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Chinese International Students Talk Coronavirus Outbreak
VOLUME 104, ISSUE NO. 18 | STUDENT-RUN SINCE 1916 | RICETHRESHER.ORG | WEDNESDAY, FEBRUARY 19, 2020 FEATURES Candidates argue efficacy Chinese of SA at Thresher debate international RYND MORGAN students talk ASST. NEWS EDITOR Student Association internal vice president candidate Kendall Vining and write-in IVP coronavirus candidate Ashley Fitzpatrick debated the functions of roles within the SA and the SA’s relationship to the student body, and presidential candidate Anna Margaret Clyburn discussed similar issues in the SA Election Town Hall and Debate on Monday, Feb. 17, hosted by the Thresher. outbreak During the debate, Fitzpatrick said that she would be prepared to stand up to and confront Rice administration when their interests conflicted with the student body’s KELLY LIAO interests. Fitzpatrick, the Martel College SA senator, said that she had experience THRESHER STAFF directly confronting administration figures such as Dean of Undergraduates Bridget Gorman and would be willing to confront entities like the Rice Management As Chinese families around the Company, even if it meant that the administration might disown the SA as a world prepared for the Lunar New legitimate campus body. Year, the Chinese city Wuhan, with “If anything, I think that that would make the SA stronger,” Fitzpatrick, a a population of 11 million, prepared sophomore, said. “I am very much prepared to continue to stand up for the for something darker: announcing a student body.” quarantine to contain the unexpected Vining, a former Martel New Student Representative, said that she outbreak of the novel coronavirus. would be willing to confront power structures within the SA itself by Fears for family back home put a reforming the NSR role to empower students in that role. -
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Microsoft Office Outlook
Eliot I. Bernstein Full Name: Above and Beyond First Name: Above and Beyond Job Title: James Grant - Manager Business: 44 20 8742 4950 E-mail: enquiries Categories: call ultrafest 09 20090319 cmb sent email to 20090319 cmb per recept not manager James Grant Media Ltd 94 Strand On The Green Chiswick London W4 3NN tel: 020 8742 4950 fax: 020 8742 4951 email: enquiries James Grant Music Management was formed in the early part of 2005 by Nick Worsley and Simon Hargreaves and is a joint venture with long established TV Management Company James Grant Media. Heading up the company are two former Sony Music Entertainment Executives - Nick Worsley who was Head of Radio Promotions and Simon Hargreaves who was Head Of Press and Publicity. Bringing together over 20 years of music industry experience across both Major labels and the Independent sector - James Grant Music delivers a fresh and extremely potent force in the Music Business and is already breaking new ground in the Music Management arena. 1 Eliot I. Bernstein Full Name: Alina First Name: Alina E-mail: [email protected] E-mail Display As: Alina ([email protected]) Categories: call ultrafest 09 20090319 cmb sent email to the email above AFFILIATION: Sequence Production BOOKING CONTACT: [email protected] BIOGRAPHY Alina Sequence career has begun in 1994 when it has started to work as the assistant to the arranger in a sound studio. Greater support was rendered by Andrey Ivanov (Triplex), having given many useful knowledge in the field of electronic tools, becoming first producer Alina. In 1997 Alina Sequence bases under the beginning a promo-label " Sequence Records " which is engaged in producing of young electronic musicians, and also release of releases of Russian electronic music. -
Cut Copy Bright Like Neon Love Mp3, Flac, Wma
Cut Copy Bright Like Neon Love mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Bright Like Neon Love Country: US Released: 2004 Style: Leftfield, House, Electro, Disco MP3 version RAR size: 1694 mb FLAC version RAR size: 1913 mb WMA version RAR size: 1701 mb Rating: 4.4 Votes: 767 Other Formats: MIDI RA AC3 DMF WMA MPC MMF Tracklist Hide Credits 1 Time Stands Still 4:34 2 Future 5:12 3 Saturdays 3:37 4 Saturdays (Reprise) 1:38 5 Going Nowhere 3:40 6 DD-5 0:26 7 That Was Just A Dream 2:33 8 Zap Zap 2:41 9 The Twilight 5:24 Autobahn Music Box 10 4:30 Acoustic Guitar [Original] – Dougal Binns 11 Bright Neon Payphone 3:52 12 A Dream 3:45 Companies, etc. Distributed By – Alternative Distribution Alliance Phonographic Copyright (p) – Modular Recordings Copyright (c) – Modular Recordings Recorded At – The Soft Centre Recorded At – Capitol Studios, Paris Mixed At – Capitol Studios, Paris Mastered At – The Exchange Credits Artwork, Design – Alter Bass [Original] – Bennett Foddy Drums [Live] – Mitchell Scott Guitar [Original], Bass, Noises – Tim Hoey Handclaps – Fredo*, Julien*, Philippe* Mastered By – Mike Marsh Mixed By – Jeff Dominguez (tracks: 3 to 5), Julien Delfaud (tracks: 7 to 10, 12), Philippe Zdar (tracks: 1, 2, 11) Mixed By [Assisted By] – Frédo Nlandu*, Pierrick Devin Producer, Written-By, Synth, Drum Machine, Guitar, Vocals, Bass – Dan Whitford Recorded By – Chris Scallan* Barcode and Other Identifiers Barcode (Text): 8 98926 00012 5 Matrix / Runout: Z24175 4 MOD2 1-2 01 MOS1 Mould SID Code: IFPI 2U8K Other versions -
Interferências
Universidade de Brasília Faculdade de Comunicação Departamento de Audiovisuais e Publicidade INTERFERÊNCIAS Visualidade e experiência em Currents Aline Macedo das Neves 10.0024025 Brasília, Novembro de 2017 Universidade de Brasília Faculdade de Comunicação Departamento de Audiovisuais e Publicidade INTERFERÊNCIAS Visualidade e experiência em Currents Aline Macedo das Neves 10.0024025 Memorial descritivo do produto apresentado à Faculdade de Comunicação da Universidade de Brasília, como requisito parcial para obtenção do título de Bacharel em Comunicação Social com habilitação em Publicidade e Propaganda, sob a orientação da Professora Gabriela Pereira de Freitas. Brasília, Novembro de 2017 INTERFERÊNCIAS Visualidade e experiência em Currents Aline Macedo das Neves 10.0024025 Memorial descritivo do produto apresentado à Faculdade de Comunicação da Universidade de Brasília, como requisito parcial para obtenção do título de Bacharel em Comunicação Social com habilitação em Publicidade e Propaganda, sob a orientação da Professora Gabriela Pereira de Freitas. Brasília, Novembro de 2017 BANCA EXAMINADORA _____________________________________________ Professora Gabriela Freitas Orientadora ______________________________________________ Professor Wagner Rizzo Examinador ______________________________________________ Professora Selma Oliveira Examinadora ______________________________________________ Professora Priscila Borges Examinadora Suplente In the end it’s stronger than I know how to be (The Moment – Tame Impala) AGRADECIMENTOS Aos meus -
The Performance Culture of Burning Man
ABSTRACT Title of Document: THE PERFORMANCE CULTURE OF BURNING MAN Wendy Ann Clupper, PhD, 2007 Directed By: Dr. Franklin J. Hildy, Department of Theatre and Performance Studies Theatre in the United States for the last twenty years has been evolving in scope by way of a cultural phenomenon known as Burning Man. In 2006, this festival attracted over forty thousand participants to the Black Rock Desert in Northwestern Nevada to a flat dusty Playa surrounded by mountain ranges. While the natural environment there is hostile, the creative atmosphere is welcoming and invites a broad scope of performative behaviors and genres to be exhibited there, the entire week the festival takes place. Make-shift stages and theme camps, as well as large- scale interactive art pieces play host to participants who dress up in fanciful costumes to perform in all manner of imagining. This dissertation maps out the cultural terrain of Burning Man in order to explain how performing there is form of identity-making and cultural commodity. As one of a handful of North American festivals which expressly discourage commercialism and commodification, theatricality takes the place of significance for entertainment and communication. Performance forms of all kinds historically are represented at Burning Man and this dissertation will investigate and theorize how a new performance culture has emerged from the festival itself and by its presence as a theatrical event, has exposed and expanded performance and theatre forms. This dissertation offers a critical framework through which to consider performance and performers within the Burning Man community as applied to Mikhail Bakhtin’s concept of Carnival and the Schema for Theatrical Eventness proposed by the International Federation for Theatre Research Theatrical Events Working Group. -
Wolfmother Mind's Eye / Woman Mp3, Flac, Wma
Wolfmother Mind's Eye / Woman mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Mind's Eye / Woman Country: Australia & New Zealand Released: 2005 Style: Alternative Rock, Classic Rock MP3 version RAR size: 1918 mb FLAC version RAR size: 1364 mb WMA version RAR size: 1331 mb Rating: 4.1 Votes: 686 Other Formats: FLAC ASF AUD VQF MOD WAV DXD Tracklist 1 Mind's Eye 4:55 2 Woman 2:57 3 The Earth's Rotation Around The Sun 2:46 Companies, etc. Phonographic Copyright (p) – Modular Recordings Pty. Ltd. Copyright (c) – Modular Recordings Pty. Ltd. Marketed By – Universal Music Australia Pty Ltd Distributed By – Universal Music Australia Pty Ltd Published By – Universal Music Publishing Mastered At – Bernie Grundman Mastering Manufactured By – Universal ANZ Pressed By – Technicolor, Australia Credits A&R – Jeff Sosnow, Luke Wood, Steve Pav* Bass, Keyboards – Chris Ross Coordinator [Production] – Nicole Harding Drums – Myles Heskett Edited By [Pro Tools] – Andy Brohard Engineer – Ryan Castle Engineer [Assistant] – Cameron Barton, Pete Martinez Illustration – Frank Frazetta Management – John Watson , Melissa Chenery Mastered By – Bernie Grundman Producer – D. Sardy* Vocals, Guitar – Andrew Stockdale Written-By – Andrew Stockdale, Chris Ross , Myles Heskett Notes Ⓟ & Ⓒ 2005 Modular Recordings Pty. Limited. Barcode and Other Identifiers Barcode: 9 399066 370259 Matrix / Runout: MODCDS025 01 MIND'S EYE/WOMAN TECHNICOLOR UNIVERSAL ANZ Mastering SID Code: L283 Mould SID Code: IFPI 4631 Other versions Category Artist Title (Format) Label Category Country Year Mind's Eye (7", Modular MCS 40438 Wolfmother MCS 40438 UK 2005 Single) Recordings Mind's Eye (CD, Universal Island MCSTDJ 40438 Wolfmother MCSTDJ 40438 UK 2005 Single, Promo) Records Ltd. -
UNIVERSITY FEE MAY INCREASE by $5 by Alison Gilchrist Miltonêsaier Contributing Writer Ome April, Students May Be Asked to Vote on a New Fee Increase
UNDER GNOME CIRCUMSTANCES. PAGE 7. VOLUME XLIII, ISSUE XXXII THURSDAY, FEBRUARY 10, 2011 WWW.UCSDGUARDIAN.ORG AÊCLOSERÊLOOK BiologyÊProf.Ê UNIVERSITY FEE MAY INCREASE BY $5 By Alison Gilchrist MiltonÊSaier Contributing Writer ome April, students may be asked to vote on a new fee increase. On Feb. 2, ProtestsÊLabÊ University Centers Advisory Board ChairC Nicole Metildi presented a referendum to A.S. Council that, if passed, would raise Closure the University Centers Fee by $5 to $81.50 By Michael Chang and Regina Ip per quarter, and be adjusted annually by the S S W Consumer Price Index. The “Student Center Fee” was renamed the Molecular biology professor Milton “University Center Fee” in 1984, when Price Saier is seeking a neutral third party to Center West was built. It now supports Price mediate what he believes was the unfair and Center East and West, as well as the Student sudden closure of his lab due to personnel Center and the Che Café complex, by funding issues. Saier’s lab was closed by the biological maintenance, repairs and operation costs. sciences division, citing safety violations, UCSD spent $49, 980 in 2010 to commission a over winter break. Facilities Condition Analysis to provide an account Saier said the biological sciences of predicted expenditures as well as estimates for division closed his computer and research long-term planning purposes. The study revealed lab without warning, cancelled approved that, in the next 10 years, Price Center will require BISP 199 applications for Winter Quarter 2011 and expelled all lab volunteers, though See FEE,Êpage 3 the department later placed a limit on the ANDREW OH/GUARDIAN number of students allowed. -
Joking About the Darkness Affect, Queerness, and Politics in the Work of Amanda Palmer
Joking About the Darkness Affect, Queerness, and Politics in the Work of Amanda Palmer Jackson Brooks Flesher Schulich School of Music Music Research McGill University, Montreal December 2018 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts in Musicology – Gender, Sexuality, and Feminist Studies ©Jackson Flesher 2018 Table of Contents Title Page ____________________________________________________________________ i Table of Contents ______________________________________________________________ ii Abstract _____________________________________________________________________ iii Résumé _____________________________________________________________________ iv Acknowledgements____________________________________________________________ v Introduction__________________________________________________________________ 1 Chapter 1: Amanda Palmer’s Aesthetic and Philosophy _______________________________________________________14 (Figure 1.1) __________________________________________________________________ 26 Chapter 2: Comparative Analyses of Emotional Politics and Affective Performance Practices _______________________________________ 55 Conclusion __________________________________________________________________ 97 Appendix (Palmer’s Discography) _______________________________________________100 Bibliography ________________________________________________________________104 ii Abstract Amanda “Fucking” Palmer began her musical career in 2000 as half of The Dresden Dolls -
Monsters of Accordion 2010 Press Sheet
Monsters of Accordion 2010 Press Sheet Hi-res photos and music samples at:http://www.monstersofaccordion.com/press For interviews or all other requests, contact: [email protected] With squeezeboxes strapped to their chests, JASON WEBLEY - Seattle the “Monsters of Accordion” (Jason Webley, Street performer turned cult musician, Jason Webley Corn Mo, Renée de la Prade, The Petrojvic has been carrying his squeezebox to the far corners Blasting Co. and variety of special guests) of the earth since 1998. Known for his huge gravelly are launching an assault on West-Coast cit- voice and a battered porkpie hat that dances around ies from Seattle to Los Angeles this Decem- his head as he stomps out the beat, Webley's relentless ber. touring schedule and legendary live performances have built him a loyal fanbase across North America, “When I’m on tour, I meet so many amaz- Europe and beyond (he is especially loved in Sibe- ing accordion players, and the idea is just to ria.) Webley's specialty is involving his audience in bring them together,” explains Webley, who his performances - most concerts end with the entire organizes the annual tour. crowd locked arm-in-arm, singing at the top of their The result is a tour-de-force featuring many lungs. Recently, Webley finished a world tour with of the most entertaining accordion perform- Amanda Palmer of The Dresden Dolls as one-half ers currently working in North America. But of the duo Evelyn Evelyn. don’t expect a night of polkas, because these CORN MO - New York aren’t your grandmother’s accordion mon- New York City’s Corn Mo plays a mixture of glam- sters. -
The Contemporary Literary & Cultural Construction of Conjoined Twins
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details “I understand that I am me, but that I am also we”: The Contemporary Literary & Cultural Construction of Conjoined Twins Sherri L. Foster DPhil candidate in Media & Cultural Studies University of Sussex April 2013 2 Acknowledgements There are many to whom I owe gratitude for dealing with my neuroses as I trudged toward the ‘finish line’ of this thesis. A bit of inspirational emailing with Alice Dreger, in 2007, prompted me to look more closely at conjoined twins, and for that I am ever so grateful. Kate O’Riordan provided insightful commentary on my final draft, which helped me to solidify my ideas and draw necessary connections. Tom Couser provided encouragement via email and gave me access to his unpublished manuscript. The Wellcome Library and National Library of Scotland became ‘homes away from home’ on many occasions, and I am grateful for the assistance I received from the research staff at each. I am also grateful to my colleagues, who forgave my forgetfulness in the final few months of writing and to the many students who allowed me to take a bit longer to grade their essays because they thought it was “cool” that I was finishing a PhD. -
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