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Aerosmith Backstreet Boys I Don't Want To Miss A Thing As Long As You Love Me Billy Joel Billy Ocean My Life Love really hurts without you Bon Jovi Bryan Ferry Living On A Prayer Let's Stick Together Credance Clearwater Revival Cutting Crew Proud Mary I Died in your arms tonight Don Henley Elton John Boys Of Summer I'm Still Standing Four Tops George Ezra Goin' Loco Shotgun Green Day Huey Lewis and the News Boulevard Of Broken Dreams Power Of Love Justine Timberlake Kaiser Chiefs Can't Stop The Feeling Ruby Keane Kings Of Leon Everybody's Changing Sex On Fire Neil Diamond New Order Sweet Caroline Regret Oasis Oasis Live Forever Don't Look Back In Anger One Republic Phil Oaky & Georgio Morodor Counting Stars Together In Electric dreams Pulp Queen Disco 2000 Don't stop me now Queen Robbie Williams Crazy Little Thing Called Love Angels Rober Palmer Rolling Stones Bad Case Of Loving You The Last Time Roy Orbison Spencer Davis Group You Got It Keep On Running Stereophonics Stevie Wonder Dakota Superstition Supergrass Tears For Fears Alright Everybody Wants To Rule The World The Beatles The Calling I Saw Her Standing There Wherever You Will Go The Commodores The Eagles Easy Take It Easy The Killers The Kinks Human All Day And All Of The Night The Kinks The Mavericks You Really Got Me Dance The Night Away The Monkees The Script I'm A Believer Man Who Cannot Be Moved Van Morrison Brown eyed Girl.

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Better Than Radiohead What Makes Everything Worthwhile
Better than Radiohead What makes everything worthwhile I’m at The Zodiac in Oxford, UK, in 1992. As a music venue it’s currently half-way between the dive it once was and the soulless corporate hub it’ll become in a few years’ time. Most of the audience is here to see a local band called On a Friday, who’ve recently changed their name to Radiohead, and tonight, as part of their set, they’re recording a live video for their first single, ‘Creep’, which will go on to sell all around the world and, over the next few years, help to establish Radiohead as one the world’s most famous bands. But like several others in the audience, I’m not really here to see Radiohead. I’m here to see The Daisies who are supporting them, and The Daisies – we all sense - are about to come onstage…. After seven exhausting, angry years I resigned my teaching post in a school and taught in a prison for a year while making my first forays into youth work, co-writing and directing rock musicals in the town where I’d been teaching, thereby getting to work with my ex-students but no longer having to teach them capital letters and full-stops. At the end of that year, I started a proper job elsewhere as a half-time youth worker and half-time school counsellor. I was keen that the youth centre I found myself running should expand its creative repertoire beyond desultory discos, pool, darts and table tennis, and develop a culture that included music and drama and all sorts of other, more ambitious things.
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[email protected] Website: Nightshift.Oxfordmusic.Net Free Every Month
email: [email protected] website: nightshift.oxfordmusic.net Free every month. NIGHTSHIFT Issue 122 September Oxford’s Music Magazine 2005 SupergrassSupergrassSupergrass on a road less travelled plus 4-Page Truck Festival Review - inside NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 NEWNEWSS Nightshift: PO Box 312, Kidlington, OX5 1ZU Phone: 01865 372255 email: [email protected] THE YOUNG KNIVES won You Now’, ‘Water and Wine’ and themselves a coveted slot at V ‘Gravity Flow’. In addition, the CD Festival last month after being comes with a bonus DVD which picked by Channel 4 and Virgin features a documentary following Mobile from over 1,000 new bands Mark over the past two years as he to open the festival on the Channel recorded the album, plus alternative 4 stage, alongside The Chemical versions of some tracks. Brothers, Doves, Kaiser Chiefs and The Magic Numbers. Their set was THE DOWNLOAD appears to have then broadcast by Channel 4. been given an indefinite extended Meanwhile, the band are currently in run by the BBC. The local music the studio with producer Andy Gill, show, which is broadcast on BBC recording their new single, ‘The Radio Oxford 95.2fm every Saturday THE MAGIC NUMBERS return to Oxford in November, leading an Decision’, due for release on from 6-7pm, has had a rolling impressive list of big name acts coming to town in the next few months. Transgressive in November. The monthly extension running through After their triumphant Truck Festival headline set last month, The Magic th Knives have also signed a publishing the summer, and with the positive Numbers (pictured) play at Brookes University on Tuesday 11 October.
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Precious but Not Precious UP-RE-CYCLING
The sounds of ideas forming , Volume 3 Alan Dunn, 22 July 2020 presents precious but not precious UP-RE-CYCLING This is the recycle tip at Clatterbridge. In February 2020, we’re dropping off some stuff when Brigitte shouts “if you get to the plastic section sharpish, someone’s throwing out a pile of records.” I leg it round and within seconds, eyes and brain honed from years in dank backrooms and charity shops, I smell good stuff. I lean inside, grabbing a pile of vinyl and sticking it up my top. There’s compilations with Blondie, Boomtown Rats and Devo and a couple of odd 2001: A Space Odyssey and Close Encounters soundtracks. COVER (VERSIONS) www.alandunn67.co.uk/coverversions.html For those that read the last text, you’ll enjoy the irony in this introduction. This story is about vinyl but not as a precious and passive hands-off medium but about using it to generate and form ideas, abusing it to paginate a digital sketchbook and continuing to be astonished by its magic. We re-enter the story, the story of the sounds of ideas forming, after the COVER (VERSIONS) exhibition in collaboration with Aidan Winterburn that brings together the ideas from July 2018 – December 2019. Staged at Leeds Beckett University, it presents the greatest hits of the first 18 months and some extracts from that first text that Aidan responds to (https://tinyurl.com/y4tza6jq), with me in turn responding back, via some ‘OUR PRICE’ style stickers with quotes/stats. For the exhibition, the mock-up sleeves fabricated by Tom Rodgers look stunning, turning the digital detournements into believable double-sided artefacts.
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Colin Greenwood and His Christopher Dean Guitar
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Supergrass I Should Coco Mp3, Flac, Wma
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Kent Academic Repository Full Text Document (Pdf)
Kent Academic Repository Full text document (pdf) Citation for published version Walsh, Dermot P. J. (2011) Police Cooperation across the Irish Border: Familiarity Breeding Contempt for Transparency and Accountability. Journal of Law and Society, 38 (2). pp. 301-330. ISSN 0263-323X. DOI https://doi.org/10.1111/j.1467-6478.2011.00544.x Link to record in KAR https://kar.kent.ac.uk/36426/ Document Version UNSPECIFIED Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html JOURNAL OF LAW AND SOCIETY VOLUME 38, NUMBER 2, JUNE 2011 ISSN: 0263-323X, pp.301±30 Police Cooperation across the Irish Border: Familiarity Breeding Contempt for Transparency and Accountability Dermot P.J. Walsh* This article critically examines the practice, methods, and regulation of cross-border police cooperation between the Republic of Ireland and Northern Ireland.
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Playnetwork Business Mixes
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Issue 169.Pmd
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Does NME Even Know What a Music Blog Is?
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