Page Hamilton Selected Producer Composer, Songwriter & Musician Credits

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PAGE HAMILTON SELECTED PRODUCER COMPOSER, SONGWRITER & MUSICIAN CREDITS: Sons of Liberty Original Film Score Mu Comp The Phoenix Rises Original Film Score Mu Comp Skyhook Original Film Score Mu Comp Heat Original Film Score Mu Collateral Original Film Score Mu Catwoman Original Film Score Mu Nothing Error I Am Here to Break Your Heart (Mental) P Wire "All Fours" from Object 47 (PinkFlag) Mu Totimoshi Milagrosa (Volcom Entertainment) P Totimoshi Ladron (Volcom Entertainment) P Classic Case Losing At Life (Fearless) P Across the Universe Original Soundtrack Mu The Tempest Original Soundtrack Mu Bullets and Octane Bullets and Octane (RCA) P S.W.A.T. Original Soundtrack Mu The Good Thief Original Soundtrack Mu Institute Distort Yourself (Interscope) P Titus Original Soundtrack Mu In Dreams Original Soundtrack Mu Final Fantasy Original Soundtrack Mu Death Delivery Original Soundtrack Mu Tatua Original Soundtrack "Revenge Destroys Everything" Mu Entombed Entombed (Earache Records) P W Dorie Zarbis EP P Fluid "Whose Side Are You On?" P Helmet Seeing Eye Dog (Redeye) P Mu W Helmet Monochrome (Warcon) P Mu W Helmet Size Matters (Interscope) P Mu W Helmet Born Annoying (Amphetamine Records) Mu 1 P-Producer M-Mixer Mu-Musician W-Songwriter Comp- Composer PAGE HAMILTON SELECTED PRODUCER COMPOSER, SONGWRITER & MUSICIAN CREDITS: Helmet Betty (Fontana-Interscope) Helmet Strap It On (Fontana-Interscope) Mu Helmet Meantime (Fontana-Interscope) P Mu Helmet Aftertaste (Interscope) Mu Band of Susans Love Agenda (Restless Records) Mu Band of Susans Peel Sessions (Dutch East) Mu Therapy? Troublegum (Mercury UK) Mu The Crow Original Soundtrack P Mu Various Artists Encomium: A Tribute to Led Zeppelin (Atlantic) P Mu Johnny Mnemonic Original Soundtrack M Feeling Minnesota Original Soundtrack Mu Chicago Cab Original Soundtrack P Mu Contact: Jerimaya Grabher, JW Johnson* or Colin Ramsay GPS | Global Positioning Services 3435 Ocean Park Blvd, Ste 107-191 Santa Monica, CA 90405 Tel 310.656.1350 [email protected] | [email protected] [email protected] www.globalpositioningservices.net *Based in New York 646.234.5812 2 P-Producer M-Mixer Mu-Musician W-Songwriter Comp- Composer.

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Candidates Views Differ on Eastern's Community Impact by ROB STROU,P Economic Boosuo Charleston
Eastern Illinois University The Keep March 1997 3-28-1997 Daily Eastern News: March 28, 1997 Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/den_1997_mar Recommended Citation Eastern Illinois University, "Daily Eastern News: March 28, 1997" (1997). March. 15. http://thekeep.eiu.edu/den_1997_mar/15 This is brought to you for free and open access by the 1997 at The Keep. It has been accepted for inclusion in March by an authorized administrator of The Keep. For more information, please contact [email protected]. a high o/65° To the D top Base~= Tennessee to tak£onthe FRIDAY Eastern lttinois University first-place Charleston; Ill. &1920 Blue Raiders March 28, 1997 Vot 82, No. 124 "Slow Dance on th_e Killing 2 sections, 16 pages Ground" showing throughout PAGE the week 12 SECTION B "Tell the truth and don't be afraid" -~-. - ' ~ o- -----.-, -- - ~ - - Candidates views differ on Eastern's community impact By ROB STROU,P economic boosuo Charleston. Student Government editor Cougill said Eastern is a valuable asset to Charleston, but ·Incumbent Dan Cougill and unfortunately the university does challenger Henry Bough dis not pay any property taxes. agreed on the kind of economic Charleston should concentrate impact Eastern and its students on expanding its business park, have on the community. Cougill said. This will provide the Cougill and Bough debated property taxes the city needs to Thursday night at a forum held in pay for its public schools, Cougill Lumpkin Hall sponsored ~y said. SARAH WONG/Associate photo editor Student Government. Neither Cougill nor Bough Mayor Dan Cougill thinks about his answer while Henry Bough, Charleston mayoral candidate, answers at 'This (the university) is the life thought raising the bar-entry age question about how to improve Charleston businesses Thursday night in the Lumpkin Auditorium.
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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
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Colby Quarterly Volume 37 Issue 1 March Article 7 March 2001 Shakespeare and the Holocaust: Julie Taymor's Titus Is Beautiful, or Shakesploi Meets the Camp Richard Burt Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 37, no.1, March 2001, p.78-106 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Burt: Shakespeare and the Holocaust: Julie Taymor's Titus Is Beautiful, Shakespeare and the Holocaust: Julie Taymor's Titus Is Beautiful, or Shakesploi Meets (the) Camp by RICHARD BURT II cinema eI'anna piu forte (Cinema is the strongest weapon) -Mussolini's motto Every day I'll read something that is right out of Titus Andronicus, so when people think this is "over the top," they're absolutely wrong. What could be more "over the top" than the Holocaust? -Julie Taymor "Belsen Was a Gas." -Johnny Rotten SHAKESPEARE NACH AUSCHWITZ? NE MORNING in the summer of 2000, I was channel surfing the trash talk O. shows to get my daily fix of mass media junk via the hype-o of my tele vision set. After "Transsexual Love Secrets" on Springer got a bit boring, I lighted on the Maury Povich Show.! The day's topic was "My seven-year-old child drinks, smokes, swears, and hits me!" Father figure Pavich's final solu tion, like Sally Jessie Raphael's with much older kids on similar episodes of her show, was to send the young offenders to boot camp.
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