Nirvana Complete BBC Sessions Mp3, Flac, Wma
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Nirvana W Latach 80
seria Z WEHIKUŁEM, tom I: 80s AGAIN! MONOGRAFIA POŚWIĘCONA LATOM 80. XX WIEKU redakcja: Aneta Jabłońska i Mariusz Koryciński Pewne prawa zastrzeżone | Klub Filmowy im. Jolanty Słobodzian | Warszawa 2017 ISBN (wersja elektroniczna): 978-83-64111-79-2 ISBN (wersja drukowana): 978-83-64111-75-4 ABSTRAKT | Paweł Jaskulski w artykule Początki nicości. Nirvana w latach 80. opisuje mniej znany okres istnienia Nirvany. Wprowadzając w tematykę, zastanawia się nad recepcją muzyki rockowej, postrzeganej przez niektórych jako gorszy rodzaj sztuki; przedstawia także narodziny grunge’u – nurtu, który powstał w Stanach Zjednoczonych właśnie w latach 80. XX wieku. Zarysowuje również historię pierwszych – przygotowywanych w chałupniczych warunkach – sesji nagraniowych; genezę debiutanckiej płyty oraz ulubione piosenki Kurta Cobaina. Jaskulski analizuje następnie dokonania Cobaina i Krisa Novoselica z tamtej dekady, wyróżniając następujące obszary refleksji: strategię związaną z nazewnictwem utworów zespołu, sposób kontaktu zespołu z jego odbiorcami oraz autokreację lidera grupy. Pojawia się także wątek płyty Nevermind, pochodzącej wprawdzie z 1991 roku, stanowiącej jednak podsumowanie działalności zespołu z poprzedniej dekady. Paweł Jaskulski [email protected] doktorant na Wydziale Polonistyki Uniwersytetu Warszawskiego, gdzie prowadzi zajęcia o kinie. Współredaktor interaktywnego tomu Różne oblicza edukacji audiowizualnej. Autor rozdziałów w monografiach Kultura rocka. Twórcy-tematy-motywy (2); NieZwykłe inspiracje spoza kadru oraz Różne oblicza edukacji audiowizualnej. Publikował na łamach m.in. „Twórczości”, „Odry”, „Nowego Folderu” oraz portali historia.org.pl i publica.pl. Współorganizator konferencji ogólnopolskich („O poprawie polskiego kina”) i międzynarodowych („Edukacja audiowizualna i medialna w Polsce i świecie”); współrealizator kursu „Jak przygotować projekt filmu dokumentalnego?”. Należy do Polskiego Towarzystwa Badań nad Filmem i Mediami. Klub Filmowy im. Jolanty Słobodzian powstał, aby upamiętnić polską reżyserkę i niestrudzoną edukatorkę filmową. -
Krist Novoselic
OVERNMENT G & E GRUNG KRIST NOVOSELIC THE ORAL HISTORY OF A WASHINGTON ROCKER WITH A CIVIC MISSION LEGACY PROJECT History through the people who lived it Krist Novoselic Research by John Hughes and Lori Larson Transcripti on by Lori Larson Interviews by John Hughes October 14, 2008 John Hughes: This is October 14, 2008. I’m John Hughes, Chief Oral Historian for the Washington State Legacy Project, with the Offi ce of the Secretary of State. We’re in Deep River, Wash., at the home of Krist Novoselic, a 1984 graduate of Aberdeen High School; a founding member of the band Nirvana with his good friend Kurt Cobain; politi cal acti vist, chairman of the Wahkiakum County Democrati c Party, author, fi lmmaker, photographer, blogger, part-ti me radio host, While doing reseach at the State Archives in 2005, Novoselic volunteer disc jockey, worthy master of the Grays points to Grays River in Wahkiakum County, where he lives. Courtesy Washington State Archives River Grange, gentleman farmer, private pilot, former commercial painter, ex-fast food worker, proud son of Croati a, and an amateur Volkswagen mechanic. Does that prett y well cover it, Krist? Novoselic: And chairman of FairVote to change our democracy. Hughes: You know if you ever decide to run for politi cal offi ce, your life is prett y much an open book. And half of it’s on YouTube, like when you tried for the Guinness Book of World Records bass toss on stage with Nirvana and it hits you on the head, and then Kurt (Cobain) kicked you in the butt . -
Nirvana & the Sound of Seattle
"Я здесь, с вами, чтобы забрать вас с собой прямо в Нирвану" Биография Курта Кобейна. ~Nirvana & The Sound Of Seattle~ http://www.kurtcobain.ru [email protected] ПРЕДИСЛОВИЕ В 1990 году ни один из рок-альбомов в Соединенных Штатах не вышел на первое место, что дало повод специалистам заговорить о конце эры рока. Музыкальная аудитория была к этому времени тщательно классифицирована руководителями радиопрограмм в соответствии с демографическими данными, и казалось маловероятным, что рок-фэны смогут объединиться вокруг какого-нибудь одного диска в достаточно большом количестве, чтобы вывести его на первые места в чартах. Дегенерация рока в выхолощенный и рафинированный мнимый бунт привела к тому, что его место заняли такие жанры, как кантри и рэп, непосредственно обращавшиеся к настроениям и заботам масс. И хотя в 1991 году на первое место вышли несколько рок-альбомов, лишь Nevermind объединил аудиторию, которая до этого никогда не была единой - десяти-двадцатилетних. Устав от набивших оскомину ветеранов вроде GENESIS и Эрика Клэптона или искусственных созданий вроде Полы Абдул и MILLI VANILLI, тинэйджеры нуждались в собственной музыке. Такой, которая бы выражала то, что они чувствуют. Они уже догадывались, что стали первым поколением в истории Америки, лишенным надежды на лучшую жизнь в сравнении с жизнью своих родителей, поколением, первые сексуальные опыты которого были омрачены угрозой СПИДа, а детство прошло в страхе перед призраком ядерной войны. Они не чувствовали в себе сил, чтобы бороться с враждебным окружением и вынести атмосферу сексуального и культурного подавления, насаждаемого режимами Рейгана и Буша. Перед лицом всего этого они ощущали себя беспомощными и безгласными. В 80- е годы многие музыканты выражали недовольство политической и социальной несправедливостью, однако большинство из них, такие как Дон Хенли, Брюс Спрингстин и Стинг, являлись представителями старшего поколения. -
AND YOU WILL KNOW US Mistakes & Regrets .1-2-5 What
... AND YOU WILL KNOW US Mistakes & Regrets .1-2-5 What You Don't Know 10 COMMANDMENTS Not True 1989 100 FLOWERS The Long Arm Of The Social Sciences 100 FLOWERS The Long Arm Of The Social Sciences 100 WATT SMILE Miss You 15 MINUTES Last Chance For You 16 HORSEPOWER 16 Horsepower A&M 540 436 2 CD D 1995 16 HORSEPOWER Sackcloth'n'Ashes PREMAX' TAPESLEEVES PTS 0198 MC A 1996 16 HORSEPOWER Low Estate PREMAX' TAPESLEEVES PTS 0198 MC A 1997 16 HORSEPOWER Clogger 16 HORSEPOWER Cinder Alley 4 PROMILLE Alte Schule 45 GRAVE Insurance From God 45 GRAVE School's Out 4-SKINS One Law For Them 64 SPIDERS Bulemic Saturday 198? 64 SPIDERS There Ain't 198? 99 TALES Baby Out Of Jail A GLOBAL THREAT Cut Ups A GUY CALLED GERALD Humanity A GUY CALLED GERALD Humanity (Funkstörung Remix) A SUBTLE PLAGUE First Street Blues 1997 A SUBTLE PLAGUE Might As Well Get Juiced A SUBTLE PLAGUE Hey Cop A-10 Massive At The Blind School AC 001 12" I 1987 A-10 Bad Karma 1988 AARDVARKS You're My Loving Way AARON NEVILLE Tell It Like It Is ABBA Ring Ring/Rock'n Roll Band POLYDOR 2041 422 7" D 1973 ABBA Waterloo (Swedish version)/Watch Out POLYDOR 2040 117 7" A 1974 ABDELLI Adarghal (The Blind In Spirit) A-BONES Music Minus Five NORTON ED-233 12" US 1993 A-BONES You Can't Beat It ABRISS WEST Kapitalismus tötet ABSOLUTE GREY No Man's Land 1986 ABSOLUTE GREY Broken Promise STRANGE WAYS WAY 101 CD D 1995 ABSOLUTE ZEROS Don't Cry ABSTÜRZENDE BRIEFTAUBEN Das Kriegen Wir schon Hin AU-WEIA SYSTEM 001 12" D 1986 ABSTÜRZENDE BRIEFTAUBEN We Break Together BUCKEL 002 12" D 1987 ABSTÜRZENDE -
Nirvana Over the Rainbow Mp3, Flac, Wma
Nirvana Over The Rainbow mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Over The Rainbow Released: 1996 Style: Grunge MP3 version RAR size: 1105 mb FLAC version RAR size: 1898 mb WMA version RAR size: 1223 mb Rating: 4.8 Votes: 380 Other Formats: VOC AHX MOD DTS VOX APE DXD Tracklist 1 Scoff 4:27 2 Love Buzz 4:55 3 Floyd The Barber 2:13 4 Dive 5:17 5 Polly 3:01 6 Big Cheese 3:39 7 Spank Thru 3:37 8 About A Girl 3:11 9 Token Eastern Song 4:34 10 Mr. Moustache 3:22 11 Negative Creep 3:10 12 Blew 3:09 13 Sappy 3:21 14 Breed 5:02 15 Been A Son 2:10 16 Help Me 3:25 17 Aneurysm 4:30 18 School 2:33 19 Smells Like Teen Spirit 4:48 Companies, etc. Recorded At – Edwards, Birmingham Notes Edward's No. 8 - Birmingham United Kingdom 10-29-89 **The 10-12-89 performance is cloned from the disc "Wired" This is a solid show... Too bad the disc is missing the first track "School" and the Stain Jam that is between "Mr. Moustache" & "Negative Creep." The sound is an above average audience recording and includes a great performance of the unreleased "Token Eastern Song". Instead of including the 12-3-89 show from "Wired" as well, this disc has various live tracks as filler. The inlay makes no indication of what other show(s) is/are on this disc. "Over the Rainbow" would have been much better if they had just cloned the entire "Wired" disc instead of replacing the second incomplete show with various live tracks. -
Current, December 05, 2005
University of Missouri, St. Louis IRL @ UMSL Current (2000s) Student Newspapers 12-5-2005 Current, December 05, 2005 University of Missouri-St. Louis Follow this and additional works at: https://irl.umsl.edu/current2000s Recommended Citation University of Missouri-St. Louis, "Current, December 05, 2005" (2005). Current (2000s). 275. https://irl.umsl.edu/current2000s/275 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 (2000s) by an authorized administrator of IRL @ UMSL. For more information, please contact [email protected]. VOLUME 38 Dec. 5, 2005 ree for campus news and information See page 6 Checking in on Gulf Coast students lHECURRENTONUNE.COM ....iiiiiiiiii ...................................... ~ .................... .......................... UN~RSnvOF M~URI -S1 IDU~ Buduet cuts loom -n2001 BY PAUL HACKBARTH versities . and colleges. "A reduction of .......... " .... - --_._._ ... _._-- ...- ...... over $100 million could eliminate the News Editor entire state funding for all of the two year institutions or over half of the four All higher education institutions in year institutions," Floyd wrote. Missouri, including UM-St Louis, are George said UM-SL Louis has not looking at what possible lO to 12 per looked at how budget cuts would affect cent reductions to their budgets could specific departments or faculty, but mean for the 2IJJ7 fiscal year. Floyd outlined that approximately 76 After the Missouri Office of percent of the UM system's budget is Administration requested these scenar spent on "personal service expenditures ios, in addition to the Coordinating for our faculty and staff positions." Board for Higher Education's response "A cut of lO Percent to 12 percent for two- and fuur-year institutions, the ($38.9 to $46.7 million) would result in University of Missouri responded, too, a reduction of$29.5 to $35.5 million in with similar results. -
Bruises on the Fruit
ruises onon thethe fruitfruit B A BRIEF HISTORY OF NIRVANA & THE EVOLUTION OF THEIR MUSIC by Gary Vehar From the moment Nirvana’s landmark CD Nevermind was released, the world of rock music has never been the same. I for one will always be thankful that that album came out when it did, slightly over a week before my eighteenth birthday. I was a still-wet-behind-the-ears college freshman, away from home for the first time. Just as my life was changing drastically, so was the culture. Music, politics, fashion and art underwent an enormous change as the 90’s sloughed off the last vestiges of the 80’s. Concealed as I was in the quiet town of Ellensburg, Washington, within the tiny confines of my third-floor door room, it was the change in musical guard that first caught my attention. Friends from Seattle regularly brought over dubbed tapes to share with those of us here in college, and among one batch was an advance tape for a band called Nirvana. Nevermind was already causing excitement before its official release of September 24th, 1991. Leaving my friends for the night, I couldn’t get the songs, the sounds, out of my head. About a week later I was in yet another dorm room, listening to a brutish lout rave about the same album. Even at this early date it was obvious Nirvana was crossing all boundaries, even if the fellow who owned this copy (the real CD, this time) made fun of the over-the-top screams that so captivated me. -
Dark Slivers: Seeing Nirvana in the Shards of Incesticide First Published in Great Britain in 2012 by Running Water Publications, London
Dark Slivers: Seeing Nirvana in the Shards of Incesticide First published in Great Britain in 2012 by Running Water Publications, London Printed and bound by BookPrintingUK, Peterborough The right of Nick Soulsby to be identified as author of this work has been asserted under the Copyright, Designs and Patents Act, 1988. © Nick Soulsby, 2012 This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. This work is not an official Nirvana publication. The views expressed here are entirely those of the author. Design and cover artwork by Maureen Johnson Cover Photo by NAS ISBN 9780954471866 Having pointed out the increasing isolation found within Kurt Cobain’s lyrics, a further method of drawing out that aspect is to examine the wider world featured within Nirvana’s music. Despite labored attempts to tag grunge as an organic by-product of the isolated forests of the American north-west, there’s no causal link between heavy rock based music forms and the landscape. Man may draw inspiration from his landscape but songs do not simply arise from the soils. What is logical, however, is to tie the formative experiences of individual musicians to aspects of the communities and environments in which they grow. Yet what is striking in the music of Nirvana is the absence of a world outside the front door—it would almost be possible to call it a non-theme, it’s so little a part of what Cobain wrote about. -
80S AGAIN! a MONOGRAPH on the 1980S
80s AGAIN! A MONOGRAPH ON THE 1980s 80s AGAIN! A MONOGRAPH ON THE 1980s edited by Aneta Jabłońska Mariusz Koryciński translated by Jacek Wełniak Agnieszka Piskorska JOLANTA SŁOBODZIAN FILM CLUB WARSAW 2018 „THE TIME MACHINE SERIES”, Volume I: 80s Again! Academic review: Paweł Tański Academic edition: Aneta Jabłońska, Mariusz Koryciński Translation: Jacek Wełniak, Agnieszka Piskorska Copy-editing: Dan Sax, Paulina Plata Cover project and logotype of the Time Machine Series: Stefan M. Ronisz Picture of the sky on the cover: Paweł Gołąb Typesetting and text makeup: Joanna Poroś-Głuchowska The publication is financed from the funds of the Faculty of Polish Studies of the University of War- saw and the Institute of Applied Polish Studies of the University of Warsaw. Indexing: 1. Cinema 2. Literature 3. History I „THE TIME MACHINE SERIES” II. 80s Again! III. Jabłońska, Aneta, Koryciński, Mariusz First digital edition (referential) ISBN: 978-83-64111-83-9 Warsaw 2018 Publisher: Klub Filmowy im. Jolanty Słobodzian, Uniwersytet Warszawski Krakowskie Przedmieście 26/28, 00-927 Warszawa [email protected], facebook.com/klubslobodzian Some rights reserved. Open access publication under Creative Commons BY 4.0 license (recognition of authorship). The publication’s contents and graph- ics may be cited in non-commercial and educational compositions. When cit- ing, it is necessary to provide both the names of the composition’s author, and the names of the whole volume’s editors. Printing and cover: Zakład Graficzny UW, order: 1089/2016 TABLE OF CONTENTS -
New Ape Idea Daniel Sohval
Vassar College Digital Window @ Vassar Senior Capstone Projects 2013 New Ape Idea Daniel Sohval Follow this and additional works at: http://digitalwindow.vassar.edu/senior_capstone Recommended Citation Sohval, Daniel, "New Ape Idea" (2013). Senior Capstone Projects. 207. http://digitalwindow.vassar.edu/senior_capstone/207 This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. New Ape Idea By Daniel Sohval Reader: Peter Antelyes Table of Contents PROLOGUE 2 0.1.0 — PALEO 3 PART I 8 1.1.0 — VAN 9 1.2.0—HIJACK 16 1.3.0—FRACTAL 22 1.4.0—WARD 33 1.5.0—CYBERPUNK 39 1.6.0—MEADOWLANDS 51 1.7.0—EMAIL 58 1.8.0—PUS 63 1.9.0—SHEBODY 66 1.10.0—DOJO 74 1.11.1—SHANNON 80 1.11.2—MOSH 93 PART II 102 2.1.0—ADULATION 103 2.2.0—SETS 106 2.3.0—INVITATION 110 2.4.0—ATTRACTOR 119 2.5.0—MOSH II 133 2.6.0 —DRIVE 148 2.7.0—MOSH III 166 PART III 174 3.1.0—BODY 174 APPENDIX 181 THE AESTHETIC SCIENCE , OR HOW I LEARNED TO STOP WORRYING AND LOVE SCIENCE FICTION 182 WITTGENSTEIN ’S (E YE /I) 186 A STRANGE ATTRACTION TOWARDS NARRATIVE 196 WORKS CITED 204 2 Prologue “Now and again one happens to hear certain music in one’s head, however.” — David Markson, Wittgenstein’s Mistress “I can’t explain just why we lost it from the start.” —Fecal Matter, Spank Thru 3 0.1.0 — Paleo Why a gym would have a Nietzsche quote on the wall is a mystery to Bruce Zfdel. -
Viewmirror”..…………………………………………..……..………………1
“Who said don’t look back?/ Don’t believe ‘em” - Devo, “Turnaround” Later covered by Nirvana University of Alberta This is Not For You: The Rise and Fall of Music Milieux in Seattle and the Pacific Northwest, 1950s -1990s by Rylan Kristopher Kafara A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts in History Department of History and Classics ©Rylan Kafara Spring, 2012 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. This one goes out to my family. Thanks for the support when I walked off to look for America. It is also dedicated to the memory of my father. Abstract When Nirvana found sudden commercial success with the song “Smells Like Teen Spirit” in 1991, the music industry’s attention became focused on Seattle for the first time. The city, however, had a rich musical tradition going back decades. This thesis examines the rise and fall of music communities in Seattle and the Pacific Northwest from the 1950s to the 1990s: the jazz mileu in Seattle in the 1950s, the Pacific Northwest garage rock network of the 1960s, and the alternative music community of the 1980s and early 1990s. -
Cobain Article by Chris Leadbeater
Seattle: Seeking Nirvana Twenty years ago today, the release of the album Nevermind defined the new Seattle sound. But beyond the tragic tale of Kurt Cobain, the city and its surroundings have plenty to lure visitors. By Chris Leadbeater Saturday, 24 September 2011 The boy on the corner of Pike Place and Pine Street knows his music history. Perhaps 13 years old – 14 at most – he cannot have been alive when the man printed on his chest died. Yet even on this dank Washington State morning – rain drifting in from the Pacific; tourists ambling down the slope, aiming for the clutter and coffee of Pike Place Market – the face on the T-shirt still fits. Kohl-eyed, stubble-cheeked, wearing a quietly pained expression, it is an image that became ubiquitous – but whose fame grew and swelled here in Seattle. Two decades ago, Kurt Cobain gazed out from more than items of teenage clothing. He peered at the globe from magazine covers, TV screens, glossy posters and the stages of vast venues. And his arrival was swift. One minute, the world knew nothing of Nirvana. The next, they were everywhere, the planet’s biggest band, their ascent powered by their photogenic frontman – and the rowdy anthems he crafted behind his lank fringe. Their coming to the fore in 1991 altered the musical landscape. True, Nirvana’s style was heavily indebted to the punk scene of the late Seventies, but in his combining of sonic power – slashes of guitar, bass-heavy rhythms and vocal aggression – with pop hooks of sometimes Beatles-esque melody, Cobain was the instigator of something thrillingly new.