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No Words, No Problem, P.15 Genre Legends: 8Pm, Upfront Theatre
THE GRISTLE, P.06 + ORCHARD OUTING, P.14 + BEER WEEK, P.30 c a s c a d i a REPORTING FROM THE HEART OF CASCADIA WHATCOM SKAGIT ISLAND COUNTIES 04-25-2018* • ISSUE:*17 • V.13 PIPELINE PROTESTS Protecting the Salish Sea, P.08 SKAGIT STOP Art at the schoolhouse, P.16 MARK LANEGAN A post- Celebrate AGI grunge SK T powerhouse, P.18 No words, no problem, P.15 Genre Legends: 8pm, Upfront Theatre Paula Poundstone: 8pm, Lincoln Theatre, Mount 30 A brief overview of this Vernon Backyard Brawl: 10pm, Upfront Theatre FOOD week’s happenings THISWEEK DANCE Contra Dance: 7-10:30pm, Fairhaven Library 24 MUSIC Dylan Foley, Eamon O’Leary: 7pm, Littlefield B-BOARD Celtic Center, Mount Vernon Skagit Symphony: 7:30pm, McIntyre Hall, Mount Vernon 23 WORDS FILM Book and Bake Sale: 10am-5pm, Deming Library Naomi Shihab Nye: 7pm, Performing Arts Center, Politically powered standup WWU 18 comedian Hari Kondabolu COMMUNITY MUSIC Vaisaikhi Day Celebration: 10am-5pm, Guru Nanak stops by Bellingham for an April Gursikh Gurdwaram, Lynden 16 GET OUT ART 29 gig at the Wild Buffalo Have a Heart Run: 9am, Edgewater Park, Mount Vernon 15 Everson Garden Club Sale: 9am-1pm, Everson- Goshen Rd. Native Flora Fair: 10am-3pm, Fairhaven Village STAGE Green 14 FOOD Pancake Breakfast: 8-10am, American Legion Hall, Ferndale GET OUT Pancake Breakfast: 8-10:30am, Lynden Community Center Bellingham Farmers Market: 10am-3pm, Depot 12 Market Square WORDS VISUAL Roger Small Reception: 5-7pm, Forum Arts, La WEDNESDAY [04.25.18] Conner 8 Spring has Sprung Party: 5-9pm, Matzke Fine Art MUSIC Gallery, Camano Island F.A.M.E. -
VOLUME 42 | NUMBER 21 Hen Chris Cornell Entered He Shrugged
May 24-30, 2017 | VOLUME 42 | NUMBER 21 hen Chris Cornell entered He shrugged. He spoke in short bursts of at a room, the air seemed to syllables. Soundgarden was split at the time, hum with his presence. All and he showed no interest in getting the eyes darted to him, then band back together. He showed little interest danced over his mop of in many of my questions. Until I noted he curls and lanky frame. He appeared to carry had a pattern of daring creative expression himself carelessly, but there was calculation outside of Soundgarden: Audioslave’s softer in his approach—the high, loose black side; bluesy solo eorts; the guitar-eschew- boots, tight jeans, and impeccable facial hair ing Scream with beatmaker Timbaland. his standard uniform. He was a rock star. At this, Cornell’s eyes sharpened. He He knew it. He knew you knew it. And that sprung forward and became fully engaged. didn’t make him any less likable. When he He got up and brought me an unsolicited left the stage—and, in my case, his Four bottled water, then paced a bit, talking all Seasons suite following a 2009 interview— the while. About needing to stay unpre- that hum leisurely faded, like dazzling dictable. About always trying new things. sunspots in the eyes. He told me that he wrote many songs “in at presence helped Cornell reach the character,” outside of himself. He said, “I’m pinnacle of popular music as front man for not trying to nd my musical identity, be- Soundgarden. -
Record Store Day 2020 (GSA) - 18.04.2020 | (Stand: 05.03.2020)
Record Store Day 2020 (GSA) - 18.04.2020 | (Stand: 05.03.2020) Vertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?) Exclusive Record Store Day version pressed on 7" picture disc! Top song on Billboard's 375Media Ace Of Base The Sign 7" 1 !K7 Pop SI 174427 730003726071 D 1994 Year End Chart. [ENG]Pink heavyweight 180 gram audiophile double vinyl LP. Not previously released on vinyl. 'Nam Myo Ho Ren Ge Kyo' was first released on CD only in 2007 by Ace Fu SPACE AGE 375MEDIA ACID MOTHERS TEMPLE NAM MYO HO REN GE KYO (RSD PINK VINYL) LP 2 PSYDEL 139791 5023693106519 AT: 375 / CH: Irascible Records and now re-mastered by John Rivers at Woodbine Street Studio especially for RECORDINGS vinyl Out of print on vinyl since 1984, FIRST official vinyl reissue since 1984 -Chet Baker (1929 - 1988) was an American jazz trumpeter, actor and vocalist that needs little introduction. This reissue was remastered by Peter Brussee (Herman Brood) and is featuring the original album cover shot by Hans Harzheim (Pharoah Sanders, Coltrane & TIDAL WAVES 375MEDIA BAKER, CHET MR. B LP 1 JAZZ 139267 0752505992549 AT: 375 / CH: Irascible Sun Ra). Also included are the original liner notes from jazz writer Wim Van Eyle and MUSIC two bonus tracks that were not on the original vinyl release. This reissue comes as a deluxe 180g vinyl edition with obi strip_released exclusively for Record Store Day (UK & Europe) 2020. * Record Store Day 2020 Exclusive Release.* Features new artwork* LP pressed on pink vinyl & housed in a gatefold jacket Limited to 500 copies//Last Tango in Paris" is a 1972 film directed by Bernardo Bertolucci, saxplayer Gato Barbieri' did realize the soundtrack. -
Grunge Is Dead Is an Oral History in the Tradition of Please Kill Me, the Seminal History of Punk
THE ORAL SEATTLE ROCK MUSIC HISTORY OF GREG PRATO WEAVING TOGETHER THE DEFINITIVE STORY OF THE SEATTLE MUSIC SCENE IN THE WORDS OF THE PEOPLE WHO WERE THERE, GRUNGE IS DEAD IS AN ORAL HISTORY IN THE TRADITION OF PLEASE KILL ME, THE SEMINAL HISTORY OF PUNK. WITH THE INSIGHT OF MORE THAN 130 OF GRUNGE’S BIGGEST NAMES, GREG PRATO PRESENTS THE ULTIMATE INSIDER’S GUIDE TO A SOUND THAT CHANGED MUSIC FOREVER. THE GRUNGE MOVEMENT MAY HAVE THRIVED FOR ONLY A FEW YEARS, BUT IT SPAWNED SOME OF THE GREATEST ROCK BANDS OF ALL TIME: PEARL JAM, NIRVANA, ALICE IN CHAINS, AND SOUNDGARDEN. GRUNGE IS DEAD FEATURES THE FIRST-EVER INTERVIEW IN WHICH PEARL JAM’S EDDIE VEDDER WAS WILLING TO DISCUSS THE GROUP’S HISTORY IN GREAT DETAIL; ALICE IN CHAINS’ BAND MEMBERS AND LAYNE STALEY’S MOM ON STALEY’S DRUG ADDICTION AND DEATH; INSIGHTS INTO THE RIOT GRRRL MOVEMENT AND OFT-OVERLOOKED BUT HIGHLY INFLUENTIAL SEATTLE BANDS LIKE MOTHER LOVE BONE, THE MELVINS, SCREAMING TREES, AND MUDHONEY; AND MUCH MORE. GRUNGE IS DEAD DIGS DEEP, STARTING IN THE EARLY ’60S, TO EXPLAIN THE CHAIN OF EVENTS THAT GAVE WAY TO THE MUSIC. THE END RESULT IS A BOOK THAT INCLUDES A WEALTH OF PREVIOUSLY UNTOLD STORIES AND FRESH INSIGHT FOR THE LONGTIME FAN, AS WELL AS THE ESSENTIALS AND HIGHLIGHTS FOR THE NEWCOMER — THE WHOLE UNCENSORED TRUTH — IN ONE COMPREHENSIVE VOLUME. GREG PRATO IS A LONG ISLAND, NEW YORK-BASED WRITER, WHO REGULARLY WRITES FOR ALL MUSIC GUIDE, BILLBOARD.COM, ROLLING STONE.COM, RECORD COLLECTOR MAGAZINE, AND CLASSIC ROCK MAGAZINE. -
THE WHISKEY DAREDEVILS …Ganz Offensichtlich Eine Der Letzten, Ernstzunehmenden Cowpunk Bands in Der Amerikanischen Rock’N’Roll Landschaft
File under: Cow-Punk-Rock'n'Roll-Rodeo! THE WHISKEY DAREDEVILS …ganz offensichtlich eine der letzten, ernstzunehmenden Cowpunk Bands in der Amerikanischen Rock’n’Roll Landschaft. Gleichmaßen inspiriert von klassischen Country, Punk Rock und 60s Garage Rock’n’Roll zelebriert das Quartett aus Ohio ihren unverkennbaren Whiskey Daredevils Sound, der auf der Bühne zu einer explosiven Live-Show mit allerbesten Entertainment wird! Im September/October 2018 werden die Whiskey Daredevils einige Shows auf den Europäischen Kontinent spielen. Im Gepäck nicht nur einen neuen Gitarristen, sondern auch die speziell für die Tour aufgelegte, limitierte LP “The History of the Whiskey Daredevils Volume III”. Dieses edle Stück Vinyl enthält eine Auswahl von Songs der letzten sechs Alben und unveröffentlichtes Material. 2004 gegründet, aus der Asche der 2003 aufgelösten COWSLINGERS – eine der richtungsweisenden Garage-Trash-Rock Bands der USA – erlangten die Whiskey Daredevils schnell an Popularität und veröffentlichten sofort ihr Debut-Album unter dem Titel „Greatest Hits“. Die beiden original Cowslingers Greg Miller (Vocals) und Leo P. Love (Drums) fanden mit Gitarrist Gary Siperko (Rocket From The Tombs, Mofos) und Bassistin Sugar Wildman (Lords of the Highway) die ideale Besetzung für die Whiskey Daredevils. Anfang 2018 übernahm der fantastische Hector Matto den Platz an der Gitarre. “They do what they do best: they take the best of American roots music and create their very own sound”- Trashrock Mag “Drunken country musicians make punk. Or the other way around. That's how it should be and that's how this record works.”- Handwritten Magazine In den vergangenen Jahren teilte man gerne die Bühne mit solchen Bands wie Culture on the Skids, Dale Watson. -
Superior Court of the State of California for The
1 Carney R. Shegerian, Esq., State Bar No. 150461 [email protected] 2 Anthony Nguyen, Esq., State Bar No. 259154 [email protected] 3 SHEGERIAN & ASSOCIATES, INC. 225 Santa Monica Boulevard, Suite 700 4 Santa Monica, California 90401 Telephone Number: (310) 860-0770 5 Facsimile Number: (310) 860-0771 6 Attorneys for Plaintiff, JOHN DOE 7 8 SUPERIOR COURT OF THE STATE OF CALIFORNIA 9 FOR THE COUNTY OF LOS ANGELES, CENTRAL DISTRICT 10 11 JOHN DOE,1 ) Case No.: ) 12 Plaintiff, ) PLAINTIFF JOHN DOE’S COMPLAINT ) FOR DAMAGES FOR: 13 vs. ) ) (1) SEXUAL HARASSMENT IN 14 OGLETREE, DEAKINS, NASH, ) VIOLATION OF FEHA (HOSTILE SMOAK & STEWART, P.C., ) WORK ENVIRONMENT); 15 JOHNNIE JAMES, and DOES 1 to ) 100, inclusive, ) (2) QUID PRO QUO SEXUAL 16 ) HARASSMENT; Defendants. ) 17 ) (3) DISCRIMINATION ON THE BASIS ) OF RACE, NATIONAL ORIGIN, 18 ) AND/OR COLOR IN VIOLATION OF ) FEHA; 19 ) ) (4) HARASSMENT ON THE BASIS OF 20 ) RACE, NATIONAL ORIGIN, AND/OR ) COLOR IN VIOLATION OF FEHA; 21 ) ) (5) DISCRIMINATION ON THE BASIS 22 ) OF SEXUAL ORIENTATION IN ) VIOLATION OF FEHA; 23 ) ) (6) DISCRIMINATION ON THE BASIS 24 ) OF MARITAL STATUS IN ) VIOLATION OF FEHA; 25 ) ) (7) VIOLATION OF THE CALIFORNIA 26 ) EQUAL PAY ACT; 27 1 Because of the nature of the allegations herein, plaintiff is identified by a pseudonym in order to preserve his confidentiality and to avoid any potential opprobrium, pursuant to applicable law, includ- 28 ing Starbucks Corp. v. Superior Ct. (2008) 168 Cal.App.4th 1436. PLAINTIFF’S COMPLAINT FOR DAMAGES 1 ) (8) FAILURE -
Debuten Til Hardrocker'ne Fra Down Under. 6.Albumet I Rekken Av
ARTIST / BANDNAVN ALBUM TITTEL UTG.ÅR LABEL/ KATAL.NR. LAND LP KOMMENTAR A New wave/synthpop fra Sheffield band, med Martin Fry som leder. Musikken kan ABC BEAUTY STAB 1983 MERCURY 814 661-1 GER LP høres som en mix av Bowie og Roxy Music. Mick fra den første utgaven av Jethro Tull og Blodwyn Pig med sitt soloalbum fra ABRAHAMS, MICK MICK ABRAHAMS 1971 A&M RECORDS SP 4312 USA LP 1971. Drivende god blues / prog rock. Min første og eneste skive med det tyske heavy metal bandet. Et absolutt godt ACCEPT RESTLESS AND WILD 1982 BRAIN 0060.513 GER LP album, med Udo Dirkschneider på hylende vokal. Fikk opplevd Udo og sitt band live på Byscenen i Trondheim november 2017. Meget overraskende og positiv opplevelse, med knallsterke gitarister, og sønnen til Udo på trommer. AC/DC HIGH VOLTAGE 1975 ATL 50257 GER LP Debuten til hardrocker'ne fra Down Under. AC/DC POWERAGE 1978 ATL 50483 GER LP 6.albumet i rekken av mange utgivelser. ACKLES, DAVID AMERICAN GOTHIC 1972 EKS-75032 USA LP Strålende låtskriver, albumet produsert av Bernie Taupin, kompisen til Elton John. GEFFEN RECORDS AEROSMITH PUMP 1989 EUR LP Steven Taylor, Joe Perry, Tom Hamilton, Joey Kramer. Spilt inn i Canada. 924254 AKKERMAN, JAN PROFILE 1972 HARVEST SHSP 4026 UK LP Soloalbum fra den glimrende gitaristen fra nederlandske progbandet Focus. Akkermann med klassisk gitar, lutt og et stor orkester til hjelp. I tillegg rockere som AKKERMAN, JAN TABERNAKEL 1973 ATCO SD 7032 USA LP Tim Bogert bass og Carmine Appice trommer. Her viser Akkermann en ny side av sitt talent. -
Daniel Amos and Me: the Power of Pop Culture and Autoethnography
Daniel Amos and Me: The Power of Pop Culture and Autoethnography ANDREW F. HERRMANN Nearly everyone I know has a relationship with something in popular culture, whether it is Buffy the Vampire Slayer, amassing The Astonishing X-Men comics, or collecting every version of every Star Wars movie. Relationships and pop culture: couldn’t that make an autoethnography? This is a short version of my relationship with a band, Daniel Amos. I am not in Daniel Amos. I don’t know the members of the band (although I am Facebook friends with them now). I first heard them in 1982 serendipitously. Or maybe it was destiny. Either way, they opened my eyes to the wonders, doubts, and excesses of my life, critiqued my faith, and brought me joy. I feel like I know them, and they me. Thirty-one years after first hearing them, I realize our relationship is one of the longest I have had. We grew up and are growing older together. Popular Culture Autoethnography? Pop culture and autoethnography: two terms seemingly at odds with each other. On the one side stands popular culture studies, with its interrogations of music (Albiez), television shows (Stern), video gaming (Dunn & Guadagno), movie genres (Carroll), characters (Herrmann, “C-can”) – including individuals who become “characters” (Herbig 133) – and its examinations of power and discourses in popular texts, broadly defined (Stern, Manning & Dunn). On the other side sits autoethnography, the narrative first-person examination of the self, used as a jumping off point to interrogate cultural practices (Holman Jones, Adams & Ellis). One examines culture and identity from the outside in, the other from the inside out. -
I S C O R D E R Free
I S C O R D E R FREE IUTE K OGWAI ARHEAD NC HR IS1 © "DiSCORDER" 2001 by the Student Radio Society of the University of British Columbia. All rights reserved. Circuldtion 1 7,500. Subscriptions, payable in advance, to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money orders payable to DiSCORDER Mag azine. DEADLINES: Copy deadline for the August issue is July 14th. Ad space is available until July 21st and ccn be booked by calling Maren at 604.822.3017 ext. 3. Our rates are available upon request. DiS CORDER is not responsible for loss, damage, or any other injury to unsolicited mcnuscripts, unsolicit ed drtwork (including but not limited to drawings, photographs and transparencies), or any other unsolicited material. Material can be submitted on disc or in type. As always, English is preferred. Send e-mail to DSCORDER at [email protected]. From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at 822.2487, our office at 822.301 7 ext. 0, or our news and sports lines at 822.3017 ext. 2. Fax us at 822.9364, e-mail us at: [email protected], visit our web site at http://www.ams.ubc.ca/media/citr or just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC. -
BP V13 05 2003 11.Pdf (9.366Mb)
In Praise of Cassandra Arno J. Mayer There is no understanding the infernal Israeli-Palestinian imbroglio and its world wide repercussions without exploring the dialectics of the vexed “Arab Question” in the unfolding and consummation of the Zionist project. For Martin Buber this ques tion concerned, in essence, "the relationship between Jewish settlement and Arab life, or, as it may be termed, the intra-national (intraterritorial?) basis of Jewish settlement.” From the outset in the 1890s, eminent Zionist voices in both the Diaspora and the Yishuv criticized the Zionist movement’s principal leaders for their benign but stub born neglect of this problem. Eventually Judah Magnes sadly concluded that the fail ure to make Arab-Jewish cooperation a major policy objective was Zionism’s fatal “sin of omission.” Rather than take the true measure of the majority Arab Palestinian population most Zionists of the first and early hours ignored, minimized, or distorted its reality and nature. Above all, with time they either denied the potential for an Arab awakening or dismissed Arab nationalism as an inconsequential European import. Martin Buber is emblematic of the crit ics—Ahad Haam, Yitzhak Epstein, Chaim Kalvarisky, Judah Magnes, Ernst Simon— who from the creation of modern Zionism insisted on the weight and urgency of the Arab Question, and on the importance of not only addressing the fears and anxieties of Arab Palestinians but also respecting their political aspirations. Buber became ever more convinced that the Arab Question would be -
Steve Waksman [email protected]
Journal of the International Association for the Study of Popular Music doi:10.5429/2079-3871(2010)v1i1.9en Live Recollections: Uses of the Past in U.S. Concert Life Steve Waksman [email protected] Smith College Abstract As an institution, the concert has long been one of the central mechanisms through which a sense of musical history is constructed and conveyed to a contemporary listening audience. Examining concert programs and critical reviews, this paper will briefly survey U.S. concert life at three distinct moments: in the 1840s, when a conflict arose between virtuoso performance and an emerging classical canon; in the 1910s through 1930s, when early jazz concerts referenced the past to highlight the music’s progress over time; and in the late twentieth century, when rock festivals sought to reclaim a sense of liveness in an increasingly mediatized cultural landscape. keywords: concerts, canons, jazz, rock, virtuosity, history. 1 During the nineteenth century, a conflict arose regarding whether concert repertories should dwell more on the presentation of works from the past, or should concentrate on works of a more contemporary character. The notion that works of the past rather than the present should be the focus of concert life gained hold only gradually over the course of the nineteenth century; as it did, concerts in Europe and the U.S. assumed a more curatorial function, acting almost as a living museum of musical artifacts. While this emphasis on the musical past took hold most sharply in the sphere of “high” or classical music, it has become increasingly common in the popular sphere as well, although whether it fulfills the same function in each realm of musical life remains an open question. -
LARRY NORMAN, JESUS ROCK, and an INTERVIEW with GREGORY ALAN THORNBURY Rupert Loydell Falmouth Univ
WEIRD RELIGIOUS BACKGROUNDS: LARRY NORMAN, JESUS ROCK, AND AN INTERVIEW WITH GREGORY ALAN THORNBURY Rupert Loydell Falmouth University Keywords: Christianity, Larry Norman, Jesus Rock, CCM, Religion 'Christian rock is a genre that exists to edify and make money off evangelical Christians. [...] A Christian band , on the other hand is just a band that has more than one Christian in it.' – John Jeremiah Sullivan (2012: 17-18) Although The Bloomsbury Handbook of Religion and Popular Music (Stewart and Abraham 2017) contains chapters such as Michael J. Gilmour's 'The Bible and Popular Music' (67-76) and Ibrahim Abraham and Francis Stewarts' 'Punk and Hardcore' (241- 250), there remains little informed academic consideration of the Christian music genre, especially punk and post-punk. John J. Thompson's Raised by Wolves (2000) and Mark Joseph's The Rock & Roll Rebellion (1999) offer insider histories, whilst Andrew Beaujon's Body Piercing Saved My Life (2006) is an hilarious, sceptical exploration of 'the phenomenon of Christian rock', focussed mostly on the early 2000s. Gilmour 's Call Me the Seeker: Listening to Religion in Popular Music (2005) is interested more in religious sources and themes; the nearest it gets to post-punk is Anna Kessler's consideration of Nick Cave (79-94) and J.R.C. Cousland's discussion of 'God, the Bad, and the Ugly' in the work of Nick Cave and Polly Harvey (129-157). Better, is Jay R Howard & John M. Streck's Apostle of Rock (1999), which takes a more sociological approach to what it calls 'The Splintered World of Contemporary Christian Music' and considers the tensions between ideas of ministry, entertainment, art and business for Christian musicians.