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Descendents All mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: All Country: US Released: 1987 Style: Punk MP3 version RAR size: 1791 mb FLAC version RAR size: 1728 mb WMA version RAR size: 1631 mb Rating: 4.4 Votes: 365 Other Formats: WMA MP3 ASF MMF DTS MIDI AHX Tracklist Hide Credits All 1 0:05 Lyrics By, Music By – Stevenson*, McCuistion* Coolidge 2 2:47 Lyrics By, Music By – Alvarez* No, All! 3 0:05 Lyrics By, Music By – Stevenson*, McCuistion* Van 4 3:01 Lyrics By – Aukerman*Music By – Alvarez*, Egerton* Cameage 5 3:05 Lyrics By, Music By – Stevenson* Impressions 6 3:08 Lyrics By – Aukerman*Music By – Egerton* Iceman 7 3:14 Lyrics By – Aukerman*Music By – Egerton* Jealous Of The World 8 4:04 Lyrics By, Music By – Aukerman* Clean Sheets 9 3:15 Lyrics By, Music By – Stevenson* Pep Talk 10 3:06 Lyrics By – Stevenson*, Aukerman*Music By – Aukerman* All-O-Gistics 11 3:04 Lyrics By – Stevenson*, McCuistion*Music By – Egerton* Schizophrenia 12 6:50 Lyrics By – Aukerman*Music By – Egerton* Uranus 13 2:15 Written-By – Descendents Companies, etc. Phonographic Copyright (p) – SST Records Manufactured By – Laservideo Inc. – CI08141 Recorded At – Radio Tokyo Copyright (c) – Alltudemic Music Credits Bass, Artwork [Drawings] – Karl Alvarez Drums, Producer – Bill Stevenson Engineer – Richard Andrews Guitar – Stephen Egerton Management, Other [Booking] – Matt Rector Vocals – Milo Aukerman Vocals [Gator] – Dez* Notes Similar to Descendents - All except the disc is silver with blue lettering Recorded January 1987 at Radio Tokyo ℗ 1987 SST Records © 1987 Alltudemic Music (BMI) Barcode and Other Identifiers Barcode: 0 18861-0112-2 6 Matrix / Runout: MANUFACTURED IN U.S.A. BY LASERVIDEO INC. CI08141 SSTCD112 Other versions Category Artist Title (Format) Label Category Country Year SST 112 Descendents All (LP, Album) SST Records SST 112 US 1987 SST CD 112 Descendents All (CD, Album) SST Records SST CD 112 US Unknown SST CD 112 Descendents All (CD, Album, RP) SST Records SST CD 112 US 2002 SST 112 Descendents All (LP, Album, Gre) SST Records SST 112 US 1987 SST 112 Descendents All (LP, Album, Bro) SST Records SST 112 US 2012 Related Music albums to All by Descendents Descendents - Hypercaffium Spazzinate The Seven Degrees Of Stephen Egerton - The Seven Degrees Of Stephen Egerton Descendents - I Don't Want To Grow Up ALL - Allroy For Prez B.W. Stevenson - On My Own All - Pummel ALL - She's My Ex / Crazy? B. W. Stevenson - My Maria All - Shreen ALL - Allroy's Revenge.

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SST Defies Industry, Defines New Music
Page 1 The San Diego Union-Tribune October 1, 1995 Sunday SST Defies Industry, Defines New Music By Daniel de Vise KNIGHT-RIDDER NEWSPAPERS DATELINE: LOS ALAMITOS, CALIF. Ten years ago, when SST Records spun at the creative center of rock music, founder Greg Ginn was living with six other people in a one-room rehearsal studio. SST music was whipping like a sonic cyclone through every college campus in the country. SST bands criss-crossed the nation, luring young people away from arenas and corporate rock like no other force since the dawn of punk. But Greg Ginn had no shower and no car. He lived on a few thousand dollars a year, and relied on public transportation. "The reality is not only different, it's extremely, shockingly different than what people imagine," Ginn said. "We basically had one place where we rehearsed and lived and worked." SST, based in the Los Angeles suburb of Los Alamitos, is the quintessential in- dependent record label. For 17 years it has existed squarely outside the corporate rock industry, releasing music and spoken-word performances by artists who are not much interested in making money. When an SST band grows restless for earnings or for broader success, it simply leaves the label. Founded in 1978 in Hermosa Beach, Calif., SST Records has arguably produced more great rock bands than any other label of its era. Black Flag, fast, loud and socially aware, was probably the world's first hardcore punk band. Sonic Youth, a blend of white noise and pop, is a contender for best alternative-rock band ever.
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California Noise: Tinkering with Hardcore and Heavy Metal in Southern California Steve Waksman
ABSTRACT Tinkering has long figured prominently in the history of the electric guitar. During the late 1970s and early 1980s, two guitarists based in the burgeoning Southern California hard rock scene adapted technological tinkering to their musical endeavors. Edward Van Halen, lead guitarist for Van Halen, became the most celebrated rock guitar virtuoso of the 1980s, but was just as noted amongst guitar aficionados for his tinkering with the electric guitar, designing his own instruments out of the remains of guitars that he had dismembered in his own workshop. Greg Ginn, guitarist for Black Flag, ran his own amateur radio supply shop before forming the band, and named his noted independent record label, SST, after the solid state transistors that he used in his own tinkering. This paper explores the ways in which music-based tinkering played a part in the construction of virtuosity around the figure of Van Halen, and the definition of artistic ‘independence’ for the more confrontational Black Flag. It further posits that tinkering in popular music cuts across musical genres, and joins music to broader cultural currents around technology, such as technological enthusiasm, the do-it-yourself (DIY) ethos, and the use of technology for the purposes of fortifying masculinity. Keywords do-it-yourself, electric guitar, masculinity, popular music, technology, sound California Noise: Tinkering with Hardcore and Heavy Metal in Southern California Steve Waksman Tinkering has long been a part of the history of the electric guitar. Indeed, much of the work of electric guitar design, from refinements in body shape to alterations in electronics, could be loosely classified as tinkering.
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Album of the Week: Descendents’ Hypercaffium
Album Of The Week: Descendents’ Hypercaffium Spazzinate In this crazy year we need punk rock more than ever. We need to listen to some amplified, angst-filled, guitar-driven music that ignites the rambunctiousness in all of us. Seems like the perfect time for the Descendents to put out their first album in 12 years, right? The punk legends from Manhattan Beach, California, have their seventh album, Hypercaffium Spazzinate, out and the fearsome foursome have gone back to what they do best. That’s unleashing feverish riffs, pristine drumming and lyrics that come straight from the heart. The title is an ode to frontman Milo Aukerman’s former career as a research biochemist while the album itself harks back to the Descendents’ earlier material in tone and style. When the band’s previous album Cool To Be You came out in 2004, polished pop punk was all over the place. Being a band that are considered to be pioneers of pop punk (which I find to be weird), the Descendents went with the times with Cool To Be You and put out a clean sounding album. Hypercaffium Spazzinate brings back the band’s edge that they had in the ’80s. The album’s production quality has a little bit of grit and that’s what a punk band should sound like. Pop punk is a bit of an oxymoron in my opinion. Punk started out as a genre that counteracted what pop music was in the ’70s and then punk bands started bringing melody. That’s what makes it pop? Maybe that’s why we have crappy bands like All Time Low and The Maine corrupting the youth, though that’s not the Descendents’ fault.
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Bad Rhetoric: Towards a Punk Rock Pedagogy Michael Utley Clemson University, [email protected]
Clemson University TigerPrints All Theses Theses 8-2012 Bad Rhetoric: Towards A Punk Rock Pedagogy Michael Utley Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Rhetoric and Composition Commons Recommended Citation Utley, Michael, "Bad Rhetoric: Towards A Punk Rock Pedagogy" (2012). All Theses. 1465. https://tigerprints.clemson.edu/all_theses/1465 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. BAD RHETORIC: TOWARDS A PUNK ROCK PEDAGOGY A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts Professional Communication by Michael M. Utley August 2012 Accepted by: Dr. Jan Rune Holmevik, Committee Chair Dr. Cynthia Haynes Dr. Scot Barnett TABLE OF CONTENTS Page Introduction ..........................................................................................................................4 Theory ................................................................................................................................32 The Bad Brains: Rhetoric, Rage & Rastafarianism in Early 1980s Hardcore Punk ..........67 Rise Above: Black Flag and the Foundation of Punk Rock’s DIY Ethos .........................93 Conclusion .......................................................................................................................109
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Records Management Plan
SSI.DC-1004 R2 Effective Date: 06/23/17 SWift ~ Stal~y TEAM RECORDS MANAGEMENT PLAN Approvedby ~~·~ ~ lo~~n Project Manager SSI.DC-1004 R2 Effective Date: 06/23/17 CONTENTS CONTENTS .................................................................................................................................................. ii REVISION SUMMARY ............................................................................................................................. iii ACRONYM LIST ........................................................................................................................................ iv 1. INTRODUCTION............................................................................................................................... 1 2. GOVERNMENT-OWNED RECORDS AND CONTRACTOR-OWNED RECORDS .................... 2 3. MANAGING RECORDS THROUGHOUT THEIR LIFECYCLE PHASES ................................... 3 3.1 PHASE 1 – CREATION AND RECEIPT ................................................................................ 3 3.2 PHASE II – MAINTENANCE AND USE ............................................................................... 3 3.3 PHASE III – DISPOSITION ..................................................................................................... 4 4. RECORDS MANAGEMENT RESPONSIBILITIES ........................................................................ 4 5. PROTECTION AND MAINTENANCE OF RECORDS................................................................... 4 6. RECORDS INVENTORY
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Holocene 6000-Yr Climate Cycles in Temperate and Sub- Tropical Sst Records – a Cosmic Ray Connection?
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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.
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Leading Social Entrepreneurs
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70S Pro-Choice Plaintiff in Roe V. Wadeto Speak on New Pro-Life
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Roll of Successful Examinees in the NURSE LICENSURE EXAMINATION - All Regions Held on DECEMBER 19 & 20, 2010 Released on FEBRUARY 17, 2011 Page: 2 of 596
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Coursepack Prices: the Big Rip-Off
~ THE ·MICHIGAN REVIEW Volume 13, Number 4 The Campus Affairs Journal of the University of Michigan [1:iUi]@IilBE Coursepack Prices: The Big Rip-Off BY EDDIE ARNER ! plausible explanation for the outcome preme Court where a final decision can ers have refused to take a position on of the case. be made. this topic. Perhaps they realize that OURSEPACKS, COLLEC Section 106 enumerates the rights Until such time, Smith intends to they will lose no matter which side they tions of articles, and parts of of copyright holders, but specifically continue his practice of voluntarily col take. Cworks which are assigned by pro states that its regulations are "subject lecting one permy per copied page as If this notion seems absurd, there fessors for use by students are an inte to sections 107 through 120." Section royalty for the publishers of copyrighted , are numerous other examples of the gral part of the educational experience 107 is titled "Limitations on exclusive material. publishers' greed and lack of customer at the University of Michigan and have rights: Fair use." While there is no The U-M libraries charge students appreciation. The New York Times, been for nearly twenty years. Unfortu generally accepted definition of "fair 7 cents per page and pay no royalties. If which charges 75 cents for a daily pa nately, in the past several years, the use," section 107 is quite explicit. It students are allowed to make such cop per, has requested up to 1 dollar per prices of coursepacks have risen dra reads, "the fair use of a copyrighted ies, one wonders why they should not page in royalty fees.
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America's Hardcore.Indd 278-279 5/20/10 9:28:57 PM Our First Show at an Amherst Youth Center
our first show at an Amherst youth center. Scott Helland’s brother Eric’s band Mace played; they became The Outpatients. Our first Boston show was with DYS, The Mighty COs and The AMERICA’S HARDCORE FU’s. It was very intense for us. We were so intimidated. Future generations will fuck up again THE OUTPATIENTS got started in 1982 by Deep Wound bassist Scott Helland At least we can try and change the one we’re in and his older brother Eric “Vis” Helland, guitarist/vocalist of Mace — a 1980-82 — Deep Wound, “Deep Wound” Metal group that played like Motörhead but dug Black Flag (a rare blend back then). The Outpatients opened for bands like EAST COAST Black Flag, Hüsker Dü and SSD. Flipside called ’em “one of the most brutalizing live bands In 1980, over-with small cities and run-down mill towns across the Northeast from the period.” 1983’s gnarly Basement Tape teemed with bored kids with nothing to do. Punk of any kind earned a cultural demo included credits that read: “Play loud in death sentence in the land of stiff upper-lipped Yanks. That cultural isolation math class.” became the impetus for a few notable local Hardcore scenes. CANCEROUS GROWTH started in 1982 in drummer Charlie Infection’s Burlington, WESTERN MASSACHUSETTS MA bedroom, and quickly spread across New had an active early-80s scene of England. They played on a few comps then 100 or so inspired kids. Western made 1985’s Late For The Grave LP in late 1984 Mass bands — Deep Wound, at Boston’s Radiobeat Studios (with producer The Outpatients, Pajama Slave Steve Barry).
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