The Dunning Man
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Record Store Day 2020 (GSA) - 18.04.2020 | (Stand: 05.03.2020)
Record Store Day 2020 (GSA) - 18.04.2020 | (Stand: 05.03.2020) Vertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?) Exclusive Record Store Day version pressed on 7" picture disc! Top song on Billboard's 375Media Ace Of Base The Sign 7" 1 !K7 Pop SI 174427 730003726071 D 1994 Year End Chart. [ENG]Pink heavyweight 180 gram audiophile double vinyl LP. Not previously released on vinyl. 'Nam Myo Ho Ren Ge Kyo' was first released on CD only in 2007 by Ace Fu SPACE AGE 375MEDIA ACID MOTHERS TEMPLE NAM MYO HO REN GE KYO (RSD PINK VINYL) LP 2 PSYDEL 139791 5023693106519 AT: 375 / CH: Irascible Records and now re-mastered by John Rivers at Woodbine Street Studio especially for RECORDINGS vinyl Out of print on vinyl since 1984, FIRST official vinyl reissue since 1984 -Chet Baker (1929 - 1988) was an American jazz trumpeter, actor and vocalist that needs little introduction. This reissue was remastered by Peter Brussee (Herman Brood) and is featuring the original album cover shot by Hans Harzheim (Pharoah Sanders, Coltrane & TIDAL WAVES 375MEDIA BAKER, CHET MR. B LP 1 JAZZ 139267 0752505992549 AT: 375 / CH: Irascible Sun Ra). Also included are the original liner notes from jazz writer Wim Van Eyle and MUSIC two bonus tracks that were not on the original vinyl release. This reissue comes as a deluxe 180g vinyl edition with obi strip_released exclusively for Record Store Day (UK & Europe) 2020. * Record Store Day 2020 Exclusive Release.* Features new artwork* LP pressed on pink vinyl & housed in a gatefold jacket Limited to 500 copies//Last Tango in Paris" is a 1972 film directed by Bernardo Bertolucci, saxplayer Gato Barbieri' did realize the soundtrack. -
Music Video As Black Art
IN FOCUS: Modes of Black Liquidity: Music Video as Black Art The Unruly Archives of Black Music Videos by ALESSANDRA RAENGO and LAUREN MCLEOD CRAMER, editors idway through Kahlil Joseph’s short fi lm Music Is My Mis- tress (2017), the cellist and singer Kelsey Lu turns to Ishmael Butler, a rapper and member of the hip-hop duo Shabazz Palaces, to ask a question. The dialogue is inaudible, but an intertitle appears on screen: “HER: Who is your favorite fi lm- Mmaker?” “HIM: Miles Davis.” This moment of Black audiovisual appreciation anticipates a conversation between Black popular cul- ture scholars Uri McMillan and Mark Anthony Neal that inspires the subtitle for this In Focus dossier: “Music Video as Black Art.”1 McMillan and Neal interpret the complexity of contemporary Black music video production as a “return” to its status as “art”— and specifi cally as Black art—that self-consciously uses visual and sonic citations from various realms of Black expressive culture in- cluding the visual and performing arts, fashion, design, and, obvi- ously, the rich history of Black music and Black music production. McMillan and Neal implicitly refer to an earlier, more recogniz- able moment in Black music video history, the mid-1990s and early 2000s, when Hype Williams defi ned music video aesthetics as one of the single most important innovators of the form. Although it is rarely addressed in the literature on music videos, the glare of the prolifi c fi lmmaker’s infl uence extends beyond his signature lumi- nous visual style; Williams distinguished the Black music video as a creative laboratory for a new generation of artists such as Arthur Jafa, Kahlil Joseph, Bradford Young, and Jenn Nkiru. -
LEE-DISSERTATION-2018.Pdf
Copyright by Kyung Sun Lee 2018 The Dissertation Committee for Kyung Sun Lee Certifies that this is the approved version of the following Dissertation: Doing Good or Looking Good? Communicating Development, Branding Nation in South Korea Committee: Karin G. Wilkins, Supervisor Joseph Straubhaar Sharon Strover Robert Oppenheim James Pamment Doing Good or Looking Good? Communicating Development, Branding Nation in South Korea by Kyung Sun Lee Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2018 Dedication To my dad, who inspired me to pursue the life of a scholar. Our time together was far too short, but you live on in my heart. Acknowledgements In the course of my dissertation journey, I have benefitted from many people and institutions to whom I would like to express my sincere gratitude. My utmost gratitude goes to my supervisor, Dr. Karin Wilkins. I came to the Department of Radio-Television-Film nearly ten years ago to explore the intersections of critical studies, communications, and development. Since then, she has helped me to mature as a scholar, encouraging me to ask incisive questions, to confront them methodically, and articulate evidence systematically. Her enthusiastic support for my dissertation project gave me the courage to challenge myself and persevere through difficult circumstances. Oftentimes, my project was sustained by her unrelenting passion and confidence in my work. It is not only her intellectual influence, but her kindness and genuine concern for her students to which I am most indebted. -
The Pogues Hell's Ditch Mp3, Flac, Wma
The Pogues Hell's Ditch mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Hell's Ditch Country: US Released: 1990 Style: Folk Rock MP3 version RAR size: 1139 mb FLAC version RAR size: 1906 mb WMA version RAR size: 1681 mb Rating: 4.7 Votes: 791 Other Formats: VOC MOD ADX VQF AHX AUD MPC Tracklist Hide Credits The Sunnyside Of The Street Accordion – J. Fearnley*Acoustic Guitar – P. Chevron*Banjo, Steel Guitar [Lap Steel] – J. 1 2:44 Finer*Bass, Backing Vocals – D. Hunt*Drums – A. Ranken*Mandolin – T. Woods*Vocals – S. MacGowan*Whistle – S. Stacy*Written-By – Finer*, MacGowan* Sayonara Acoustic Guitar – P. Chevron*Backing Vocals – D. Hunt*, P. Chevron*Banjo – J. 2 3:07 Fearnley*Bass – D. Hunt*Drums – A. Ranken*Vocals – S. MacGowan*Whistle – S. Stacy*Written-By – MacGowan* The Ghost Of A Smile Accordion, Piano – J. Fearnley*Acoustic Guitar – P. Chevron*Bass – D. Hunt*Drums – A. 3 2:58 Ranken*Electric Guitar, Mandolin – T. Woods*Vocals – S. MacGowan*Whistle – S. Stacy*Written-By – MacGowan* Hell's Ditch Accordion, Acoustic Guitar – J. Fearnley*Bass – D. Hunt*Cittern – T. Woods*Drums – A. 4 3:03 Ranken*Mandolin, Hurdy Gurdy – J. Finer*Percussion – Pogues*Vocals – S. MacGowan*Whistle – S. Stacy*Written-By – Finer*, MacGowan* Lorca's Novena Accordion, Guitar [Spanish] – J. Fearnley*Backing Vocals – A. Ranken*, D. Hunt*Bass, Bells 5 – D. Hunt*Cittern – T. Woods*Drums, Drums [Bed Side Kit] – A. Ranken*Electric Guitar – P. 4:40 Chevron*Hurdy Gurdy – J. Finer*Vocals – S. MacGowan*Whistle, Harmonica – S. Stacy*Written-By – MacGowan* Summer In Siam Accordion, Acoustic Guitar – P. -
Trap Pilates POPUP
TRAP PILATES …Everything is Love "The Carters" June 2018 POP UP… Shhh I Do Trap Pilates DeJa- Vu INTR0 Beyonce & JayZ SUMMER Roll Ups….( Pelvic Curl | HipLifts) (Shoulder Bridge | Leg Lifts) The Carters APESHIT On Back..arms above head...lift up lifting right leg up lower slowly then lift left leg..alternating SLOWLY The Carters Into (ROWING) Fingers laced together going Side to Side then arms to ceiling REPEAT BOSS Scissors into Circles The Carters 713 Starting w/ Plank on hands…knee taps then lift booty & then Inhale all the way forward to your tippy toes The Carters exhale booty toward the ceiling….then keep booty up…TWERK shake booty Drunk in Love Lit & Wasted Beyonce & Jayz Crazy in Love Hands behind head...Lift Shoulders extend legs out and back into crunches then to the ceiling into Beyonce & JayZ crunches BLACK EFFECT Double Leg lifts The Carters FRIENDS Plank dips The Carters Top Off U Dance Jay Z, Beyonce, Future, DJ Khalid Upgrade You Squats....($$$MOVES) Beyonce & Jay-Z Legs apart feet plie out back straight squat down and up then pulses then lift and hold then lower lift heel one at a time then into frogy jumps keeping legs wide and touch floor with hands and jump back to top NICE DJ Bow into Legs Plie out Heel Raises The Carters 03'Bonnie & Clyde On all 4 toes (Push Up Prep Position) into Shoulder U Dance Beyonce & JayZ Repeat HEARD ABOUT US On Back then bend knees feet into mat...Hip lifts keeping booty off the mat..into doubles The Cartersl then walk feet ..out out in in.. -
Whiskey River (Take My Mind) I
whiskey river (take my mind) i introduction 00 Bush rev pg proofs 000i-xxiv i i 12/11/06 9:58:38 AM THIS PAGE INTENTIONALLY LEFT BLANK whiskey river (take my mind) iii The True Story of Texas Honky-Tonk by johnny bush with rick mitchell foreword by willie nelson University of Texas Press, Austin introduction 00 Bush rev pg proofs 000i-xxiv iii iii 12/11/06 9:58:39 AM iv copyright © 2007 by the university of texas press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Bush, Johnny. Whiskey river (take my mind) : the true story of Texas honky-tonk / by Johnny Bush with Rick Mitchell ; foreword by Willie Nelson. — 1st ed. p. cm. Includes discography (p. ), bibliographical references (p. ), and index. isbn-13: 978-0-292-71490-8 (cl. : alk. paper) isbn-10: 0-292-71490-4 1. Bush, Johnny. 2. Country musicians—Texas—Biography. 3. Spasmodic dysphonia—Patients—Texas—Biography. 4. Honky-tonk music—Texas— History and criticism. I. Mitchell, Rick, 1952– II. Title. ml420.b8967a3 2007 782.421642092—dc22 [B] 2006033039 whiskey river (take my mind) 00 Bush rev pg proofs 000i-xxiv iv iv 12/11/06 9:58:39 AM Dedicated to v John Bush Shinn, Jr., my dad, who encouraged me to follow my dreams. -
CAT1 Fall 2018 MANO V9
"1 CAT 1 Sixth College, UC San Diego Visual reExperience: a non linear guide to a history of looking at things Fall, 2018 Prof. Michael Ano Tuesday and Thursday, 3:30-4:450 Office hours: Th 1:00-2:00 PM, 6th College Pepper Canyon 106 Email: [email protected] This syllabus is subject to revision. Office Hours PC 3:30-4: T 11:30-12:30 @ TTH YN 106 Ano, Michael [email protected] 50 CAT office H HS 2305 M 10:00-12:00 TH 8-8:50 Huddleston, Grace [email protected] S A @ CAT office HS 2305 M 10:00-12:00 TH 9-9:50 Huddleston, Grace S A @ CAT office 10-10:5 HS 2305 TH Czacki, Catherine Th 11:30-1:30 [email protected] 0 S A 11-11:5 HS 2305 TH Czacki, Catherine Th 11:30-1:30 0 S A 12-12:5 HS 2305 F 10:00-11:00 @ TH Feenstra, Klara [email protected] 0 S A CAT TA Lounge HS 2305 F 11:00-12:00 @ TH 1-1:50 Feenstra, Klara S A CAT TA Lounge HS 2305 TH 2-2:50 Fatima, Emal [email protected] S A HS 2305 TH 5-5:50 Goodwin, Cole [email protected] S A HS 2305 TH 6-6:50 Goodwin, Cole S A HS 2305 TH 7-7:50 Fatima, Emal S A “It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo the fact that we are surrounded by it. -
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in Partial Fulfillment Of
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of The Ohio State University By Dana DeVlieger, B.A., M.A. Graduate Program in Music The Ohio State University 2016 Thesis Committee: Graeme M. Boone, Advisor Johanna Devaney Anna Gawboy Copyright by Dana Lauren DeVlieger 2016 Abstract “Whiskey in the Jar” is a traditional Irish song that is performed by musicians from many different musical genres. However, because there are influential recordings of the song performed in different styles, from folk to punk to metal, one begins to wonder what the role of the song’s Irish heritage is and whether or not it retains a sense of Irish identity in different iterations. The current project examines a corpus of 398 recordings of “Whiskey in the Jar” by artists from all over the world. By analyzing acoustic markers of Irishness, for example an Irish accent, as well as markers of other musical traditions, this study aims explores the different ways that the song has been performed and discusses the possible presence of an “Irish feel” on recordings that do not sound overtly Irish. ii Dedication Dedicated to my grandfather, Edward Blake, for instilling in our family a love of Irish music and a pride in our heritage iii Acknowledgments I would like to thank my advisor, Graeme Boone, for showing great and enthusiasm for this project and for offering advice and support throughout the process. I would also like to thank Johanna Devaney and Anna Gawboy for their valuable insight and ideas for future directions and ways to improve. -
Plug in Lotusland
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Spring 5-13-2016 (un)plug in lotusland Laurin D. Jefferson University of New Orleans, New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Part of the Poetry Commons Recommended Citation Jefferson, Laurin D., "(un)plug in lotusland" (2016). University of New Orleans Theses and Dissertations. 2161. https://scholarworks.uno.edu/td/2161 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]. (un)plug in lotusland 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 Creative Writing Poetry by Laurin DeChae Jefferson B.S. Indiana University of Pennsylvania, 2013 May, 2016 Table of Contents Preface: The Pain of Space & Proofs for Science Fiction ............................................................... 1 PROLOGUE ......................................................................................................................................... 13 i/I, you/You ........................................................................................................................................... 20 hemispheres ........................................................................................................................................... -
{PDF EPUB} Pogue Mahone Kiss My Arse the Story of the Pogues by Carol Clerk Pogue Mahone Kiss My Arse: the Story of the Pogues by Carol Clerk
Read Ebook {PDF EPUB} Pogue Mahone Kiss My Arse The Story of the Pogues by Carol Clerk Pogue Mahone Kiss My Arse: The Story of the Pogues by Carol Clerk. The Introduction is available here. Enjoy. Carol Clerk, former News Editor of Melody Maker , has turned her attention to The Pogues. She’s interviewed Shane MacGowan, Spider Stacy, Jem Finer, Philip Chevron, Darryl Hunt, Andrew Ranken, James Fearnley, Terry Woods, and various colleagues, friends and fans. This intimate look behind the music describes their arguments, drunken spats, love affairs, the marriage of Cait and Elvis Costello, the death of Kirsty MacColl, the illnesses, the drugs, the sackings, the legal actions and through it all their passion for music. The book was released in the United Kingdom in October, 2006. ISBN 1.84609.008.3. Published by Omnibus Press. Pogue Mahone Kiss My Arse: The Story of the Pogues by Carol Clerk. He looks up from the dinner he’s been picking at, drops his knife with an enormous clang, and stares an unblinking, pale-blue stare that’s accusing, terrifying. Shane MacGowan has forgotten all about our appointment, the one we arranged in a phone call two days ago. He has forgotten everything he’s been told by various other Pogues who for weeks, helpfully, have been suggesting to him that he might co-operate with this biography. Certainly, he has forgotten the trail of false starts and aborted interviews that have littered the way to our meeting here this evening. The instructions had been vague enough to be worrying: “I’ll be in The Boogaloo on Thursday night.” “Somewhere between nine o’clock and midnight.” The Boogaloo, described by GQ magazine as “the sweetest little juke-joint in all the world”, is a pub and a venue for live music and literary celebration, high up in north London on the Archway Road. -
Inte Bara Bögarnas Fest” En Queer Kulturstudie Av Melodifestivalen
”Inte bara bögarnas fest” En queer kulturstudie av Melodifestivalen Institutionen för etnologi, religionshistoria och genusvetenskap Examensarbete 30 HP Mastersprogrammet i genusvetenskap 120 HP Vårterminen 2018 Författare: Olle Jilkén Handledare: Kalle Berggren Abstract Uppsatsen undersöker hur TV-programmet Melodifestivalen förhåller sig till sin homokulturella status genom att studera programmets heteronormativa ramar och porträttering av queerhet. Det teoretiska ramverket grundar sig i representationsteori, kulturstudier, gaystudier och queerteori. Analysen resulterar i att de heteronormativa ramarna framställer heterosexualitet som en given norm i programmet. Detta uppvisas bland annat av en implicit heterosexuell manlig blick som sexualiserar kvinnokroppar och ser avklädda män, queerhet och femininitet som något komiskt. Detta komplicerar tidigare studiers bild av melodifestivaler som huvudsakligen investerade och accepterande av queera subjekt. Den queera representationen består främst av homosexuella män. Den homosexuellt manliga identiteten görs inte enhetlig och bryter mot heteronormativa ideal i olika grad. Några sätt som den homosexuellt manliga identiteten porträtteras är artificiell, feminin, icke-monogam, barnslig och investerad i schlager. Analysen påpekar att programmet har queert innehåll trots dess kommersiella framställning och normativa ideal. Nyckelord: Melodifestivalen, schlager, genusvetenskap, homokultur, gaystudier, bögkultur, heteronormativitet. Innehållsförteckning 1. En älskad och hatad ”homofilfestival” 1 -
The Pogues Peace and Love Mp3, Flac, Wma
The Pogues Peace And Love mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Folk, World, & Country Album: Peace And Love Country: US Released: 1989 Style: Folk Rock, Punk, Folk, Celtic MP3 version RAR size: 1991 mb FLAC version RAR size: 1673 mb WMA version RAR size: 1177 mb Rating: 4.3 Votes: 320 Other Formats: MP1 MMF TTA MIDI TTA RA VOX Tracklist Hide Credits Gridlock 1 3:32 Tenor Saxophone – Rick TrevanWritten-By – A. Ranken*, J. Finer* 2 White City 2:31 Young Ned Of The Hill 3 2:45 Written-By – R. Kavana*, T. Woods* Misty Morning, Albert Bridge 4 3:01 Arranged By [Strings, Brass] – Fiachra Trench 5 Cotton Fields 2:51 Blue Heaven 6 Arranged By [Brass] – Paul Taylor Percussion – Gaspar LawalWritten-By – D. Hunt*, P. 3:36 Chevron* 7 Down All The Days 3:45 8 USA 4:51 Lorelei 9 3:31 Vocals – Kirsty McColl*, Phil*Written-By – P. Chevron* Gartloney Rats 10 2:32 Written-By – Terry Woods 11 Boat Train 2:40 Tombstone 12 2:57 Percussion – Gaspar Lawal Night Train To Lorca 13 3:26 Arranged By [Brass] – Paul Taylor London You're A Lady 14 2:56 Arranged By [Strings] – Peadar O'Riada* Companies, etc. Record Company – Pogue Mahone Records Distributed By – ATCO Records Phonographic Copyright (p) – WEA Records Ltd. Copyright (c) – WEA Records Ltd. Manufactured By – WEA Manufacturing Inc. Pressed By – Specialty Records Corporation Recorded At – RAK Studios Recorded At – Ealing Studios Published By – Stiff America Published By – Happy Valley Music Credits Alto Saxophone – Brian Clarke Arranged By – The Pogues Design – Ryan Art Engineer – Chris Dickie Engineer [Assistant] – Nick Lacey Performer – Andrew Ranken, Darryl Hunt, James Fearnley, Jem Finer, Philip Chevron, Shane MacGowan, Spider Stacy, Terry Woods Photography By [Pogues Portraits] – Steve Pyke Producer – Steve Lillywhite Tenor Saxophone – Joey Cashman Trombone – Paul Taylor Trumpet – Eli Thompson Written-By – J.