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Hurricane Festival in Scheeßel
HURRICANE FESTIVAL 2014 TIMETABLE FREITAG TIMETABLE SAMSTAG TIMETABLE SONNTAG GREEN STAGE BLUE STAGE RED STAGE WHITE STAGE GREEN STAGE BLUE STAGE RED STAGE WHITE STAGE GREEN STAGE BLUE STAGE RED STAGE WHITE STAGE 12:00 12:00 12:00 12:00 12:00 TONBANDGERÄT THE BOTS SAMARIS 14:00 12:30 12:30 12:30 12:30 13:00 STATION 17 12:45 SONIC. THE MACHINE 13:00 BLAUDZUN ABBY 13:00 13:00 13:00 DILLINGER ESCAPE PLAN FINDUS BLOOD RED SHOES 15:00 15:00 15:00 13:30 13:30 REIGNWOLF 13:30 THE DURANGO RIOT 15:15 I HEART SHARKS 13:35 RAZZ ROYAL BLOOD 15:30 JOHNNY FLYNN & THE SUSSEX WIT 14:00 TO KILL A KING 14:00 LONDON GRAMMAR 14:05 14:00 14:00 DRENGE 14:15 16:00 16:00 16:00 SKINDRED CURRENT SWELL 14:30 DISPATCH 14:30 16:15 GEORGE EZRA CIRCA WAVES WE INVENTED PARIS DAVE HAUSE FUCKED UP FEINE SAHNE FISCHFILET 15:00 14:45 15:00 14:45 TWIN ATLANTIC METRONOMY 17:00 16:45 17:00 15:15 15:15 15:15 THE NAKED AND FAMOUS CHUCK RAGAN ZEBRAHEAD BALTHAZAR 15:30 15:30 17:15 17:15 16:00 THE PREATURES 16:00 JENNIFER ROSTOCK 15:45 YOUNG REBEL SET THE SUBWAYS APOLOGIES, I HAVE NONE 18:00 16:00 MIDLAKE 18:00 18:00 16:15 16:30 FÜNF STERNE DELUXE PASSENGER 18:30 THE SOUNDS ANGUS & JULIA STONE 17:00 16:45 16:45 17:00 16:45 16:45 18:30 DONOTS AUGUSTINES DEAF HAVANA 17:00 MARCUS WIEBUSCH 19:00 FLOGGING MOLLY WE BUTTER THE BREAD WITH BUTTER WHITE LIES POLIÇA 19:15 17:30 19:15 18:00 18:00 17:45 CHVRCHES 18:00 BASTILLE 18:00 18:00 20:00 19:45 BOMBAY BICYCLE CLUB 19:45 BONAPARTE YOU ME AT SIX BROILERS THE ASTEROIDS GALAXY TOUR THE 1975 18:15 ELBOW 19:00 19:00 18:30 FRANZ FERDINAND 18:45 -
The Direct Action Politics of US Punk Collectives
DIY Democracy 23 DIY Democracy: The Direct Action Politics of U.S. Punk Collectives Dawson Barrett Somewhere between the distanced slogans and abstract calls to arms, we . discovered through Gilman a way to give our politics some application in our actual lives. Mike K., 924 Gilman Street One of the ideas behind ABC is breaking down the barriers between bands and people and making everyone equal. There is no Us and Them. Chris Boarts-Larson, ABC No Rio Kurt Cobain once told an interviewer, “punk rock should mean freedom.”1 The Nirvana singer was arguing that punk, as an idea, had the potential to tran- scend the boundaries of any particular sound or style, allowing musicians an enormous degree of artistic autonomy. But while punk music has often served as a platform for creative expression and symbolic protest, its libratory potential stems from a more fundamental source. Punk, at its core, is a form of direct action. Instead of petitioning the powerful for inclusion, the punk movement has built its own elaborate network of counter-institutions, including music venues, media, record labels, and distributors. These structures have operated most notably as cultural and economic alternatives to the corporate entertainment industry, and, as such, they should also be understood as sites of resistance to the privatizing 0026-3079/2013/5202-023$2.50/0 American Studies, 52:2 (2013): 23-42 23 24 Dawson Barrett agenda of neo-liberalism. For although certain elements of punk have occasion- ally proven marketable on a large scale, the movement itself has been an intense thirty-year struggle to maintain autonomous cultural spaces.2 When punk emerged in the mid-1970s, it quickly became a subject of in- terest to activists and scholars who saw in it the potential seeds of a new social movement. -
COMING out on JUNE 10, 2014 New Releases from TEEN AGERS • the ANGINA PECTORIS • DAS PROJEKT HELLECTRIFIED EXPOSURE VOL
COMING OUT ON JUNE 10, 2014 new releases from TEEN AGERS • THE ANGINA PECTORIS • DAS PROJEKT HELLECTRIFIED EXPOSURE VOL. 1 • MAN IS THE BASTARD KILLWHITNEYDEAD • THE ADOLESCENTS • FLYBOYS THE MIDDLE CLASS • CLITGORE • SCROTOCTOMY STAGES OF DECOMPOSITION • BITE • THE CROISSANTS HE WHO CANNOT BE NAMED • KEEP THEM GAGGIN’ SIEGE • FLAG OF DEMOCRACY Exclusively Distributed by TEEN AGERS I Hate It, LP STREET DATE: June 10th, 2014 INFORMATION: Artist Hometown: Orlando, FL Key Markets: Philadelphia, PA; Orlando, FL; New York, NY For Fans of: HOW DARE YOU, SAVES THE DAY, THE GET UP KIDS Erupting like a sonic Cthulhu from beneath the Florida swamps comes TEEN AGERS, the brainchild of four gentlemen, current and former members of HOW DARE YOU, GO RYDELL, PROTAGONIST, and DIRECT EFFECT. With plenty of melody to satisfy the crowd at your rad wine mixers and hearty helpings of riffage guaranteed to satiate your unresolved adolescent angst, TEEN AGERS are the result of an unstoppable force meeting an immovable object; just a bit slower, so as to not pull something. A product of blood, sweat, and icy-hot, TEEN AGERS’ initial offering I Hate It was recorded at The Moathouse in ARTIST: TEEN AGERS Gainesville by Roger Lima (LESS THAN JAKE) and mixed/mastered by Stephen Egerton. TITLE: I Hate It LABEL: Anchorless Records CAT#: ALR02301-1 MARKETING POINTS: FORMAT: LP GENRE: Indie/punk - Recorded and Produced by Roger Lima of LESS THAN JAKE BOX LOT: 40 - Mixed and Mastered by Stephen Egerton SRLP: $13.98 - Extensive US and European touring UPC: 616822010419 EXPORT: NO RESTRICTIONS - Festival Appearances - PR by Beartrap Media - Color Vinyl with Mp3 coupon! TRACK LIST: Also Available from ILD: 1. -
SUMMER 2020 COMPLY (Borg Feminism)
SUMMER 2020 COMPLY (Borg Feminism) COVER April Bey April Bey grew up in the Caribbean (New Providence, The Bahamas) and now resides and works in Los Angeles, CA as a contemporary visual artist and art educator. Bey’s interdisciplinary artwork is an introspective and social critique of American and Bahamian culture, contemporary pop culture, feminism, generational theory, social media, AfroFuturism, AfroSurrealism, post- colonialism and constructs of race within white supremacist systems. Proud of where she was able to afford an education, Bey received her BFA in drawing in 2009 from Ball State University and her MFA in painting in 2014 at California State University, Northridge. Bey is in the permanent collection of The California African American Museum, The National Art Gallery of The Bahamas and The Current, Baha Mar in Nassau, Bahamas. Bey has exhibited internationally in biennials NE7, NE8 and NE9 in The Bahamas. Bey has also exhibited internationally in Italy, Spain and Accra Ghana, West Africa. His work can be found at april-bey.com the oddville press Promotingthe oddville today’s press geniuses and tomorrow’s giants. 2 The Oddville Press • oddvillepress.com • Summer 2020 STAFF Publisher Mike Coombes Director J. Matthew McKern Managing editor–Poetry Sara Tantlinger Managing editor–Prose Simon Graeme Contributing editor D.B. Hanley Contributing editor Kristin Molnar Contributing editor Moira McCord Crooks Contributing editor Morgan Hazelwood Contributing editor Corey Niles DISCLAIMER For some reason, since the nineteenth century, it has been perfectly normal in Western culture to write about murder, violence, cannibalism, drug-taking and other terrifying experiences without putting in a disclaimer. -
It's Not a Fashion Statement
Gielis /1 MASTER THESIS NORTH AMERICAN STUDIES IT’S NOT A FASHION STATEMENT. AN EXPLORATION OF MASCULINITY AND FEMININITY IN CONTEMPORARY EMO MUSIC. Name of student: Claudia Gielis MA Thesis Advisor: Dr. M. Roza MA Thesis 2nd reader: Prof. Dr. F. Mehring Gielis /2 ENGELSE TAAL EN CULTUUR Teacher who will receive this document: Dr. M. Roza and Prof. Dr. F. Mehring Title of document: It’s Not a Fashion Statement. An exploration of Masculinity and Femininity in Contemporary Emo Music. Name of course: MA Thesis North American Studies Date of submission: 15 August 2018 The work submitted here is the sole responsibility of the undersigned, who has neither committed plagiarism nor colluded in its production. Signed Name of student: Claudia Gielis Gielis /3 Abstract Masculinity and femininity can be performed in many ways. The emo genre explores a variety of ways in which gender can be performed. Theories on gender, masculinity and femininity will be used to analyze both the lyrics and the music videos of these two bands, indicating how they perform gender lyrically and visually. Likewise a short introduction on emo music will be given, to gain a better understanding of the genre and the subculture. It will become clear that the emo subculture allows for men and women to explore their own identity. This is reflected in the music associated to the emo genre as well as their visual representation in their music videos. This essay will explore how both a male fronted band, My Chemical Romance, and a female fronted band, Paramore, perform gender. All studio albums and official music videos will be used to investigate how they have performed gender throughout their career. -
RAR Newsletter 120321.Indd
RIGHT ARM RESOURCE UPDATE JESSE BARNETT [email protected] (508) 238-5654 www.rightarmresource.com www.facebook.com/rightarmresource 3/21/2012 Joe Pug “The Great Despiser” The first single from the album of the same name, on your desk and going for adds on Monday! In stores April 24 Early adds at WNKU, WUMB and KLCC Features backing vocals from Craig Finn of The Hold Steady Great shows at SXSW! Extensive tour runs April 20 through June 6, many dates with David Wax Museum “Pug’s scorching poetry and soulful ‘every phrase could be my last’ voice will stop you cold.” - Paste The Mastersons “One Word More” The first single from their debut album Birds Fly South on New West Records, going for adds on Monday Added early at KUT, WKZE, WFIV and WNTI Single on your desk, full cd on the way now Killer at SXSW The Mastersons are husband and wife Chris Masterson and Eleanor Whitmore, who both play in Steve Earle’s band Album in stores 4/10 Upcoming tour: 3/23 Austin, 3/25 Houston, 4/9 NYC, 4/14 Ithaca (w/Rhett Miller), 4/19 Nashvillle... Chuck Ragan “Meet You In The Middle” The first single from his new album Covering Ground on SideOneDummy, in stores, on your desk and going for adds now Featuring vocals from Brian Fallon of Gaslight Anthem, and the album features Chris Thorn of Blind Melon & more Originally from punk rock’s Hot Water Music, this is Chuck’s third album as a solo musician Fantastic shows at SXSW Fronting The Revival Tour with Dan Andriano, Cory Branan, Nathaniel Rateliff & others, sponsored by Daytrotter and Paste Dar Williams “Summer Child” Sister Sparrow & The Dirty Birds “Make It Rain” FMQB #1 Most Added!! First week: WCLZ, WFUV, WDST, WMVY, WVMP, The first single from their new album Pound Of Dirt, in stores now WCNR, KPIG, WKZE, KNBA, WFIV.. -
Music 5364 Songs, 12.6 Days, 21.90 GB
Music 5364 songs, 12.6 days, 21.90 GB Name Album Artist Miseria Cantare- The Beginning Sing The Sorrow A.F.I. The Leaving Song Pt. 2 Sing The Sorrow A.F.I. Bleed Black Sing The Sorrow A.F.I. Silver and Cold Sing The Sorrow A.F.I. Dancing Through Sunday Sing The Sorrow A.F.I. Girl's Not Grey Sing The Sorrow A.F.I. Death of Seasons Sing The Sorrow A.F.I. The Great Disappointment Sing The Sorrow A.F.I. Paper Airplanes (Makeshift Wings) Sing The Sorrow A.F.I. This Celluloid Dream Sing The Sorrow A.F.I. The Leaving Song Sing The Sorrow A.F.I. But Home is Nowhere Sing The Sorrow A.F.I. Hurricane Of Pain Unknown A.L.F. The Weakness Of The Inn Unknown A.L.F. I In The Shadow Of A Thousa… Abigail Williams The World Beyond In The Shadow Of A Thousa… Abigail Williams Acolytes In The Shadow Of A Thousa… Abigail Williams A Thousand Suns In The Shadow Of A Thousa… Abigail Williams Into The Ashes In The Shadow Of A Thousa… Abigail Williams Smoke and Mirrors In The Shadow Of A Thousa… Abigail Williams A Semblance Of Life In The Shadow Of A Thousa… Abigail Williams Empyrean:Into The Cold Wastes In The Shadow Of A Thousa… Abigail Williams Floods In The Shadow Of A Thousa… Abigail Williams The Departure In The Shadow Of A Thousa… Abigail Williams From A Buried Heart Legend Abigail Williams Like Carrion Birds Legend Abigail Williams The Conqueror Wyrm Legend Abigail Williams Watchtower Legend Abigail Williams Procession Of The Aeons Legend Abigail Williams Evolution Of The Elohim Unknown Abigail Williams Forced Ingestion Of Binding Chemicals Unknown Abigail -
“Punk Rock Is My Religion”
“Punk Rock Is My Religion” An Exploration of Straight Edge punk as a Surrogate of Religion. Francis Elizabeth Stewart 1622049 Submitted in fulfilment of the doctoral dissertation requirements of the School of Language, Culture and Religion at the University of Stirling. 2011 Supervisors: Dr Andrew Hass Dr Alison Jasper 1 Acknowledgements A debt of acknowledgement is owned to a number of individuals and companies within both of the two fields of study – academia and the hardcore punk and Straight Edge scenes. Supervisory acknowledgement: Dr Andrew Hass, Dr Alison Jasper. In addition staff and others who read chapters, pieces of work and papers, and commented, discussed or made suggestions: Dr Timothy Fitzgerald, Dr Michael Marten, Dr Ward Blanton and Dr Janet Wordley. Financial acknowledgement: Dr William Marshall and the SLCR, The Panacea Society, AHRC, BSA and SOCREL. J & C Wordley, I & K Stewart, J & E Stewart. Research acknowledgement: Emily Buningham @ ‘England’s Dreaming’ archive, Liverpool John Moore University. Philip Leach @ Media archive for central England. AHRC funded ‘Using Moving Archives in Academic Research’ course 2008 – 2009. The 924 Gilman Street Project in Berkeley CA. Interview acknowledgement: Lauren Stewart, Chloe Erdmann, Nathan Cohen, Shane Becker, Philip Johnston, Alan Stewart, N8xxx, and xEricx for all your help in finding willing participants and arranging interviews. A huge acknowledgement of gratitude to all who took part in interviews, giving of their time, ideas and self so willingly, it will not be forgotten. Acknowledgement and thanks are also given to Judy and Loanne for their welcome in a new country, providing me with a home and showing me around the Bay Area. -
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. -
NME, Going Underground
GOING UNDERGROUND Sonic Bouncing Souls Boom Six Alexisonfire Streetlight GOING Manifesto PLAYING AT A Wilhelm Scream UNDER- Frank Turner Anti-Flag GROUNDThis year’s Reading and Leeds sites are packed with balls off. Replete with buzzsaw guitars and neck- snapping drums this Exeter foursome care not for amazing punk rock. Ben Patashnik from NME.COM’s such minor conceits as the time of their billing (probably somewhere around the time much of the ‘Notes From The Underground’ picks out 10 highlights festival vomits themselves awake) because they know they are a truly fearsome alarm clock in punk entire weekend. Far less cheesy than Mad Caddies vicious chaos later the same day on the Lock Up, ot only has punk rock – both homegrown 2 A WILHELM SCREAM rock form. Here’s a tip: just stay up from the night (who are on the same stage on Saturday at Reading/ but throughout both there’ll be the feeling that if the AFI and imported – never been better When you talk of intensity, of violent music being before to ensure you don’t miss them. But don’t Friday at Leeds), go see them if you like deeply noir entire world was run through the democratisation represented at Reading and Leeds, but used intelligently and crafted symphonically, and of blame us if you die from fatigue immediately after. storytelling set to a rich, cinematic soundtrack; avoid of circle pits it’d be a much better place. the quality’s equally high. So with that live shows being ecstatic celebrations of something Opening Lock Up Stage, Saturday Reading/ if you’re scared of telling your friends you like bands Main Stage/Lock Up Stage, Friday Reading/ and social relevance into the faces of festival-goers in mind, we thought it’d be a crime to powerfully nameless, you talk of A Wilhelm Scream. -
Uniter Fiver H C E D
Free. Weekly. 5 December 14 // Issue 68 // Volume Weekly. Free. THE UNITER 30 We AsKeD, You VoTeD. cHECK ouT Your FAVourITe WINNIPeG THINGs oF 2013 IN our reADers Poll! WANNA geT YOUR Music heard in 2014? ENTer The Uniter Fiver The official s TudenT newspaper of The universiTy of winnipeg CUT AND SAVE. TAKE A LOOK AT WHAT IS COMING UP... DON’T MISS A DATE. THIS MONTH AT THE PARK THEATRE 698 OSBORNE ST. / 1 204 478 7275 / PARKTHEATRECAFE.COM FIND US ON CUT OUT THIS TAB AND BRING IT TO THE PARK THEATRE TO GET TICKETS TO THIS SHOW FOR $7 / DEAL ENDS DECEMBER 9 PROUDLY SERVING MANITOBAN CRAFT BEER Tickets to these events and others can be purchased at: The Park Theatre, Music Trader, & Ticketbreak.com/ParkTheatre THe uNITer // December 5, 2013 03 THE UNITER 30 This year we asked you to vote for your favourite Winnipeg things. The categories are based around topics that we cover, combined with what we think our readers are into - music, theatre, fashion, radio, visual arts, photography, comedy, blogging, podcast- ing, foods and beverages, intimate moments, sports, body modification, film, politics and events that happen around our home base at the University of Winnipeg. There’s a decent variety of people, events and places that represent what is great about our city. No chain restaurants, no people that spent only two weeks liv- ing here before moving to Hollywood and only a few silly categories here - but mostly, just pure, home- grown goodness. This is also our last issue of the year, so take a look for our contributor’s top ten lists! Lists are fun. -
Leila El Bashir Serious Listeners of Music Often Talk About Their Favorite Songs and Bands in Terms of Their Favorite Genres, Ho
THE DEATH OF PUNK: REINCARNATION OF A DEAD GENRE Leila El Bashir Serious listeners of music often talk about their favorite songs and bands in terms of their favorite genres, however, most listeners do not have a clear conception of what it means for a piece of music to be categorized in a specific genre. Genre is a form of classification that most people correlate strictly with musical style, that is, the way a song sounds. People do not realize that genres today are becoming more like artificial categories defined by the music industry and popular culture to commodify and commercialize music. This popular culture can be summed up to what Theodor Adorno and Max Horkheimer, in The Culture Industry: Enlightenment as Mass Deception, terms the culture industry. They suggest that culture and its products, such as music, are being commodified and that culture as a common denominator already contains in its embryo that schematisation and process of cataloguing and classification which bring culture within the sphere of administration (7). In this way, genres can be viewed as a branch of the culture industry, being a form of classification that can be managed by culture administration. Therefore, one can see how culture and genre interact. Furthermore, David Brackett in his article, Musical meaning: genres, categories, and crossover, suggests how genres are more than musical style: Genres bring with them connotations about music and identity which may encode specific affective qualities such as conformity, rebelliousness, commercialism, selling out, art for arts sake; and may encode a whole variety of social characteristics (66).