Episode #19 - Bad Religion Exposé

Total Page：16

File Type：pdf, Size：1020Kb

Episode #19 - Bad Religion Exposé Intro Welcome to Point Radio Cast. Who am I, why I'm doing this. Support Click through the site! pointradiocast.com/music.html Contact Info [email protected] Show intro - Theme Bad Religion: Through the Decades Exposé. They've been at it since 1979. Formed in LA in November or December, 1979. Greg Graffin and Brett Gurewitz have been there the whole time. They went from garage punk rock, to the punk/hardcore combo sound of today. Still at it, and still making great music! They're sort of nerd punk, and they've always had a left political angle. 1982 How Could Hell Be Any Worse? 6 Latch Key Kids Voice of God is Government Fu*k Armageddon… This is Hell, In the Night, Damned to be Free, White Trash 1983 Into the Unknown 4 Chasing the Wild Goose Losing Generation 1988 Suffer 6 Best for You Do What You Want You Are (The Government), Give You Nothing, Suffer 1989 No Control 8 Change of Ideas You No Control, I Want to Conquer the World, Anxiety, Automatic Man 1990 Against the Grain 9 Flat Earth Society Walk Away Modern Man, The Positive Aspect of Negative Thinking, Anesthesia, Faith Alone, Against the Grain, 21st Century (Digital Boy), Unacceptable 1992 Generator 8 Generator Too Much To Ask Heaven is Falling, Atomic Garden, The Answer, Fertile Cresent, Chimaera 1993 Recipe for Hate 7 American Jesus Don't Pray on Me Struck a Nerve, My Poor Friend Me, Skyscraper 1994 Stranger Than Fiction 7 Stranger Than Fiction Hooray for Me… Incomplete, Better Off Dead 1996 The Gray Race 9 Punk Rock Song Drunk Sincerity Them and Us, A Walk, Empty Causes, Pity the Dead, The Streets of America, Ten in 2010, Come Join Us, Cease 1998 No Substance 8 Sowing the Seeds of Utopia In So Many Ways Shades of Truth, All Fantastic Images, No Substance, Raise Your Voice, Mediocre Minds 2000 The New America 8 A World Without a Melody A Streetkid Named Desire 1000 Memories, Whisper in Time, I Love My Computer, The Hopeless Housewife, There Will be a Way, Don't Sell Me Short 2002 The Process of Belief 6 Kyoto Now! Sorrow Supersonic, Destined for Nothing, Evangeline 2004 The Empire Strikes First 6 Sinister Rouge Los Angeles is Burning All There Is, Let Them Eat War, God's Love, Live Again 2007 New Maps of Hell 5 Dearly Beloved Fields of Mars Grains of Wrath 2010 The Dissent of Man 6 The Day That The Earth Stalled Pride and the Pallor Only Rain, The Devil in Stitches 2013 True North 4 True North The Island Contact into. pointradiocast.com, [email protected] Submit your band. If I play your band, you get dick! (except a little air time). Write in with another band you think I'll like. Support Click through the site! pointradiocast.com/music.html Sign Off.

Copy Link

Recommended publications

Rock Weekend
Achim Schäffer Rock Weekend Leseprobe Billy Joel: Uptown Girl Meine Kindheitswelt in Waghäusel war klein und übersichtlich. So alle 2-3 Jahre bekam unsere Familie weiteren Zuwachs, ehe wir ab 1977 komplett waren. Vier Geschwister, drei Jungen, ein Mädchen. Ab 1978 leisteten wir uns einen jährlichen Sommerurlaub in Ungarn. Ungarn. Die Heimat meiner Großeltern. Die Vorfahren sind vermutlich um 1785 nach Ungarn ausgewandert. Donauschwaben. Die zwischen Donau und Neckar, auf der Schwäbischen Alb liegenden Dörfer litten damals unter Verheerungen der andauernden Kriegszüge. Auch das Anerbrecht (Ahnenerbe) – welches ein Kind als Alleinerben vorsieht – trug dazu bei, dass für viele Dorfbewohner die Auswanderung als einziger Ausweg übrigblieb. Die verlockenden Angebote des Ansiedlungspatents: Völlige Glaubensfreiheit, Haus, Feld und die dazugehörenden Wirtschaftsgeräte wie Zuchttiere. Für Handwerker 50 Gulden zur Einrichtung ihrer Werkstatt und vor allem die 10- jährige Steuer- und Abgabenfreiheit stimmten die letzten Zweifelnden positiv. Und so siedelten sie sich im Dorf Kirwa (Mariahalom), ca. 40 Kilometer nordöstlich vor Budapest an und arbeiteten. Sie betrieben überwiegend Landwirtschaft und bildeten kleine deutsche Enklaven im Österreich-Ungarischen Reich. Arm, aber nicht unglücklich. Altdeutsche Traditionen und Gewohnheiten überlebten wie die Sprache, wie die Menschen. Im 2. Weltkrieg kämpfte mein Opa für Ungarn in Russland. Sicherlich wichtig! Das kostete ihn ein kugelgroßes Loch im Zeh, aber noch schmerzhafter: Der Krieg kostete ihn seine Heimat. Wer deutsche Wurzeln hatte, sollte den neuen politischen Warschauer Pakt verlassen. Vertreibung. Flucht. Also musste die Familie Schäffer im April 1946 mit ihren bald drei kleinen Kindern – mein Vater ist 1947 geboren – von vorne beginnen. In Deutschland. In einem Land, einer Umgebung, unter Menschen, denen 12 Jahre lang einindoktriniert worden war, dass alles Fremde schlecht ist.
[Show full text]
Razorcake Issue #09
PO Box 42129, Los Angeles, CA 90042 www.razorcake.com #9 know I’m supposed to be jaded. I’ve been hanging around girl found out that the show we’d booked in her town was in a punk rock for so long. I’ve seen so many shows. I’ve bar and she and her friends couldn’t get in, she set up a IIwatched so many bands and fads and zines and people second, all-ages show for us in her town. In fact, everywhere come and go. I’m now at that point in my life where a lot of I went, people were taking matters into their own hands. They kids at all-ages shows really are half my age. By all rights, were setting up independent bookstores and info shops and art it’s time for me to start acting like a grumpy old man, declare galleries and zine libraries and makeshift venues. Every town punk rock dead, and start whining about how bands today are I went to inspired me a little more. just second-rate knock-offs of the bands that I grew up loving. hen, I thought about all these books about punk rock Hell, I should be writing stories about “back in the day” for that have been coming out lately, and about all the jaded Spin by now. But, somehow, the requisite feelings of being TTold guys talking about how things were more vital back jaded are eluding me. In fact, I’m downright optimistic. in the day. But I remember a lot of those days and that “How can this be?” you ask.
[Show full text]
FS Master List-10-15-09.Xlsx
Festival Sounds Song List by Artist - Updated 10-15-09 A B 1 Artist Song 2 1 King Of House 3 112 U Already Know 4 112 Peaches And Cream (Remix) 5 112 Peaches and Cream [Clean] 6 112 Dance With Me 7 311 All mixed up 8 311 Down 9 311 Beautiful Disaster 10 311 Come Original 11 311 I'll Be Here A While (Breakbeat Remix) 12 311 I'll Be here a while 13 311 Love Song 14 311 It's Alright 15 311 Amber 16 311 Beyond The Grey Sky 17 311 Prisoner 18 311 Rub-A-Dub 19 311 Don't Tread on Me 20 702 Where My Girls At(Radio Edit) 21 Arabic Greek 22 10,000 maniacs Trouble 23 10,000 Maniacs Because The Night 24 100 Songs for Kids Ten Little Indians 25 100% SALSA S Grupo Niche-Lluvia 26 2 Live Crew Face Down Ass Up 27 2 Live Crew Shake a Lil Somthing 28 2 Live Crew Hoochie Mama 29 2 Pac Hit 'Em Up 30 2 Pac California Love 31 2 Pac and Snoop Doggy Dogg 2 Of Americas Most Wanted 32 2 pac f/Notorious BIG Runnin' 33 2 pac Shakur Hit 'Em Up 34 20thfox Fanfare 35 2pac Ghetto Gospel Feat. Elton John 36 2XL feat. Nashay The Kissing Game 37 3 Doors Down It's Not My Time 38 3 Doors Down Be Like That (AmericanPieEdit) 39 3 Doors Down Let me Go 40 3 Doors Down Let Me Go 41 3 Doors Down It's Not My Time 42 3 Doors Down Here Without You 43 3 Libras A Perfect Circle 44 36 mafia Lollipop 45 38 Special Hold on Loosley 46 38 Special Back To Paradise 47 38 Special If Id Been The One 48 38 Special Like No Other Night Festival Sounds Song List by Artist - Updated 10-15-09 A B 1 Artist Song 49 38 Special Rockin Into The Night 50 38 Special Saving Grace 51 38 Special Second Chance 52 38 Special Signs Of Love 53 38 Special The Sound Of Your Voice 54 38 Special Fantasy Girl 55 38 Special Caught Up In You 56 38 Special Back Where You Belong 57 3LW No More 58 3OH!3 Don't Trust Me 59 4 Non Blondes What's Up 60 50 Cent Just A Lil' Bit 61 50 Cent Window Shopper (Clean) 62 50 Cent Thug Love (ft.
[Show full text]
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.
[Show full text]
Never Mind the Bollocks: the Punk Rock Politics of Global Communication
Review of International Studies (2008), 34, 193–210 Copyright British International Studies Association doi:10.1017/S0260210508007869 Never mind the bollocks: the punk rock politics of global communication KEVIN C. DUNN* Abstract. Largely ignored by scholars of world politics, the global punk rock scene provides a fruitful basis for exploring the multiple circuits of exchange and circulation of goods, people, and messages that moves beyond the limitations of IR. Punk can also offer new ways of thinking about international relations and communication from the lived experiences of people’s daily lives. At its core, this essay has two arguments. First, punk offers the possibility for counter-hegemonic expression within systems of global communication. Punk has simul- taneously worked within and against the hegemony of capitalist telecommunication networks, navigating an increasingly interconnected and mediated world. Second, punk is a subversive message in its own right. Focusing on punk’s Do-It-Yourself (DIY) ethos and the resource it offers for resisting the multiple forms of alienation in modern society, the story I construct here is one of agency and empowerment often overlooked by traditional IR. Introduction I am increasingly concerned about the ways that International Relations (IR) as a discipline seems unable to communicate to everyday citizens about issues of tremendous importance. I am repeatedly struck by our inability to speak to the people whose lives are affected daily by the issues we are supposed to be studying. More importantly, I am struck by how irrelevant we and our work can seem to the world’s population. In 2003, I grappled quite openly and vocally with this alienation.
[Show full text]
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
[Show full text]
Current, September 27, 2010 University of Missouri-St
University of Missouri, St. Louis IRL @ UMSL Current (2010s) Student Newspapers 9-27-2010 Current, September 27, 2010 University of Missouri-St. Louis Follow this and additional works at: http://irl.umsl.edu/current2010s Recommended Citation University of Missouri-St. Louis, "Current, September 27, 2010" (2010). Current (2010s). 24. http://irl.umsl.edu/current2010s/24 This Newspaper is brought to you for free and open access by the Student Newspapers at IRL @ UMSL. It has been accepted for inclusion in Current (2010s) by an authorized administrator of IRL @ UMSL. For more information, please contact [email protected]. SEPT. 27, 2010 VOL. 44; TheWWW.THECURRENT-ONLINE.COM Current ISSUE 1322 Chinese dance troupe performs at the Touhill By Caitlin E. L. Myles Page 10 ALSO INSIDE University address Shrek the Musical Founder’s Dinner 4 Chancellor speaks to UM-St. Louis 7 Lovable characters bring humor to the Fox 12 Event to recognize our history 2 | The Current | SEPT. 27, 2010 ,, The Current Vol. 44, Issue 1322 www.thecurrent-online.com Statshot The EDITORIAL STAFF UNDERCURRENT by Riki Tanaka “What do you think about faculty not Editor-in-Chief...............................................................Sequita Bean being exempt from parking tickets?” Managing Editor..............................................................Gene Doyel Features Editor.................................................................Jen O’Hara “I think that it’s acceptable that the Sports Editor..........................................................Michael
[Show full text]
EBP-DA | Where I'm Coming From
EBP-DA | www.eastbaypunkda.com Where I'm Coming From A few words of introduction and explanation are probably in persuasiveness, but I have no hesitation in saying that my faults or order with this issue of thelcokout. Longtime and new readersalike shortcomings were at least honest ones. "Like a salmon swimming might be bewildered at what appears to be a heavy streak of upstream,"was how my friendIndiana Slim characterizedmy efforts; geographic ru1d cultural schizophrenia running through its pages. anothercritic described me as "Too smartto keep quiet and toodumb Depending where you start reading, you might think the Lookout is an to shut up." environmental journal from rural northern California, a left-wing That was seven years ago. I assume I'm still making some people rabble-rousing broadside out of Berkeley, a scholarly dissertation on mad, though I haven't had any death threats in a long while. If economics and history based inLondon, or a sardonic and frivolous anything, I get more uncritical praisethan I need. I no longerneed critique of pop culture and punk counterculture from all over and assurance thatI'm a good writer, or that I speakfor a lot of peoplewho under the map. forone reasonor another haven't foundit in themselves, to put words Yes, that's exactly what it is, among other things. Abouthalf of togetl1er tl1e way that I do. That's not to say l don't appreciate this issue was put together in London during the winter of 1991-92, compliments, merely that they've taken on the swneaspect as virulent and the rest emanates aboutequally from Berkeley and the Emerald criticism: unless phrased in trulyexceptional language or containing Triangle.
[Show full text]
The Good News of Identifying Bad Religion
57 http://onfaith.washingtonpost.com/onfaith/panelists/willis_e_elliott/2008/05/the_good_news_of_identifying_b.html The Good News of Identifying Bad Religion As a pro-choice evangelical, I was saddened by the violentanti-choice (spun as “pro-life”) language of “an Evangelical Manifesto” on this culture-war issue: we on the other side are guilty of “assaults” on the unborn. The anti-choice position is political, aimed at legislation forbidding abortion. But the “On Faith” question emphasizes that this group of Evangelicals aims to “depoliticize the term ‘evangelical’”: Some Christian leaders issued “An Evangelical Manifesto” last week [May 7] to depoliticize the term ‘evangelical.’ “We Evangelicals are defined theologically, and not politically, socially or culturally,” they said. In your mind, what is the definition of an evangelical? 1.....I’m an evangelical theologically, but “not politically, socially or culturally.” In other words, I’m not an Evangelical (a capitalization the Manifesto insists on as descriptive of its position). The Manifesto’s subtitle sharpens the drafters’ identity and stance: “The Washington Declaration of Evangelical Identity and Public Commitment.” Their purpose is “to clarify the confusion” about the word “Evangelical” and “to explain where we stand on issues” involving “Evangelicals in public life.” 2.....Admirably, the Manifesto premises, we human beings must learn to live together with “religious differences” that are “ultimate and irreducible” – differences in “personal worldviews” and in “entire ways of
[Show full text]
Through the Iris TH Wasteland SC Because the Night MM PS SC
10 Years 18 Days Through The Iris TH Saving Abel CB Wasteland SC 1910 Fruitgum Co. 10,000 Maniacs 1,2,3 Redlight SC Because The Night MM PS Simon Says DK SF SC 1975 Candy Everybody Wants DK Chocolate SF Like The Weather MM City MR More Than This MM PH Robbers SF SC 1975, The These Are The Days PI Chocolate MR Trouble Me SC 2 Chainz And Drake 100 Proof Aged In Soul No Lie (Clean) SB Somebody's Been Sleeping SC 2 Evisa 10CC Oh La La La SF Don't Turn Me Away G0 2 Live Crew Dreadlock Holiday KD SF ZM Do Wah Diddy SC Feel The Love G0 Me So Horny SC Food For Thought G0 We Want Some Pussy SC Good Morning Judge G0 2 Pac And Eminem I'm Mandy SF One Day At A Time PH I'm Not In Love DK EK 2 Pac And Eric Will MM SC Do For Love MM SF 2 Play, Thomas Jules And Jucxi D Life Is A Minestrone G0 Careless Whisper MR One Two Five G0 2 Unlimited People In Love G0 No Limits SF Rubber Bullets SF 20 Fingers Silly Love G0 Short Dick Man SC TU Things We Do For Love SC 21St Century Girls Things We Do For Love, The SF ZM 21St Century Girls SF Woman In Love G0 2Pac 112 California Love MM SF Come See Me SC California Love (Original Version) SC Cupid DI Changes SC Dance With Me CB SC Dear Mama DK SF It's Over Now DI SC How Do You Want It MM Only You SC I Get Around AX Peaches And Cream PH SC So Many Tears SB SG Thugz Mansion PH SC Right Here For You PH Until The End Of Time SC U Already Know SC Until The End Of Time (Radio Version) SC 112 And Ludacris 2PAC And Notorious B.I.G.
[Show full text]
Transition Management New Mode of Governance for Sustainable Development
Transition Management New mode of governance for sustainable development Transitiemanagement Nieuwe vorm van governance voor duurzame ontwikkeling Proefschrift ter verkrijging van de graad van doctor aan de Erasmus Universiteit Rotterdam op gezag van de rector magnificus Prof.dr. S.W.J. Lamberts en volgens besluit van het College voor Promoties. De openbare verdediging zal plaatsvinden op donderdag 7 juni 2007 om 16.00 uur door Derk Albert Loorbach geboren te Rotterdam transitie-promotie.indd 1 11-4-2007 0:19:51 Promotiecommissie Promotor: Prof.dr.ir. J. Rotmans Overige leden: Prof.dr.ing. G. Teisman Prof.dr. J. Grin Prof.dr. M. van Twist Copromotor: Dr. R. Kemp Financially supported by the J.E. Jurriaanse Stichting Rotterdam (c) Derk Loorbach, 2007 ISBN 978 90 5727 057 4 Graphic design and cover: Sandder Lanen Editing: Liedewij van Tuin Desk Top Publishing: Hanneke Kossen Printing: AD Druk The author can be reached at: [email protected] International Books, Grifthoek 151, 3514 JK Utrecht, the Netherlands phone +31 30 2731 840, fax +31 30 2733 614 e-mail: [email protected]; website: www.antenna.nl/i-books US-orders to: IPG books, Order Department, 814 North Franklin Street, Chicago, IL 60610, e-mail to: [email protected], or phone tollfree 800-888-4741 UK-orders to: Global Book Marketing/Central Books, 99b Wallis Road, London, E9 5LN, [email protected], or phone +44 (0)20 8533 5800 transitie-promotie.indd 2 11-4-2007 0:19:51 Preface ‘It’s the journey that counts and not the destination’, some say.
[Show full text]
American Punk: the Relations Between Punk Rock, Hardcore, and American Culture
American Punk: The Relations between Punk Rock, Hardcore, and American Culture Gerfried Ambrosch ABSTRACT Punk culture has its roots on both sides of the Atlantic. Despite continuous cross-fertiliza- tion, the British and the American punk traditions exhibit distinct features. There are notable aesthetic and lyrical differences, for instance. The causes for these dissimilarities stem from the different cultural, social, and economic preconditions that gave rise to punk in these places in the mid-1970s. In the U. K., punk was mainly a movement of frustrated working-class youths who occupied London’s high-rise blocks and whose families’ livelihoods were threatened by a declin- ing economy and rising unemployment. Conversely, in America, punk emerged as a middle-class phenomenon and a reaction to feelings of social and cultural alienation in the context of suburban life. Even city slickers such as the Ramones, New York’s counterpart to London’s Sex Pistols and the United States’ first ‘official’ well-known punk rock group, made reference to the mythology of suburbia (not just as a place but as a state of mind, and an ideal, as well), advancing a subver- sive critique of American culture as a whole. Engaging critically with mainstream U.S. culture, American punk’s constitutive other, punk developed an alternative sense of Americanness. Since the mid-1970s, punk has produced a plethora of bands and sub-scenes all around the world. This phenomenon began almost simultaneously on both sides of the Atlantic—in London and in New York, to be precise—and has since spread to the most remote corners of the world.
[Show full text]