The Land of Counterpane
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Roots Radical – Place, Power and Practice in Punk Entrepreneurship Sarah Louise Drakopoulou Dodd
Roots radical – Place, power and practice in punk entrepreneurship Sarah Louise Drakopoulou Dodd The significance continues to grow of scholarship that embraces critical and contextualized entrepreneurship, seeking rich explorations of diverse entrepreneurship contexts. Following these influences, this study explores the potentialized context of punk entrepreneurship. The Punk Rock band Rancid has a 20-year history of successfully creating independent musical and related creative enterprises from the margins of the music industry. The study draws on artefacts, interviews and videos created by and around Rancid to identify and analyse this example of marginal, alternative entrepreneurship. A three-part analytic frame was applied to analysing these artefacts. Place is critical to Rancid’s enterprise, grounding the band socially, culturally, geographically and politically. Practice also plays an important role with Rancid’s activities encompassing labour, making music, movement and human interactions. The third, and most prevalent, dimension of alterity is that of power which includes data related to dominance, subordination, exclusion, control and liberation. Rancid’s entrepreneurial story is depicted as cycles, not just a linear journey, but following more complicated paths – from periphery to centre, and back again; returning to roots, whilst trying to move forwards too; grounded in tradition but also radically focused on dramatic change. Paradox, hybridized practices, and the significance of marginal place as a rich resource also emerged from the study. Keywords: entrepreneurship; social construction; punk rock; paradox; marginality; periphery Special thanks are due to all the punks and skins who have engaged with my reading of the Rancid story, and given me so much support and feedback along the way, especially Rancid’s drummer, Branden Steineckert, Jesse from Machete Manufacturing, Kostis, Tassos (Rancid Punx Athens Crew) and Panayiotis. -
ACRONYM 13 - Round 9 Written by Danny Vopava, Erik Nelson, Blake Andert, Rahul Rao-Potharaju, William Golden, and Auroni Gupta
ACRONYM 13 - Round 9 Written by Danny Vopava, Erik Nelson, Blake Andert, Rahul Rao-Potharaju, William Golden, and Auroni Gupta 1. The first NCAA basketball game to be broadcast in primetime was played at this venue in 1968. From 1971 to 1975, this venue served as the home of its city's namesake professional baseball, football, and basketball teams. Bobby Riggs lost to Billie Jean King in the Battle of the Sexes in this venue. Before becoming the Titans in 1996, the NFL's (*) Oilers played in this stadium, which inspired the name of a form of artificial turf. A team oncecalled the "Colt 45s" later played in, for 10 points, what pioneering domed stadium in Houston, Texas? ANSWER: (NRG) Astrodome [or Houston Astrodome] <Vopava> 2. In 2005 this band's drummer and bassist formed a supergroup with Shane Gallagher while its guitarist coped with painkiller addiction. That former member of this group also formed the band Box Car Racer. A 2008 plane crash in California nearly killed both DJ A.M. and this band's (*) drummer. The lyric "she left me roses by the stairs" comes from a gift received by this band's former singer, who now spends time searching for aliens. Tom DeLonge was a member of, For 10 points, what rock band that sang "Say it ain't so / I will not go" in their hit "All the Small Things"? ANSWER: Blink-182 <Vopava> 3. A woman who married into this family resorts to performing Adele hits as singing telegrams to make money. As an adult, one member of this familytakes in Deja as a foster child, inspired by the fact that he himself was abandoned as a baby at afire station. -
Flashback, Flash Forward: Re-Covering the Body and Id-Endtity in the Hip-Hop Experience
FLASHBACK, FLASH FORWARD: RE-COVERING THE BODY AND ID-ENDTITY IN THE HIP-HOP EXPERIENCE Submitted By Danicia R. Williams As part of a Tutorial in Cultural Studies and Communications May 04,2004 Chatham College Pittsburgh, Pennsylvania Tutor: Dr. Prajna Parasher Reader: Ms. Sandy Sterner Reader: Dr. Robert Cooley ACKNOWLEDGEMENTS I would like to thank Dr. Prajna Paramita Parasher, my tutor for her faith, patience and encouragement. Thank you for your friendship. Ms. Sandy Sterner for keeping me on my toes with her wit and humor, and Dr. Cooley for agreeing to serve on my board. Kathy Perrone for encouraging me always, seeing things in me I can only hope to fulfill and helping me to develop my writing. Dr. Anissa Wardi, you and Prajna have changed my life every time I attend your classes. My parent s for giving me life and being so encouraging and trusting in me even though they weren't sure what I was up to. My Godparents, Jerry and Sharon for assisting in the opportunity for me to come to Chatham. All of the tutorial students that came before me and all that will follow. I would like to give thanks for Hip-Hop and Sean Carter/Jay-Z, especially for The Black Album. With each revolution of the CD my motivation to complete this project was renewed. Whitney Brady, for your excitement and brainstorming sessions with me. Peace to Divine Culture for his electricity and Nabri Savior. Thank you both for always being around to talk about and live in Hip-Hop. Thanks to my friends, roommates and coworkers that were generally supportive. -
Racing, Region, and the Environment: a History of American Motorsports
RACING, REGION, AND THE ENVIRONMENT: A HISTORY OF AMERICAN MOTORSPORTS By DANIEL J. SIMONE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2009 1 © 2009 Daniel J. Simone 2 To Michael and Tessa 3 ACKNOWLEDGMENTS A driver fails without the support of a solid team, and I thank my friends, who supported me lap-after-lap. I learned a great deal from my advisor Jack Davis, who when he was not providing helpful feedback on my work, was always willing to toss the baseball around in the park. I must also thank committee members Sean Adams, Betty Smocovitis, Stephen Perz, Paul Ortiz, and Richard Crepeau as well as University of Florida faculty members Michael Bowen, Juliana Barr, Stephen Noll, Joseph Spillane, and Bill Link. I respect them very much and enjoyed working with them during my time in Gainesville. I also owe many thanks to Dr. Julian Pleasants, Director Emeritus of the Samuel Proctor Oral History Program, and I could not have finished my project without the encouragement provided by Roberta Peacock. I also thank the staff of the Samuel Proctor Oral History Program. Finally, I will always be grateful for the support of David Danbom, Claire Strom, Jim Norris, Mark Harvey, and Larry Peterson, my former mentors at North Dakota State University. A call must go out to Tom Schmeh at the National Sprint Car Hall of Fame, Suzanne Wise at the Appalachian State University Stock Car Collection, Mark Steigerwald and Bill Green at the International Motor Racing Resource Center in Watkins Glen, New York, and Joanna Schroeder at the (former) Ethanol Promotion and Information Council (EPIC). -
Roots Radical – Place, Power and Practice in Punk Entrepreneurship Sarah Louise Drakopoulou Dodd*
Entrepreneurship & Regional Development, 2014 Vol. 26, Nos. 1–2, 165–205, http://dx.doi.org/10.1080/08985626.2013.877986 Roots radical – place, power and practice in punk entrepreneurship Sarah Louise Drakopoulou Dodd* ALBA Graduate Business School, AHEAD, 6-8 Xenias Street, Athens 115 28, Greece (Received 5 February 2013; accepted 16 December 2013) The significance continues to grow of scholarship that embraces critical and contextualized entrepreneurship, seeking rich explorations of diverse entrepre- neurship contexts. Following these influences, this study explores the potentialized context of punk entrepreneurship. The Punk Rock band Rancid has a 20-year history of successfully creating independent musical and related creative enterprises from the margins of the music industry. The study draws on artefacts, interviews and videos created by and around Rancid to identify and analyse this example of marginal, alternative entrepreneurship. A three-part analytic frame was applied to analysing these artefacts. Place is critical to Rancid’s enterprise, grounding the band socially, culturally, geographically and politically. Practice also plays an important role with Rancid’s activities encompassing labour, making music, movement and human interactions. The third, and most prevalent, dimension of alterity is that of power which includes data related to dominance, subordination, exclusion, control and liberation. Rancid’s entrepreneurial story is depicted as cycles, not just a linear journey, but following more complicated paths – from periphery to centre, and back again; returning to roots, whilst trying to move forwards too; grounded in tradition but also radically focused on dramatic change. Paradox, hybridized practices, and the significance of marginal place as a rich resource also emerged from the study. -
Southern Music and the Seamier Side of the Rural South Cecil Kirk Hutson Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1995 The ad rker side of Dixie: southern music and the seamier side of the rural South Cecil Kirk Hutson Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Folklore Commons, Music Commons, Social and Cultural Anthropology Commons, and the United States History Commons Recommended Citation Hutson, Cecil Kirk, "The ad rker side of Dixie: southern music and the seamier side of the rural South " (1995). Retrospective Theses and Dissertations. 10912. https://lib.dr.iastate.edu/rtd/10912 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthiough, substandard margins, and improper alignment can adversely affect reproductioiL In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. -
North Korea's Road to the Atomic Bomb
21 NORTH KOREA’S ROAD TO THE ATOMIC BOMB Alexandre Mansourov* Despite its considerable age, the DPRK’s nuclear program has progressed slowly and has accomplished relatively little since its inception in the mid-1950s. All major breakthroughs in the nuclear field seem to have been achieved either as a result of official foreign technology transfers (for instance, from the former Soviet Union, China, and Pakistan) or on the basis of stolen foreign blueprints and reverse-engineering, rather than indigenous research and development efforts. Whenever the North Korean leaders experienced some insurmountable diffi- culty in overcoming the opposition from a foreign government to its nuclear expansion plans, they just patiently waited and waited until eventual regime change in the hostile foreign land brought a new friendlier government in power that was willing to satisfy their nuclear requests. But, the on-again off-again development of the DPRK’s nuclear program under the gather- ing clouds of international suspicion about the strategic inten- tions of Kim Il Sung and Kim Jong Il could do little but exacer- bated the energy crisis and put in jeopardy the country’s * The views expressed in this article are personal views of the author, and they do not represent the official positions of the U.S. government, the Department of Defense, and the Asia-Pacific Center for Security Studies. The original article was prepared as the author’s contribution to the Yongbyon process launched in the ROK in 2003 and aimed at the in-depth study of the North Korean nuclear crisis. International Journal of Korean Unification Studies, Vol. -
View Song List
Piano Bar Song List 1 100 Years - Five For Fighting 2 1999 - Prince 3 3am - Matchbox 20 4 500 Miles - The Proclaimers 5 59th Street Bridge Song (Feelin' Groovy) - Simon & Garfunkel 6 867-5309 (Jenny) - Tommy Tutone 7 A Groovy Kind Of Love - Phil Collins 8 A Whiter Shade Of Pale - Procol Harum 9 Absolutely (Story Of A Girl) - Nine Days 10 Africa - Toto 11 Afterglow - Genesis 12 Against All Odds - Phil Collins 13 Ain't That A Shame - Fats Domino 14 Ain't Too Proud To Beg - The Temptations 15 All About That Bass - Meghan Trainor 16 All Apologies - Nirvana 17 All For You - Sister Hazel 18 All I Need Is A Miracle - Mike & The Mechanics 19 All I Want - Toad The Wet Sprocket 20 All Of Me - John Legend 21 All Shook Up - Elvis Presley 22 All Star - Smash Mouth 23 All Summer Long - Kid Rock 24 All The Small Things - Blink 182 25 Allentown - Billy Joel 26 Already Gone - Eagles 27 Always Something There To Remind Me - Naked Eyes 28 America - Neil Diamond 29 American Pie - Don McLean 30 Amie - Pure Prairie League 31 Angel Eyes - Jeff Healey Band 32 Another Brick In The Wall - Pink Floyd 33 Another Day In Paradise - Phil Collins 34 Another Saturday Night - Sam Cooke 35 Ants Marching - Dave Matthews Band 36 Any Way You Want It - Journey 37 Are You Gonna Be My Girl? - Jet 38 At Last - Etta James 39 At The Hop - Danny & The Juniors 40 At This Moment - Billy Vera & The Beaters 41 Authority Song - John Mellencamp 42 Baba O'Riley - The Who 43 Back In The High Life - Steve Winwood 44 Back In The U.S.S.R. -
North Korea's Nuclear Weapons Program
Order Code IB91141 Issue Brief for Congress Received through the CRS Web North Korea’s Nuclear Weapons Program Updated October 9, 2002 Larry A. Niksch Foreign Affairs, Defense, and Trade Division Congressional Research Service ˜ The Library of Congress CONTENTS SUMMARY MOST RECENT DEVELOPMENTS BACKGROUND AND ANALYSIS Bush Administration Policy North Korea’s Nuclear Program Disclosure of the Kumchangri Underground Complex International Assistance North Korea’s Delivery Systems State of Nuclear Weapons Development Diplomatic Background to the Agreed Framework and Amending Agreements The Agreed Framework: Provisions, Implementation, Costs, Future Issues U.S. Objectives: Primacy to the Freeze of North Korea’s Nuclear Program Benefits to North Korea Light Water Nuclear Reactors Oil at No Cost Diplomatic Representation Lifting the U.S. Economic Embargo North Korean Obligations Beyond the Freeze of the Nuclear Program Inspections Disposition of Fuel Rods from the Five Megawatt Reactor Dismantlement of Nuclear Installations The Perry Initiative, October 1999 Role of Congress IB91141 10-09-02 North Korea’s Nuclear Weapons Program SUMMARY North Korea’s nuclear weapons program to North Korea (50,000 tons in 1995 and became an immediate foreign policy issue 500,000 tons annually beginning in 1996 until facing the United States because of North the first light water reactor is built). Korea’s refusal to carry out its obligations under the Nuclear Non-Proliferation Treaty The pace of implementation of the (NPT) and other nuclear accords it had signed. Agreed Framework has been very slow. North Korea has constructed nuclear reactors Instead of the original target date of 2003, it and a plutonium reprocessing plant at a site generally is estimated that completion of the called Yongbyon. -
Contemporary 90'S to Present Ain't No Other Man All About That Bass Bad
Contemporary 90’s to present Ain't No Other Man All About That Bass Bad Romance Bang Bang Beautiful Day Believe Blurred Lines Born This Way Call Me Maybe Clarity Crazy Crazy In Love Clocks DJ's Got Us Falling In Love Again Domino Don't Stop The Music Dynamite Edge Of Glory Elevation Empire State Of Mind Feel This Moment Firework Forget U Get Lucky Happy Heaven Hips Don't Lie How Far Is Heaven Home Hot N Cole I Love It I Need To Know I've Got A Feeling Just Dance Let's Get Loud Life is a Highway Locked Out of Heaven Makes Me Wonder Moves Like Jagger No One No Place I'd Rather Be O.P.P. Party Rocker Pokerface Raise Your Glass Rehab Royals Shake It Off Single Ladies Smooth Stay With Me Sweet Thing Sweet Dreams Teenage Dream The First Cut Is The Deepest Thinking Out Loud Time Of Our Lives This Is How We Do it Treasure Umbrella Uptown Funk Use Somebody We Found Love (In a Hopeless Place) Yeah Classic Rock 70’s & 80’s All Right Now Bell Bottom Blues Brown Eyed Girl Centerfold China Grove Communication Breakdown Day After Day Domino Do It Again Glory Days Honky Tonk Woman It Keeps You Runnin' Josie Little Wing Livin' On A Prayer Long Train Running Message In The Bottle Minute By Minute Misty Mountain Hop On The Edge of Seventeen White Winged Dove Peg Purple Haze Reelin' In the Years Rock n Roll Roxanne Satisfaction Sweet Home Alabama Takin' Care of Business Tempted By The Fruit of Another Tenth Ave Freezeout You Shook Me All Night Long Walk This Way You Can Call Me Al Classic Disco/Dance & R&B Ain't Nobody Ain't No Stoppin' Us Now Another Star -
Hollywood Undead
-------------- Feature • Heywood Banks ------------- Down on the Farm By Mark Hunter When I reached Heywood Banks at his compound somewhere in the wilds between Detroit and Lansing, the -------------Feature • Hollywood Undead ------------ unique and wildly popu- lar singer/songwriter was busy concocting new singer/songwriter-type stuff from deep within his unique and wildly popular compound some- where between Flint and Masked Mavericks Ann Arbor. Heywood Banks By Deborah Kennedy control us.” has always been a tough Eventually, the wise people at A&M/Oc- “get” for working jour- The Hollywood Undead have a very tone Records agreed to put out Swan Songs nalists. Intensely private simple rationale for wearing masks. just the way it was, and goody for them be- and reluctant to expose “We just thought it would look cool cause the record was a smash. It climbed to himself to the probing, in pictures,” bass player J-Dog (aka Jorel No. 22 on the Billboard 200 chart and threw sometimes rude ques- Decker) told me in a recent phone conversa- the Undead into the spotlight. They saw, tions lobbed at him like tion. He’d just returned from his first ever they toured, they conquered. They also lost desperate returns at Wim- fishing trip in the hills outside of Los Ange- a bandmate, Deuce, in the process. bledon, Banks typically les and was a bit high from having caught a Most reports suggest that Deuce (aka prefers to let his deeply trout, a huge one J-Dog described to me as a Aron Erlichman) might have been a little personal art speak for ‘Rambo-looking fish.’ on the high maintenance side, insisting on him. -
3. SMACK THAT – EMINEM (Feat. Eminem) [Akon:] Shady Convict
3. SMACK THAT – EMINEM thing on Get a little drink on (feat. Eminem) They gonna flip for this Akon shit You can bank on it! [Akon:] Pedicure, manicure kitty-cat claws Shady The way she climbs up and down them poles Convict Looking like one of them putty-cat dolls Upfront Trying to hold my woodie back through my Akon draws Slim Shady Steps upstage didn't think I saw Creeps up behind me and she's like "You're!" I see the one, because she be that lady! Hey! I'm like ya I know lets cut to the chase I feel you creeping, I can see it from my No time to waste back to my place shadow Plus from the club to the crib it's like a mile Why don't you pop in my Lamborghini away Gallardo Or more like a palace, shall I say Maybe go to my place and just kick it like Plus I got pal if your gal is game TaeBo In fact he's the one singing the song that's And possibly bend you over look back and playing watch me "Akon!" [Chorus (2X):] [Akon:] Smack that all on the floor I feel you creeping, I can see it from my Smack that give me some more shadow Smack that 'till you get sore Why don't you pop in my Lamborghini Smack that oh-oh! Gallardo Maybe go to my place and just kick it like Upfront style ready to attack now TaeBo Pull in the parking lot slow with the lac down And possibly bend you over look back and Convicts got the whole thing packed now watch me Step in the club now and wardrobe intact now! I feel it down and cracked now (ooh) [Chorus] I see it dull and backed now I'm gonna call her, than I pull the mack down Eminem is rollin', d and em rollin' bo Money