DOCSLIB.ORG

Copyrighted Material

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

INDEX A&M Records, 49, 61, 65, 75, 83, 84, 90, Berlin, Peter, 102 119, 136, 138, 144–146, 150, 167, Biafra, Jello, 152–153 241, 257 Blondie, 48, 83, 108, 153, 181, 268 Bring On the Night and, 209, 211 Boberg, Jay, 107, 153, 169 Bob Garcia and, 81, 107–108, 113, Body Mist (deodorant), 189, 195, 260 118, 168 “Bombs Away” (the Police), 139 I.R.S. and, 105–112, 152, 169 Boomtown Rats, 89, 181, 217 Jerry Moss and, 81, 94, 105–112, 152 Boorman, John, 135 Marketing the Police and, 80–86 Booz Allen Hamilton, 123 Miles Copeland III’s dealings with, 49, Bowie, David, 27, 151, 259 57–58, 61, 75–76, 81, 84, 105–113 Brand New Day (Sting), 256–258 new wave and, 94, 159 Branson, Richard, 15, 193–195 roster, 108 Bride, The, 228 Ahearn, Michael, 224 Bright, Terry, 157 Air Studios, 170–179, 199, 232 Brimstone and Treacle, 248 Alberto y Lost Trios Paranoias, 89, 114 Bring On the Night, 209–216 Alternative Tentacles, 153 “Bring On the Night” (the Police), 271 Alternative TV, 55, 112 British Talent Managers, 14, 72, 194 Altham, Keith, 99–100, 221 BTM Records, 14, 40, 165 Amnesty International, 221–226, 255, 262 Burbidge, Derek and Kate, 94–95, 119– Animals, the, 8, 9, 47 120, 123, 151, 180, 203 Apted, Michael, 209–212, 214 Burchill, Julie, 147–148 Atwood, Colleen, 212 Burdon, Eric, 8, 9 Ayers, Kevin, 8, 9, 43, 44, 49, 52 Bush, George H. W., 251 Bush, George W., 111 Bailey, David, 254 Buzzcocks, 109–110, 111, 112, 113 Bamberger, David,COPYRIGHTED 244–248 MATERIAL Bangles, the, 169 Cale, John, 109, 112 Bators, Stiv, 164–165, 167, 169 as producer of the Police, 48–50 BBC, 64–65, 118–119, 121, 173, 180, 261 Campbell, Lady Georgina, 21–22 Beatles, the, 4, 7, 56, 63, 204–205 “Can’t Stand Losing You” (the Police), “Bed’s Too Big without You, The” (the 67–68, 96, 100 Police), 12 Caravan, 56, 72–73, 75, 194 Bellydance Superstars, 270 Casale, Gerard, 163 Belushi, John, 186 Cateforis, Theo, 163 Berber, Anita, 164 CBGB, 28, 77, 78, 79, 80, 151 305 bbindex.inddindex.indd 330505 88/25/09/25/09 77:58:07:58:07 PPMM 306 INDEX “charity rock,” 217–219, 221–226 Sting’s solo career and, 212, 215, 220, Chelsea, 32–33, 106, 165 222–226, 240, 256–260 Childers, Leee Black, 26–28, 29 Sting vs. Virgin Records, legal case and, Childs, Harold, 83 188, 192–196 Christgau, Robert, 161 U.S. Package of Punk, 28, 31, 48 CIA (Central Intelligence Agency), 21, 71, See also International Record Syndicate 106, 122–123, 154, 156, 247 (I.R.S.); Police, the Clash, the, 22, 27, 34, 46, 126, 205, Copeland, Stewart, 5, 60 268, 271 biographical information, 3, 13–15 Cleveland Opera, 244–248 character of, 3, 6, 36, 71, 265 Climax Blues Band, 72, 73, 75, 106, 109 “Don’t Care” (Klart Kent), 66–67 Collins, Phil, 172 drug use by, 36, 172 Columbia Records, 8, 55, 158–159, 169 Everybody Stares, 89, 271 Copeland, Ian, 14, 21–22, 124 The Holy Blood and the Holy Grail Ask Uncle Ian (Web site), 270 (opera), 244–248 biographical information and character homes of, 20–21, 91, 246 of, 70–72 illegitimate child of (Patrick), 185, 186 contributions to the Police, 23 infi delities, 36, 38, 185–186 Frontier Booking International (F.B.I.) Just the Two of Us, appearance on, 261 and, 48, 109, 151 King Lear ballet by, 242–244 I.R.S. Records, contributions to, 155 as Klark Kent, 66–67, 135 Paragon agency, work for, 109 “Miss Gradenko,” 201 strategies used to book the Police, 76, formation of the Police and, 17–18 78–79, 122 relationship with Miles Copeland III, Urgh! A Music War, contributions to, 146, 165 150–151 relationship with Sonja Kristina, 15, 18, Copeland, Miles II, 13, 21, 70–71, 21, 22, 185 122–123 The Rhythmatist, 216–217, 235, 243 Game Player, The, 156, 219–220 Rumble Fish (soundtrack), 242 Copeland, Miles III (manager), 14–15, 24, solo career of, 242–248, 252–253, 261 48, 60–61, 67, 89, 100, 156 worldview of, 121, 124, 129, 139, Ask 21 and associated labels, 258 201, 217 biographical information, 70–72, 123 See also Police, the; individual names of character of, 72, 104, 146, 225 albums and songs management style of, 74–77, 111–112, Coppola, Francis Ford, 135, 242 117, 164–169 County, Jayne (né Wayne), 27–28, 31, neo–conservative political views of, 96, 37–39, 52, 187 152–153, 156, 158, 164, 220–221, 260 on Miles Copeland, 29 new wave and, 150–169 on the Police, 37–38 offi ce at Dryden Chambers, 26, 29, 74 Coyne, Kevin, 8, 43, 45, 176 Nigel Gray and, 137, 138–139, 146 Cramps, the, 151, 155 image of the Police and, 99, 118, 121, Andy Summers’s view of, 115 126–127 Miles Copeland III and, 112–155, plans to form “the new Police,” 270 164–165, 166–168 political ambitions of, 155–157 problems with I.R.S. Records, reaction to “Roxanne,” 54–57, 55 167–168 Squeeze and, 49, 55, 58, 60, 76, 189, 194 U.K. tour with the Police, 113–115 Startruckin’ 75 tour, 72–74 Culture Club, 22, 160, 204 bbindex.inddindex.indd 330606 88/25/09/25/09 77:58:08:58:08 PPMM INDEX 307 Curved Air, 25, 26, 30, 47, 67, 75, 244 “Every Breath You Take” (the Police), 200, fi nal shows, 16–18, 23 203, 262 Stewart Copeland’s joining of, 14–15 interpretation of, 196 Czezowski, Andy, 28, 154 “Every Little Thing She Does Is Magic” role in founding the Roxy club, 31–33 (the Police), 196, 200 Strontium 90’s version of, 43–44 Dahl, Steve, 82–83 troubled recording of, 174–177 Daly, Mary, 223–226 Damned, the, 27, 33, 46 Fall, the, 165 Davis, Miles, 208, 213–215 “Fall Out” (the Police), 25, 65–66 on Sting, 213–214 Faulty Products, 30, 55, 56, 66, 75, 105, “Dead End Job” (the Police), 34 110, 165, 169 Dead Kennedys, 152–153 Dead Kennedys and, 152, 153 “De Do Do Do, De Da Da Da” (the Feingold, Michael, 250 Police), 140, 147, 227, 230 “Fortress around Your Heart” (Sting), “Demolition Man” (the Police), 173, 208, 212 182, 187 Freidman, Jane, 48, 109 writing and interpretation of, 187–188 Friend, Lonn, 256–258 Denver, John, 146 Friesen, Gil, 107, 150, 211, 239 Deptford Fun City, 49, 75 Frontier Booking International (F.B.I.), “Desert Rose” (Sting), 258–259 109, 151 Devo, 151 new wave music and, 162–163 Gang of Four, 160–161, 180–181 Dickies, the, 108, 159–160 Garbarini, Vic, 207, 211, 214, 226, Difford, Chris, 50, 76 228, 232 Disco Demolition Night, 82–83 Garcia, Bob, 81, 107–108, 113, 118, 168 Dix, Otto, 164 Garvey, Steve, 109–110 “Don’t Stand So Close to Me” (the Police), Geffen Records, 166, 257 140, 145 Geldof, Bob, 217–220 attempts at re-recording, 227, 229, 264 See also Boomtown Rats; Live Aid, Body Mist commercial and, 189, 195 Mengistu, Haile Mariam Dream of the Blue Turtles (Sting), 210, 233 Ghost in the Machine (the Police) meaning of album title, 210 critical reception of, 182 players on, 207–208 naming of, 179–180 recordings of, 207–208 recording of, 170–179, 186 “Driven to Tears” (the Police), 140 Glitterbest, 26 Dune, 248 Godley & Creme, 137, 145–146, 203–204 Duran Duran, 103, 160, 203 Go-Go’s, the, 94, 111, 153–154, 168–169 Dutilleux, J. P., 216 Gormley, Mike, 84, 166, 167 involvement with Rainforest Graham, Bill, 221–226 Foundation, 235, 236–239 Gravelle, Peter, 67–68 Gray, Chris, 54, 56, 62, 63, 90, 92–94, Electric Chairs, the, 37–39, 52 139, 146 Electric Eels, the, 162–163 Gray, Nigel, 63, 171–172 Ellis, Terry, 19–20 A&M Records, dealings with, 61, 90, EMI, 53, 55 136, 138, 144–146 Esquibel, Zecca, 28, 35, 36 Miles Copeland III, dealings with, 56, Ethiopia, famine, 217–220 61, 137–138 bbindex.inddindex.indd 330707 88/25/09/25/09 77:58:08:58:08 PPMM 308 INDEX Gray, Nigel (continued) Jones, Grace, 173 production style of, 56, 57, 63, 93–94, Jung, Carl Gustav, 182, 198, 201, 203 138–139, 145–146 as “Rock Doc,” 93, 137, 146 Kajagoogoo, 162 Surrey Sound studio and, 54–57, 61, 66, Kaye, Lenny, 38 90–94, 96, 138 Kelly, Captain Clive, 235, 236, 237 Greenfi eld, Robert, 223 Khashoggi, Adnan, 191 Grossberg, Lawrence, 160–161, 164 “King of Pain” (the Police), 196 Guinness, Marina, 185–186 Kirkland, Kenny, 207–208, 213, 214 Gurdjieff, G. I., 182 Koestler, Arthur, 179, 182–184, 187, 198 Kristina, Sonja, 15, 18, 21, 22, 185–186 Hakim, Omar, 208, 213 Hamburger, Jane, 78–79 Last Exit, 13, 18, 208 Hammersmith Odeon, 104, 151 demise of, 19–20, 23–24 Hampton, Howard, 233–234 musical style of, 12, 139 Healey, Jack, 221–226 publishing deal, 15 Hellman, Jerome, 249 Sting vs. Virgin Records, 192–194 Henry Cow, 43 Lefever, Ernest W., 220 Hillburn, Robert, 154 Leixlip Castle, 141, 142, 186 “Hole in My Life” (the Police), 63 Lepore, Louis, 28, 36, 51 Holland, Jools, 55, 152, 173 “Like a Virgin” (Madonna), 165 Homosexuals, 92–93 Live Aid, 217–220, 221, 225 Howlett, Mike, 43, 45, 174 See also Geldof, Bob; Mengistu, Human League, the, 160–161 Haile Mariam Hutcheon, Linda, 268 Live Nation, 264 Lords of the New Church, “If You Love Somebody Set Them Free” 164–165, 167 (Sting), 208 Los Angeles Personal Direction Illegal Records, 48, 75 (L.A.P.D.), 167.
Recommended publications
  • The Influence of National Culture on Entrepreneurial Processes

    The Influence of National Culture on Entrepreneurial Processes

    1 The influence of national culture on entrepreneurial processes The usage of causation and effectuation among Dutch and Polish student entrepreneurs Master Thesis To obtain the Master of Science degree at the University of Twente By: Robin Steentjes Born on January 21, 1988 in Enterbroek, The Netherlands Student number: s1133314 Business Administration Specialization: International Management Supervisory committee: First Supervisor: R. Harms Second Supervisor: M. Stienstra 2 Index Index .................................................................................................................................................................2 List of figures ................................................................................................................................................5 1. Management summary .....................................................................................................................6 2. Foreword ...............................................................................................................................................7 3. Thesis Outline ......................................................................................................................................8 3.1 Introduction of the thesis .............................................................................................................8 3.2 Purpose and scope of the research ........................................................................................ 10 3.3 EPIC-C project
  • Readings in Late Antiquity

    Readings in Late Antiquity

    READINGS IN LATE ANTIQUITY “This is a wonderful anthology. Clear, accessible, and vividly engaging, it presents the panoply of Late Antique life from east to west, from city to village, from the powerful to the humble, from transcendent hopes to ordinary burdens – a world to explore, relish, and ponder.” Susan Ashbrook Harvey, Brown University “Unusually comprehensive and enterprising in its selections, this sourcebook will give an entire new generation a choice and a challenge.” Peter Brown, Princeton University Late Antiquity (c. 250–650) witnessed the transition from Classical Antiquity to the Middle Ages in the Mediterranean and Near Eastern worlds. Christianity displaced polytheism over a wide area, offering new definitions of identity and community. The Roman Empire collapsed in western Europe to be replaced by new Germanic kingdoms. In the East, Byzantium emerged, while the Persian Empire reached its apogee and collapsed. Arab armies carrying the banner of Islam reshaped the political map and brought the Late Antique era to a close. This sourcebook illustrates the dramatic political, social and religious trans- formations of Late Antiquity through the words of the men and women who experi- enced them. Drawing from Greek, Latin, Syriac, Hebrew, Coptic, Persian, Arabic, and Armenian sources, the carefully chosen passages illuminate the lives of emperors, abbesses, aristocrats, slaves, children, barbarian chieftains, and saints. The Roman Empire is kept at the centre of the discussion, with chapters devoted to its government, cities, army, law, medicine, domestic life, philosophy, and its Jewish population. Further chapters deal with the peoples who surrounded the Roman state: Persians, Huns, northern barbarians, and the followers of Islam.
  • Smash Hits Volume 34

    Smash Hits Volume 34

    \ ^^9^^ 30p FORTNlGHTiy March 20-Aprii 2 1980 Words t0^ TOPr includi Ator-* Hap House €oir Underground to GAR! SKias in coioui GfiRR/£V£f/ mjlt< H/Kim TEEIM THAT TU/W imv UGCfMONSTERS/ J /f yO(/ WOULD LIKE A FREE COLOUR POSTER COPY OF THIS ADVERTISEMENT, FILL IN THE COUPON AND RETURN IT TO: HULK POSTER, PO BOXt, SUDBURY, SUFFOLK C010 6SL. I AGE (PLEASE TICK THE APPROPRIATE SOX) UNDER 13[JI3-f7\JlS AND OVER U OFFER CLOSES ON APRIL 30TH 1980 ALLOW 28 DAYS FOR DELIVERY (swcKCAmisMASi) I I I iNAME ADDRESS.. SHt ' -*^' L.-**^ ¥• Mar 20-April 2 1980 Vol 2 No. 6 ECHO BEACH Martha Muffins 4 First of all, a big hi to all new &The readers of Smash Hits, and ANOTHER NAIL IN MY HEART welcome to the magazine that Squeeze 4 brings your vinyl alive! A warm welcome back too to all our much GOING UNDERGROUND loved regular readers. In addition The Jam 5 to all your usual news, features and chart songwords, we've got ATOMIC some extras for you — your free Blondie 6 record, a mini-P/ as crossword prize — as well as an extra song HELLO I AM YOUR HEART and revamping our Bette Bright 13 reviews/opinion section. We've also got a brand new regular ROSIE feature starting this issue — Joan Armatrading 13 regular coverage of the independent label scene (on page Managing Editor KOOL IN THE KAFTAN Nick Logan 26) plus the results of the Smash B. A. Robertson 16 Hits Readers Poll which are on Editor pages 1 4 and 1 5.
  • Top 40 Singles Top 40 Albums

    Top 40 Singles Top 40 Albums

    21 September 1986 CHART #538 Top 40 Singles Top 40 Albums Venus True Colors The Final On The Beach 1 Bananarama 21 Cyndi Lauper 1 Wham 21 Chris Rea Last week 1 / 5 weeks POLYGRAM Last week - / 1 weeks CBS Last week 1 / 6 weeks Platinum / SONY Last week 13 / 4 weeks POLYGRAM Spirit In The Sky I Can't Wait True Blue A Kind Of Magic 2 Dr & the Medics 22 Nu Shooz 2 Madonna 22 Queen Last week 2 / 6 weeks CBS Last week 15 / 14 weeks WEA Last week 4 / 11 weeks Platinum / WEA Last week 20 / 13 weeks EMI Wild Wild Life You To Me Are Everything Invisible Touch Bring On The Night 3 Talking Heads 23 The Real Thing 3 Genesis 23 Sting Last week 25 / 2 weeks EMI Last week 21 / 13 weeks POLYGRAM Last week 5 / 11 weeks Gold / VIRGIN Last week 22 / 3 weeks FESTIVAL Take My Breath Away The Edge Of Heaven Revenge The Seer 4 Berlin 24 Wham 4 Eurythmics 24 Big Country Last week 5 / 4 weeks CBS Last week 8 / 8 weeks CBS Last week 2 / 7 weeks Platinum / RCA Last week 17 / 5 weeks POLYGRAM Words Get In The Way When Tomorrow Comes Rat In The Kitchen Knocked Out Loaded 5 Miami Sound Machine 25 Eurythmics 5 UB40 25 Bob Dylan Last week 12 / 5 weeks CBS Last week 20 / 6 weeks RCA Last week 8 / 3 weeks VIRGIN Last week 23 / 2 weeks CBS I Wanna Be A Cowboy Eagle Rock George Thorogood Live Picture Book 6 Boys Don't Cry 26 Daddy Cool 6 George Thorogood 26 Simply Red Last week 3 / 11 weeks FESTIVAL Last week 19 / 6 weeks RCA Last week 6 / 5 weeks EMI Last week 35 / 23 weeks Gold / WEA Sailing Away Point Of No Return Standing On A Beach In Visible Silence 7 All Of Us 27
  • Mythic Discourse: Essays on Mythology, Culture & Soul

    Mythic Discourse: Essays on Mythology, Culture & Soul

    Mythic Discourse: Essays on Mythology, Culture & Soul Compiled by John Knight Lundwall Cosmos & Logos Press Salem, Utah 2006 Copyright © 2006, Cosmos & Logos Press 1026 South 550 West, Salem, Utah 84653 The individual authors of each essay contained within this book retain personal copyright ownership of their respective work. Authors may be contacted through the web site www.cosmosandlogos.com. Any reproduction or distribution of any essay or portion of any essay without prior written permission from its author is strictly prohibited. Cover, book design, and Introduction by John Knight Lundwall Table of Contents Introduction .................................................................1 The Salvation of Imagination ...................................................4 By Chris Laliberte – Presents a brief look at an important contribution of religious scholar Henry Corbin to the field of depth psychology by examining the way his translation and presentation of the Persian mystical concept of the Mundus Imaginalis has informed the field. Particular attention is given to the unique confluence of the Sufi theme of the "Voyage and the Messenger" and Carl Jung's own personal encounter with the unconscious. The Grateful Dead: Communitas Through Music and Dance . 16 By Ann Vermeer – The author finds a sense of the sacred through the modern ritual of concert- going. The music of the Grateful Dead and the experience of Grateful Dead concerts initiate and transform participants into new states of awareness and being. Epics: Of Ministers, Morticians and Architects . 29 By Terry Pearce – The author shows how the epic novel can recreate the past and project the future; not merely to define a need for change, but to transform that need into a call for progress.
  • Reggatta De Blanc (White Reggae)

    Reggatta De Blanc (White Reggae)

    “Reggatta de Blanc (White Reggae) & the Commercial Rock Industry: Intersections of Race, Culture, and Appropriation in Bob Marley and The Police (1977-1983)” Colin Carey Music University of Wisconsin-Eau Claire Introduction Ethical Concerns Origins of Reggae This project was designed to approach a discussion about cultural and The appropriation of culturally sensitive music and expression is a musical appropriation in popular music. The connection between reggae and common, but often overlooked issue in popular music. It is important to mainstream rock was perhaps no more evident or lucrative than within the understand that Western cultures inherently possess a privilege that can musical career trajectory of the wildly popular new wave group, the Police be used to take advantage of other societies—especially those (1977–1983), comprised of lead singer/songwriter Sting (Gordon Sumner), comprising the so-called “third world.” The Police owe their substantial guitarist Andy Summers, drummer Stewart Copeland, and a promotional success to this imbalance, directly adapting the distinctive music cadre of behind-the-scenes agents and businessmen. Their particular practices of a foreign culture for their own musical purposes and industrial rock model enjoyed startlingly quick, widespread renown and recordings to create a sound that was unlike most popular rock groups success—within only a couple of years of their formation, the Police had of their time. This appropriation is further troubling in that it stripped the become the leading rock group of their time and would go on to influence the Jamaican source material of its definitive social and political direction of the music marketplace itself, including countless other acts such significance, gaining success instead through an appeal entirely as the then up-and-coming Irish group, U2.
  • Fallout: the Police Experience

    Fallout: the Police Experience

    FALLOUT: THE POLICE EXPERIENCE Contact: Anouk Zisa ` FOR IMMMEDIATE RELEASE Coda Agency/The Copeland Group 323-512-4095 phone 323-512-4089 fax www.milescopeland.com www.policeexperience.com 7/7/06 Topanga Canyon, CA FOOS/JANES ADDICTION DRUMMERS JAM WITH POLICE TRIBUTE FALLOUT. Taylor Hawkins from the Foo Fighters joined FALLOUT: The Police Experience for an unforgettable night of live Police music. Fans of both The Foo Fighters and The Police, including fellow Foo Dave Grohl, were on hand to see Taylor Hawkins, a known Stewart Copeland disciple, perform with FALLOUT: The Police Experience. With Hawkins behind the drums, FALLOUT rocked an hours worth of early Police material; including The Police classic When The World’s Running Down with Janes Addiction drummer Stephen Perkins taking over for Hawkins. More Hawkins/FALLOUT shows are in the works for this fall. See FALLOUT: The Police Experience performing September 9th at the House of Blues-Sunset and September 22nd, at The Sachi Bar in Long Beach, CA. Visit www.policeexperience.com for details. FALLOUT: The Police Experience hurls you back 20 years ago to re-live the raw, electrifying, event that was a Police concert. FALLOUT: The Police Experience is full evening that chronicles the supercharged live shows that transformed The Police from raw punk- reggae upstarts into chart dominating superstars. With extraordinary attention to detail, FALLOUT: The Police Experience, has amazed audiences wherever they have played. From young fans of 80s music who may not have even heard of The Police, to the most hardcore of fans and even members of The Police family themselves.
  • The Police Spirits in the Material World Mp3, Flac, Wma

    The Police Spirits in the Material World Mp3, Flac, Wma

    The Police Spirits In The Material World mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Spirits In The Material World Country: UK Released: 1981 Style: Pop Rock MP3 version RAR size: 1702 mb FLAC version RAR size: 1671 mb WMA version RAR size: 1153 mb Rating: 4.2 Votes: 333 Other Formats: VOC WAV ADX XM AA AU TTA Tracklist A Spirits In The Material World 2:58 B Low Life 3:45 Companies, etc. Phonographic Copyright (p) – A&M Records Ltd. Copyright (c) – A&M Records Ltd. Published By – Virgin Music (Publishers) Ltd. Mastered At – The Town House Pressed By – CBS Pressing Plant, Aston Clinton Credits Co-producer, Engineer – Hugh Padgham (tracks: A) Mastered By – NS* (tracks: A) Producer – Nigel Gray (tracks: B), The Police Written-By – Sting Notes ℗ 1981 A&M Records Ltd. © 1981 A&M Records Ltd. Track A from the A&M album "Ghost In The Machine" - AMLK 63730. Track B previously unreleased. Original sound recording made by A&M Records Ltd. (Published by) Virgin Music (Publishers) Ltd. Made in England. Solid center, issued in a generic A&M sleeve. Barcode and Other Identifiers Matrix / Runout (Label, side A): AMS 8194-A Matrix / Runout (Label, side B): AMS 8194-B Matrix / Runout (Side A runout, etched): AMS 8194 A-2 NS Matrix / Runout (Side A runout, stamped): ∴ Matrix / Runout (Side B runout, etched): AMS-8194-B1 Matrix / Runout (Side B runout, stamped): TOWNHOUSE ∴ Rights Society: MCPS/BIEM Other versions Category Artist Title (Format) Label Category Country Year The Spirits In The Material AMS 8194 A&M Records AMS 8194 UK 1981
  • The Spiral Dynamics of Cinema Studies Provisionally Drafted by Alex Burns (Alex@Disinfo.Com)

    The Spiral Dynamics of Cinema Studies Provisionally Drafted by Alex Burns ([email protected])

    1 The Spiral Dynamics of Cinema Studies Provisionally Drafted by Alex Burns ([email protected]). Version 0.1 (December 1998) Comment (8th November 2007) I wrote this as a course proposal outline whilst in the Cinema Studies undergraduate program at Australia’s La Trobe University in 1998. I had been studying the Spiral Dynamics® psychological model of levels of human existence for about 18 months, and had also been corresponding with Howard Bloom and Richard Metzger. This represented a first attempt to codify the SD model using film content as examples of the models and dynamics. The artefact is from my ‘early stage’ exploration of the SD model, written with good intent but a novice’s understanding. This document has several limitations. It relied on the SD colour scheme, and prioritised breadth and span over situated depth. The selected films and sequences reflected several personal theories about media analysis and the scientific debate on memetics and were heavily influenced by the pre-millennial sub-currents of the mid- to-late 1990s. I hadn’t taken the SD practitioner training I and II at the time. My knowledge of Cinema Studies frameworks and models also varied. Thus, today I wouldn’t necessarily endorse the films or their SD codification now as correct or representative of the Beck & Cowan model or Clare W. Graves’ original research. This is provided for historical interest and self-research purposes only. I subsequently developed a more precise methodology in 2003 whilst in the Strategic Foresight masters program at Swinburne University. I trialled it in workshops at SD practitioner training and the Australian festival This Is Not Art in 2003 and 2004.
  • Archivio Decibel

    Archivio Decibel

    Vinilos Decibel Pulgadas Número Usado/Nuevo Artista Título 12" 205 USADO AL DI MEOLA SPLENDIDO HOTEL 7" 143 USADO ALABAMA LOVE IN THE FIRST DEGREE 12" 63 USADO ALAN PARSONS PROJECT, THE PYRAMID 12" 405 NUEVO ALANIS MORISSETTE JAGGED LITTLE PILL 7" 166 USADO ALICE AND JOHN DAVID A LOVE TRILOGY 12" 352 NUEVO ALOE BLACC LIFT YOUR SPIRIT 12" 359 NUEVO AMY WINEHOUSE LIONESS: HIDDEN TREASURES 12" 369 NUEVO AMY WINEHOUSE BACK TO BLACK 7" 132 USADO ANDY GIBB & OLIVIA NEWTON JOHN I CAN'T HELP IT 12" 345 NUEVO ARCADE FIRE THE SUBURBS 12" 340 NUEVO ASTRUD GILBERTO THE ASTRUD GILBERTO ALBUM 12" 82 USADO B-52'S, THE THE B-52'S 12" 192 USADO BARBRA STREISAND GUILTY 12" 194 USADO BARBRA STREISAND MEMORIES 12" 226 USADO BARRY WHITE CAN'T GET ENOUGH 12" 73 USADO BAUHAUS IN THE FLAT FIELD 12" 177 USADO BEACH BOYS, THE 20 GOLDEN GREATS 12" 394 NUEVO BEASTIE BOYS PAUL'S BOUTIQUE 12" 75 USADO BEATLES, THE SGT. PEPPER'S LONELY HEARTS CLUB BAND 12" 106 USADO BEATLES, THE THE BEATLES (WHITE ALBUM) 12" 107 USADO BEATLES, THE THE BEATLES (WHITE ALBUM) 12" 108 USADO BEATLES, THE THE BEATLES (WHITE ALBUM) 12" 208 USADO BEATLES, THE SGT. PEPPER'S LONELY HEARTS CLUB BAND 12" 297 USADO BEATLES, THE A HARD DAY'S NIGHT 12" 307 USADO BEATLES, THE REVOLVER 12" 358 NUEVO BEN HARPER DIAMONDS ON THE INSIDE 12" 296 USADO BESSIE SMITH THE WORLD'S GREATEST BLUES SINGER 12" 203 USADO BILL EVANS THE VILLAGE VANGUARD SESSIONS 12" 234 USADO BILLY IDOL REBEL YELL 12" 309 USADO BLACK SABBATH PARANOID 12" 398 NUEVO BLACKALICIOUS IMANI VOL.
  • Artist Review: Revisiting Sting-An Under-Recognized Existentialist Song Writer1

    Artist Review: Revisiting Sting-An Under-Recognized Existentialist Song Writer1

    International Journal of Multidisciplinary Research and Growth Evaluation www.allmultidisciplinaryjournal.com International Journal of Multidisciplinary Research and Growth Evaluation ISSN: 2582-7138 Received: 01-05-2021; Accepted: 18-05-2021 www.allmultidisciplinaryjournal.com Volume 2; Issue 3; May-June 2021; Page No. 550-561 Artist review: Revisiting sting-an under-recognized Existentialist song writer1 Li Jia International College, Krirk University, Thanon Ram Intra, Khwaeng Anusawari, Khet Bang Khen, Krung Thep, Maha Nakhon10220, Thailand Corresponding Author: Li Jia Abstract Artistic expressions such as songs and poetry are examples of a solo artist but also helped him in communicating his free activities and are privileged modes of revealing what the thoughts and ideals to the world. His music, words and life world is about. Art’s power, in the case of existentialism, is are inextricably linked and this can be seen in many of Sting to a large extent devoted to expressing the absurdity of the ’s confessional songs that have connections to events in his human condition since for the existentialists, the world in no personal life. Existential characteristics have affected Sting longer open to the human desire of meaning and order. Sting both as a person and a musician. This paper calls for more is included in this pool of gifted artist and his talent in making researches on his music legacy that the world owned him for songs has not only paved the way for his successful career as a long time. Keywords: Sting, Existentialist, Song Writer Introduction Artistic expressions such as songs and poetry are examples of free activities and are privileged modes of revealing what the world is about.
  • Jung on Astrology

    Jung on Astrology

    Jung on Astrology Jung on Astrology brings together C. G. Jung’s thoughts on astrology in a single volume for the fi rst time, signifi cantly adding to our understanding of his work. Jung’s Collected Works , seminars, and letters contain numerous discussions of this ancient divinatory system, and Jung himself used astrological horoscopes as a diagnostic tool in his analytic practice. Understood in terms of his own psychology as a symbolic representation of the archetypes of the collective unconscious, Jung found in astrology a wealth of spiritual and psychological meaning and suggested it represents the “sum of all the psychological knowledge of antiquity.” The selections and editorial introductions by Safron Rossi and Keiron Le Grice address topics that were of critical importance to Jung – such as the archetypal symbolism in astrology, the precession of the equinoxes and astrological ages, astrology as a form of synchronicity and acausal correspondence, the qualitative nature of time, and the experience of astrological fate – allowing readers to assess astrology’s place within the larger corpus of Jung’s work and its value as a source of symbolic meaning for our time. The book will be of great interest to analytical psychologists, Jungian psy- chotherapists, and academics and students of depth psychology and Jungian and post-Jungian studies, as well as to astrologers and therapists of other orientations, especially transpersonal. Safron Rossi, PhD, is a Professor of mythology and depth psychology in the Jungian and Archetypal Studies specialization at Pacifi ca Graduate Institute, Cali- fornia. For many years she was curator of the Joseph Campbell and James Hillman manuscript collections.