially violent…’1 ‘Who is going to take any notice of anyone who smashes windows? You go round like that, your hair all done up, you’ll frighten a lot of people – as well as the coppers.’2 1 City of London Police, Stop the City Briefng, March, 1984. 2 Pub worker, the City of London, March 1984, quoted in Peace News, April 27, 1984. Rich Cross ‘Te banking community struggled to keep money fows moving, despite the unrest. Tey succeeded – but only just. […] Bank balances were £11m below target overnight.’3 On 29 September 1983, the City of London (the powerhouse of British fnancial services, domestically and globally) played host to an unruly, radical, and uncompromising demonstration, which had drawn thousands of young militant activists onto the crowded streets of the London fnancial district. A large proportion of the demonstrators were punks; and amongst them the predominant contingent were anarchist-identifed punks. Unlike so many of the standard demonstrations of the early-Tatcher era in the UK, this ‘Stop the City’ (STC) event was not organised by an ofcially-sanctioned pressure group or single issue campaigning organisation. Te event had no endorsement from any political party, trade union, or charitable agency. -
Bad Alchemy 45 I
BAD ALCHEMY 45 I. Andante un poco mosso - attacca 1 1984 2004 2 Ein Labelporträt von Michael Zinsmaier Eines Tages, so die Anekdote, betraten zwei gestylte Jugendliche den sagenumwobenen WAVE-Plat- tenladen in der Rue De Soeurs Macaron in Nancy um vielleicht in den Regalen nach dem neuesten Schmus zu suchen. Im Geschäft lief gerade die CD einer japanischen Noise-Band und die Disharmonien veranlassten einen der Beiden zu der Bemerkung, was das denn für eine Scheiße sei. Woraufhin der La- deninhaber ohne mit der Wimper zu zucken und ohne ein Wort zu verlieren die Lautstärke bis zur Uner- träglichkeit hochdrehte bis die Beiden die Flucht ergriffen. Dies sagt Einiges aus über Konsequenz und Philosophie von DSA. Der Ladeninhaber war Gérard Nguyen, 1951 als Sohn eines vietnamesischen Vaters und einer deut- schen Mutter geboren, in der von Rokoko-Prunk und Industrie gleichermaßen geprägten lothringschen 100 000-Einwohner-Stadt Nancy aufgewachsen und schon früh vom Morbus Musica Experimentalis befallen. Naturgemäß wenig linientreu zu den stilprägenden US-amerikanischen und britischen unabhängigen Labels wie Ralph Records, Rough Trade oder Recommended Records, versuchten die franko- phonen Vertreter der Free Musik und des Punks Anfang der 80er Jahre andere Wege zu gehen. Illusion Prod., Nato, AYAA oder das Kassetten-Label Tago Mago versprachen bezüglich Design und Grad an Strangeness weitere Verheißungen (aufgrund der Kunst- und Philosophiereferenzen gar eine Be- wusstseinserweiterung?) Vor zwanzig Jahren gegründet ist Gérard Nguyens Label (1988 kam der Laden in Nancy, 1998 der in Paris hinzu) heute allerdings eine der wenigen noch existierenden Firmen aus dieser Zeit mit Avantgar- de-Ausrichtung. Der Labelkatalog selbst liest sich heutzutage einerseits wie ein Kompendium der alter- nativen Avantgardeströmungen der letzten 30 Jahre, aber auch wie ein der Qualitätskontrolle verpflich- teter Gradmesser aktueller Tendenzen. -
CENTRAL PARK NEWS the Goods from Garry
ISSUE 05. SEPTEMBER / OCTOBER 2016 Central Park NEWSLOCAL BUSINESS IS OUR BUSINESS Kelly Martin, CEO South Pacific Pictures Stronger together CENTRALPARK www.centralparkbusiness.org.nz www.centralparkbusiness.org.nz Business AssociationISSUE 05 1 OUR WINE SELECTION IS EXTENSIVE. BUT YOU SHOULD SEE OUR LIST OF LOCAL SPONSORSHIPS. SUPPORTING OUR RESTAURANTS, BARS & STORES, SUPPORTS WEST AUCKLAND. 2 ISSUE 05 www.centralparkbusiness.org.nz 46228 The Trusts Brand Maintenance 2016 A4.indd 3 23/06/16 1:45 PM FROM THE TOP Continued growth in Central Park Membership If you see or hear anything happening in John Schipper, your patch please let us know. Chairman After spending a month in Croatia, it’s nice to be back home, to know each other in a relaxed and informal setting. I received although I am missing the warm Mediterranean sun! Croatia is great feedback from those who attended and said they’d be ‘the’ place to holiday in Europe at the moment and was flat out keen to attend another - keep an eye out for the next event. I’d with tourism - and the exchange rate is 5 - 1 so its easy on the like to thank Garry Bates for bringing this together and to the pocket! Add it to your must do/see list. Hangar and BNZ for sponsoring nibbles during the evening. In respect to Sir Graeme, we thought it appropriate to charge our It was sad to hear of Sir Graeme Douglas’ recent passing; he glasses and toast a life well lived. was a true icon of West Auckland Business (West Auckland Business Hall of Fame) and philanthropy.