History of the Quechee Inn at Marshland Farm
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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 -
Punk: Music, History, Sub/Culture Indicate If Seminar And/Or Writing II Course
MUSIC HISTORY 13 PAGE 1 of 14 MUSIC HISTORY 13 General Education Course Information Sheet Please submit this sheet for each proposed course Department & Course Number Music History 13 Course Title Punk: Music, History, Sub/Culture Indicate if Seminar and/or Writing II course 1 Check the recommended GE foundation area(s) and subgroups(s) for this course Foundations of the Arts and Humanities • Literary and Cultural Analysis • Philosophic and Linguistic Analysis • Visual and Performance Arts Analysis and Practice x Foundations of Society and Culture • Historical Analysis • Social Analysis x Foundations of Scientific Inquiry • Physical Science With Laboratory or Demonstration Component must be 5 units (or more) • Life Science With Laboratory or Demonstration Component must be 5 units (or more) 2. Briefly describe the rationale for assignment to foundation area(s) and subgroup(s) chosen. This course falls into social analysis and visual and performance arts analysis and practice because it shows how punk, as a subculture, has influenced alternative economic practices, led to political mobilization, and challenged social norms. This course situates the activity of listening to punk music in its broader cultural ideologies, such as the DIY (do-it-yourself) ideal, which includes nontraditional musical pedagogy and composition, cooperatively owned performance venues, and underground distribution and circulation practices. Students learn to analyze punk subculture as an alternative social formation and how punk productions confront and are times co-opted by capitalistic logic and normative economic, political and social arrangements. 3. "List faculty member(s) who will serve as instructor (give academic rank): Jessica Schwartz, Assistant Professor Do you intend to use graduate student instructors (TAs) in this course? Yes x No If yes, please indicate the number of TAs 2 4. -
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. -
Peace Punks and Punks Against Racism: Resource Mobilization and Frame Construction in the Punk Movement
Music and Arts in Action | Volume 2 | Issue 1 PEACE PUNKS AND PUNKS AGAINST RACISM: RESOURCE MOBILIZATION AND FRAME CONSTRUCTION IN THE PUNK MOVEMENT MIKE ROBERTS & RYAN MOORE Department of Sociology | San Diego State University | USA* Department of Sociology | Florida Atlantic University | USA ABSTRACT In recent years, scholars have begun to attend to the gap in our understanding of the relationship between music and social movements. One such example is Corte’s and Edwards’ “White Power Music and the Mobilization of Racist Social Movements.” Our research shares the perspective of Corte and Edwards (2008) which emphasizes the centrality of music to social movement organizations, especially in terms of resource mobilization, but rather than look at how punk music was used as an instrument by an external social movement like the White Power movement, we look at how punks themselves joined social movements and altered the dynamics of the movements they joined. We also provide examples of punk involvement in left wing social movements to emphasize the indeterminate nature of punk politics. We examine two such cases: the Rock Against Racism movement in the U.K., and the Peace movement in the U.S. In both cases, punks made use of their independent media as a means to provide an infrastructure for mobilization of resources to sustain the punks’ involvement in these social movements and the unique framing provided by punks, which altered the dynamic of the movements they joined. What makes punk an interesting case is that the “do-it-yourself” ethic of independent media construction that was at the centre of the punk movement made it possible for punks to make connections to various other social movements as well as alter the dynamics of those social movements. -
The Top of the Poppers Sing and Play Punk
Title The Top of the Poppers sing and play punk Type Article URL https://ualresearchonline.arts.ac.uk/id/eprint/14980/ Dat e 2 0 1 9 Citation Bestley, Russ (2019) The Top of the Poppers sing and play punk. Punk & Post Punk, 8 (3). pp. 399-421. ISSN 2044 1 9 8 3 Cr e a to rs Bestley, Russ Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author The Top of the Poppers sing and play punk Russ Bestley, London College of Communication By the mid-1970s, the music industry had a long history of accommodating and recuperating teenage rebellion, and punk’s defiant message of radical change also offered new opportunities for commercial enterprise. A rush to sign new bands who could be (broadly) associated with punk, and the concomitant shift toward ‘new wave’ styles, led to a degree of UK chart success for a number of groups. The inclusion of punk and new wave songs on a series of low-budget compilations featuring cover versions of contemporary hits strikes a particularly discordant tone with punk’s self-styled image of a break with traditional music industry conventions. The albums released on the longstanding budget compilation series Top of the Pops between mid-1977 and early 1982 tell an interesting story about the cultural recuperation of punk, new wave and post-punk, and ask questions, perhaps, about the legitimacy of punk’s often mythologised ‘outsider status’. -
This Interview with Jeff Williams Was Conducted Via E-Mail, AUG 25Th 2000.It Originally Appeared in the Book for the 217 Represent Compilation
This interview with Jeff Williams was conducted via e-mail, AUG 25th 2000.It originally appeared in the book for the 217 Represent Compilation. (photos by Corey Howell) EKNB:How did you get involved in the punk movement? JW: I remember watching t.v. with my brother [Bruce] in 1979 and there was a show on about punk rock. The show was trying to make that sort of thing look bad and that parents should be afraid of the punk rock and stear your kids clear. But it didn't seem scary or bad to us. Bruce and I didn't know much about it but we thought the music was different and good and raw... we were young and knew of NOBODY else who liked that sort of thing, but it was fascinating. Then we saw Devo on Saturday Night Live. We skated, and our mom subscribed SKATEBOARDER MAGAZINE for us AND THAT DID IT. Any hope for us becoming part of the classic rock scene [which dominated Central Illinois with a near death grip hold, as you can well imagine]..... went out the window.We went to APPLETREE RECORDS with Gary Swaggerty and met this guy, Larry[who was old enough to actually work there!]...and we told him what we liked.... and he would order it for us.So around 1980, we started listening to the likes of THE DAMNED, THE DICKIES, DEAD KENNEDYS, THE BUZZCOCKS, STIFF LITTLE FINGERS, ELVIS COSTELLO,DEVO, DEAD BOYS, THE CLASH.Then Bruce started ordering vinyl direct from labels like SST, X-CLAIM and DISCHORD, bands like MINOR THREAT, 00, SCREAM, VOID, FAITH... -
Punk Record Labels and the Struggle for Autonomy 08 047 (01) FM.Qxd 2/4/08 3:31 PM Page Ii
08_047 (01) FM.qxd 2/4/08 3:31 PM Page i Punk Record Labels and the Struggle for Autonomy 08_047 (01) FM.qxd 2/4/08 3:31 PM Page ii Critical Media Studies Series Editor Andrew Calabrese, University of Colorado This series covers a broad range of critical research and theory about media in the modern world. It includes work about the changing structures of the media, focusing particularly on work about the political and economic forces and social relations which shape and are shaped by media institutions, struc- tural changes in policy formation and enforcement, technological transfor- mations in the means of communication, and the relationships of all these to public and private cultures worldwide. Historical research about the media and intellectual histories pertaining to media research and theory are partic- ularly welcome. Emphasizing the role of social and political theory for in- forming and shaping research about communications media, Critical Media Studies addresses the politics of media institutions at national, subnational, and transnational levels. The series is also interested in short, synthetic texts on key thinkers and concepts in critical media studies. Titles in the series Governing European Communications: From Unification to Coordination by Maria Michalis Knowledge Workers in the Information Society edited by Catherine McKercher and Vincent Mosco Punk Record Labels and the Struggle for Autonomy: The Emergence of DIY by Alan O’Connor 08_047 (01) FM.qxd 2/4/08 3:31 PM Page iii Punk Record Labels and the Struggle for Autonomy The Emergence of DIY Alan O’Connor LEXINGTON BOOKS A division of ROWMAN & LITTLEFIELD PUBLISHERS, INC. -
* Inside: the Brat 'The Hunger 'Valley Girl ' Sparks Heaven 17
é ^ T ? * inside: The Brat 'The Hunger 'Valley Girl ' Sparks Heaven 17 2A Thursday, May 5,1963 Daily Nexus Lighthearted Romp Through the Valley 'The Hunger' By JOHN KRIST brains) saunters up to Julie, who gives him the bad news. Shakespeare would, like, be totally grossed out. “ Like, I’m just totally not in love with you anymore.” A Visual Feast Although the beginning of the film is somewhat less than Then again, if he had lived and written in Los Angeles, By JONATHAN ALBURGER auspicious, things pick up a bit when Randy (Nicolas Cage) perhaps he would have cast a punker from “ Hollywierd” If a film can be voluptuous, then The Hunger is a sexy enters the scene. Dragged to a party by his best friend, who and a princess from the San Fernando Valley in the roles of visual feast. It is a glossy, campy, high-chic movie Romeo and Juliet. Either way, the Bard’s timeless story of overheard the address while at the beach, he puts on his fashioned around gorgeous star personalities, tauntingly adolescent love has found new expression in the unlikely best evening dress and crashes the party. tailored and voguely coiffed, who vamp through scene after The two of them are greeted by a strange sight — a form of Valley Girl, a genuinely funny and lighthearted scene with all the cliche affectations you would associate milling crowd of valley clones drinking soft drinks, dancing romantic romp through the Southern California subculture. with their names. Julie (Deborah Foreman) is an angel with a charge gingerly lest they muss their hair, and eating sushi. -
Send Cash, Checks, Or Money Orders Made Payable to “MUTANT POP RECORDS.” QTY
It’s the incredible free! MutantMutant PopPop AE Mailorder Catalog http://members.aol.com/mutantpop/ After a humongo delay MP-35 THE CHUBBIES “She Wanted More” is finally on the street... Thanks very much for your patience! It was my fault all the way, I dragged my tail and dragged my tail again, no excuses. Anyway, it’s finally time for us to savor two more blasts of Jeannette the King’s power-pop magic—the title track roars and purrs with a growling guitar and sultry vocals, the classic CHUBBIES formula. It’s very fine! We all know that female-fronted power pop is outside of Maximum Rocknroll’s area of coverage these days (whereas boys can go as wussy as they wanna and still draw a review!) but that doesn’t mean you should be ignoring this sub-genre of the pop-punk world or this band in particular. Jeannette Chubbie simply must be counted among the relatively small number of first rank songwriters of the current period. She is that talented! While Jeannette’s guitar work punches hard, The King’s lyrics tend towards the smart and artistic. I’d no sooner give you my detailed interpretation of her work than I would give you my inter- pretation of collage art by Winston Smith or a Sue Coe painting. Listen and derive your own meaning. I will say in general terms that the A-side deals with angst and expectations from a female perspective and the flipside, a song called “Pseudo-Christ,” is an understated howl of anti-religious fury and artis- tic hope. -
1 United States Department of the Interior National Park Service National Register of Historic Places Registration Form This
NPS Form 10-900 OMB No. 1024-0018 United States Department of the Interior National Park Service National Register of Historic Places Registration Form This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in National Register Bulletin, How to Complete the National Register of Historic Places Registration Form. If any item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. 1. Name of Property Historic name: Maple Hill Farm___ Other names/site number: ________ Olcott-Coleman-Johnson House ______________ Name of related multiple property listing: Agricultural Resources of Vermont___________________________________________________________ (Enter "N/A" if property is not part of a multiple property listing ____________________________________________________________________________ 2. Location Street & number: ___ 65 Maple Hill Road City or town: ___Norwich_________ State: _____Vermont_ County: ______Windsor__ Not For Publication: Vicinity: ____________________________________________________________________________ 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this nomination ___ request for determination of eligibility meets the documentation standards for registering properties in the National Register -
Roster of Graduates and Past Cadets of Norwich University, 1819-1907
ifr-yt^.^pi^,^'^. f^^ ^5^ ,#I^N^^^^ U.. ^liM^ '>^ X ^•f r^jfe *7 -^-, ^-*^-^^^..^ . .^,'^m y?f.^^ ^m^^r REYNOLO^ HiFTORICAL GENEALOGY COLLECTION T^OTT^^rT ^arbarti CoUrgr ILtijrarg Ga-oJxix, ALLEN COUNTY PUBLIC LIBRARY 3 1833 00828 8497 i'U ^'i iyi;y ROSTER OF THE GRADUATES AND PAST CADETS NORWICH UNIVERSITY THK MILITARY COLLEGE OF THE STATE OF VERMONT. 1819-1907 COMPILED BY WILLIAM A. ELLIS, B. S., A, M. LIBRARIAN, NORWICH UNIVERSITY Vt^^o^ ®ljp ©ptninn Prrsa lanr Note—It is our -purpose in presenting this "Roster of the Alumni and Past Cadets" of the University, to give a few of the more important positions held by the men; their highest rank in the National Guard and the military service of the country. This record is necessarily incomplete and in many cases it was impossible to give the present address of the men, but Avith the co- operation of our Alumni and friends, we can make this "Roster" practically complete. The Roster of Past Cadets includes the names of the men who have been in attendance two years. We earnestlv request that our Alumni and friends read this Roster through carefully and inform the compiler of any change or addition. A large portion of the data used in compiling this "Roster" was taken from the "History of Norwich University, 1819-98" published in 1898. A second edition of the history of the University is being compiled, and will be ready for distribution by the commencement of 1908. This history will cover the period from 1866 to date, and will include the sketches of the men left out in the first ediion. -
MUTANT POP Big Catalog
It’s the incredible free! MutantMutant PopPop Y Mailorder Catalog Hi again! Don’t forget to bookmark the web page: http://members.aol.com/mutantpop/index.html This month’s dose of joy is MP-30 VARIOUS ARTISTS “No Band Photo, Vol.1.” Yes, you read that right, no leather jacket boys on the sleeve, just a cool cartoon by Jeff Wilson, author of Sap. It looks swell and you get four little band photos inside along with my typical yeoman’s output of typos, so dry your little traditionalist eyes. Four bands for five bucks on two slabs of wonderful blue wax. THE FRATELLI’S are on side F, this is their first release ever. They’re four guys from Michigan and they deliver two uptempo, peppy, happy sounding cuts. “Nobody Likes Me Again” is the hit, an anthem for unpopular kids everywhere. THE FRATELLI’S fit into the puzzle next to bands like CARTER PEACE MISSION and THE KLOPECS, combining buzzing guitars and a warm, fuzzy ambiance with enough guitar grit to slide into the pages of Maximum Rocknroll. An excellent pop-punk band, I hope this is just the first of a series of FRATELLI’S stuff. Backing side F is side S. The big S stands for SPODIE and you certainly must know them by now. Their self-released “Pop Punk-a-Go Go” EP blows the doors off, their new split EP with PINCUSHION adds to their growing legacy. SPODIE is definitely the hardest of the four bands involved in this project, chas- ing it with two true-to-life relationship songs.