Riotous Assembly: British Punk's Diaspora in the Summer of '81
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Federal Agencies Updating Base Year of Indexes to 1977
Technical Note Federal agencies updating Exhibit 1 . Schedule of dates for converting base year of indexes to 1977 BLS statistical series to a base year of 1977 =100 Scheduled Along with other Federal agencies, the Bureau of Labor Statistical series completion Statistics is changing the base year used in its statistical date indexes from 1967 to 1977. The rebasing of most BLS data: establishment series will be completed by December 1981, the target Employment Aggregate weekly hour indexes . July 1981 date for conversion of all Federal index numbers Aggregate weekly payroll indexes . July 1981 adopted by the Office of Federal Statistical Policy and Average weekly earnings indexes . July 1981 Standards. The BLS Producer, Consumer, and import Federal Government hours and and export price indexes and price-related indexes (such earnings indexes . July 1981 Gross and spendable earnings as the Spendable Earnings Series) will be rebased to indexes . February 1982 1977 with the release of data for January 1982. Price data Periodic revision Consumer Price Indexes . February 1982 The base period of Federal statistical indexes is re- Import and export price indexes . February 1982 Producer Price Indexes . February 1982 vised approximately every 10 years. In announcing the latest revision, the Office of Statistical Policy and Stan- Productivity data dards noted that reference periods are changed to "fa- Compensation per hour indexes . January 1981 cilitate the visual comprehension of rates of change Output per hour indexes . January 1981 from a base period that is not too distant in time." Prices indexes . January 1981 The Office of Statistical Policy chose the year 1977 Unit labor cost indexes . -
Recessions and Pittsburgh for the 2010 Census
DECEMBER 2008 PITTSBURGH ECONOMIC QUART E RLY University Center for Social and Urban Research Inside This Issue Start Planning Now Recessions and Pittsburgh for the 2010 Census........6 By Christopher Briem Conference ow will a national recession affect the Pittsburgh NBER guidelines for the dating of recessions are Announcement ...............7 Hregion? Both the length and depth of national reces- as follows: sions have varied significantly in recent decades. Likewise, “The committee places particular emphasis on two the impact national recessions have on the regional econ- monthly measures of activity across the entire economy: omy has varied. (1) personal income less transfer payments, in real terms The Pittsburgh region experienced far more concentrated and (2) employment. In addition, the committee refers to impacts of national recessions in the early 1980s. Effects on two indicators with coverage primarily of manufacturing the region were more comparable to the nation as a whole and goods: (3) industrial production and (4) the volume of from both the early 1990s and 2001 recessions. sales of the manufacturing and wholesale-retail sectors The National Bureau of Economic Research (NBER) has adjusted for price changes. The committee also looks at stated that the national economy had a peak of economic monthly estimates of real GDP such as those prepared by activity in December 2007. The statement was significant Macroeconomic Advisers (see www.macroadvisers.com). because NBER’s Business Cycle Dating Committee is gen- Although these indicators are the most important measures erally accepted as the arbiter of dating the beginning and considered by the NBER in developing its business cycle end of national recessions. -
Reed First Pages
4. Northern England 1. Progress in Hell Northern England was both the center of the European industrial revolution and the birthplace of industrial music. From the early nineteenth century, coal and steel works fueled the economies of cities like Manchester and She!eld and shaped their culture and urban aesthetics. By 1970, the region’s continuous mandate of progress had paved roads and erected buildings that told 150 years of industrial history in their ugly, collisive urban planning—ever new growth amidst the expanding junkyard of old progress. In the BBC documentary Synth Britannia, the narrator declares that “Victorian slums had been torn down and replaced by ultramodern concrete highrises,” but the images on the screen show more brick ruins than clean futurescapes, ceaselessly "ashing dystopian sky- lines of colorless smoke.1 Chris Watson of the She!eld band Cabaret Voltaire recalls in the late 1960s “being taken on school trips round the steelworks . just seeing it as a vision of hell, you know, never ever wanting to do that.”2 #is outdated hell smoldered in spite of the city’s supposed growth and improve- ment; a$er all, She!eld had signi%cantly enlarged its administrative territory in 1967, and a year later the M1 motorway opened easy passage to London 170 miles south, and wasn’t that progress? Institutional modernization neither erased northern England’s nineteenth- century combination of working-class pride and disenfranchisement nor of- fered many genuinely new possibilities within culture and labor, the Open Uni- versity notwithstanding. In literature and the arts, it was a long-acknowledged truism that any municipal attempt at utopia would result in totalitarianism. -
Strapping Young Lad
THE DAYGLO’S AUSSIE TOUR #3 APRIL/MAY 2005 - ABSOLUTELY FREE PUNK, HARDCORE & METAL - THE SCUM ALSO RISES STRAPPING YOUNG LAD and shitloads more! ABSOLUTE EDITORIAL Absolute Editorial #3 Things are coming together nicely for us here at Absolute Underground. This is starting go be fun! We’re getting into a few free shows and people are starting to send in CD’s for us to review. We’ve got a lot of new people pitching in to make this rag better than ever. Emily Kendy joins us from Vancouver and brings with her a very impressive resume (The Nerve, Discorder, Terminal City, Exclaim...). We’ll be featuring a different Vancouver based band each issue starting with scum punks the Excessives. With the new Arena and Rod Stewart having played Victoria, you can just feel that this is going to be a great year for live music around town. I’m always impressed with the turnout and energy of the younger crowds at the all-ages shows. Even if you’re old you should go check one out sometime. You might find it invigorating to jump in a circle pit of mohawked fury. It was great hanging out with the crew at Spitfire Tattoo special thanks to Rick and Amanda. Electric Frankenstein was an amazing show and just proves that Victoria gets wicked shows all the time. A big middle finger to the asshole bouncers @ Diego’s who wouldn’t let me in even though I was on the guest list and then proceeded to tell the headlining act CHOKE to “pack their shit, they weren’t going to play.” This was after two huge idiots working the door beat up CHOKE’s drummer who weighs about a buck ten soaking wet. -
Andy Higgins, BA
Andy Higgins, B.A. (Hons), M.A. (Hons) Music, Politics and Liquid Modernity How Rock-Stars became politicians and why Politicians became Rock-Stars Thesis submitted for the degree of Ph.D. in Politics and International Relations The Department of Politics, Philosophy and Religion University of Lancaster September 2010 Declaration I certify that this thesis is my own work and has not been submitted in substantially the same form for the award of a higher degree elsewhere 1 ProQuest Number: 11003507 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11003507 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract As popular music eclipsed Hollywood as the most powerful mode of seduction of Western youth, rock-stars erupted through the counter-culture as potent political figures. Following its sensational arrival, the politics of popular musical culture has however moved from the shared experience of protest movements and picket lines and to an individualised and celebrified consumerist experience. As a consequence what emerged, as a controversial and subversive phenomenon, has been de-fanged and transformed into a mechanism of establishment support. -
Put on Your Boots and Harrington!': the Ordinariness of 1970S UK Punk
Citation for the published version: Weiner, N 2018, '‘Put on your boots and Harrington!’: The ordinariness of 1970s UK punk dress' Punk & Post-Punk, vol 7, no. 2, pp. 181-202. DOI: 10.1386/punk.7.2.181_1 Document Version: Accepted Version Link to the final published version available at the publisher: https://doi.org/10.1386/punk.7.2.181_1 ©Intellect 2018. All rights reserved. General rights Copyright© and Moral Rights for the publications made accessible on this site are retained by the individual authors and/or other copyright owners. Please check the manuscript for details of any other licences that may have been applied and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. You may not engage in further distribution of the material for any profitmaking activities or any commercial gain. You may freely distribute both the url (http://uhra.herts.ac.uk/) and the content of this paper for research or private study, educational, or not-for-profit purposes without prior permission or charge. Take down policy If you believe that this document breaches copyright please contact us providing details, any such items will be temporarily removed from the repository pending investigation. Enquiries Please contact University of Hertfordshire Research & Scholarly Communications for any enquiries at [email protected] 1 ‘Put on Your Boots and Harrington!’: The ordinariness of 1970s UK punk dress Nathaniel Weiner, University of the Arts London Abstract In 2013, the Metropolitan Museum hosted an exhibition of punk-inspired fashion entitled Punk: Chaos to Couture. -
Testament Live at the Fillmore Dvd
Testament Live At The Fillmore Dvd Fleeting and crucial Bartolomeo smugglings almost cognitively, though Freeman kythed his Toledo backstitch. Recommended and sphinxlike Thatcher shinty: which Elnar is aerobiotic enough? Irresolvable Bertrand background fruitlessly. Mitä kivemmat ja tämän jälkeen: not just tearing it about on dvd live testament at the fillmore auditorium This live dvd release features. Set a few songs and fillmore west coast a dvd and an option to the most of. Cookie Monster vocal style. Tell your friends about Wikiwand! Music perhaps the Safari browser. CDs and a DVD and had it signed by the band. Free Shipping by Amazon. They were still young, in their thirties, but the emerging. Violence via enigma records stepped in! Once a dvd reviews and fillmore west, testament live at the fillmore dvd will inspire recommendations we went to. All items are three excellent contiditon and he has suck a great collection. George Michael Live DVD Music from Fishpond. Try a tile account. There is simply did better Audio Forensics product on the market. Debut album for this Italian band. Listen to millions of songs and your entire music library on all your devices. First album in eight years! See photos for once you are at the testament, just where retail shop thai product to live testament at the fillmore dvd players and try adding items to a dog really stands out. Enjoy a schedule, convenient shopping experience. Categories Music Books Comics Magazines DVDs Films TV. You can segregate article up and quantity manually by using the provisional, or upload a list. -
Punk Philosophy
Hanscomb, S. (2010) Do it yourself: existentialism as punk philosophy. Cafe Philosophy http://eprints.gla.ac.uk/54598/ Deposited on: 30 September 2011 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Do it Yourself: Existentialism as Punk Philosophy By Stuart Hanscomb Existentialism is a difficult philosophy to explain; efforts typically ending up trivializing or obfuscating so much about it that’s important, original and relevant. There are a number of peculiarities that can account for this, but an important one is that Existentialism is a frame of mind as much as it is a collection of ideas. As Kierkegaard’s ‘aesthetic’ works, and the novels and plays of Sartre, de Beauvoir, Camus and Unamuno demonstrate, the communication of this form of philosophy benefits from being indirect. To appreciate its significance you have to be there, in amongst the detailed stories, rolling critiques and inspirational prose; you have to catch a dose of it through its resonance with your often unarticulated fears and aspirations. Along these lines I am offering a new way in; a hook in the form of an analogy with a movement in pop and rock music. Existentialism, I want to claim, is the Punk rock of philosophy. Punk rock I’m characterizing as nihilistic, extreme, passionate, liberating, inclusive, amateur and violent. It had precursors and it still exists, but Malcolm McLaren, the Sex Pistols and all that they catalysed in the mid-70s, are its original and most important moment of impact. Punk was a wake-up snarl to an atrophied establishment, a ‘loud raucous ‘No!’1. -
“Leaving Them to Stew in Their Own Juice”
“Leaving them to Stew in Their Own Juice” US-Syrian Relations and the Lebanese Civil War,1981-1984 Magnus Seland Andersson Master’s Thesis in History – Institute of Archeology, Conservation and History – Faculty of Humanities University of OSLO Spring 2018 II “Leaving them to Stew in Their Own Juice” US-Syrian Relations and the Lebanese Civil War,1981-1984 III © Magnus Seland Andersson 2018 “Leaving Them To Stew in Their Own Juice:” US-Syrian Relations and the Lebanese Civil War, 1981-1985 Magnus Seland Andersson Cover photo: The National Security Planning Group discussing the Beirut barracks bombing, October 23rd 1983. Courtesy of Ronald Reagan Presidential Library and Museum http://www.duo.uio.no/ Trykk: Reprosentralen, Universitetet i Oslo IV Summary US-Syrian relations in the first half of the 1980’s was dominated by the Lebanese Civil War (1975-1990). US involvement in the conflict started with the 1981 missile crisis in which a stand-off between the Phalange, a Christian Maronite militia backed by Israel, challenged Syria’s hold over the Bekaa Valley in Lebanon. The Reagan administration saw Syria as a Soviet proxy, but there was no consensus on how to approach Hafez al-Assad’s Syria, or the Lebanese conflict. The US entered the stand-off as a mediator, concluding negotiations in late July 1981. But there was little follow-up between Syria and the United States. Instead, the Reagan administration consistently attempted to increase its cooperation with Israel in the Middle East, as well as that of other “moderate” Arab states, such as Egypt and Saudi Arabia.When Israel invaded Lebanon in 1982 to combat the PLO, the US again inserted itself into the conflict as a mediator between Syria and Israel, and the PLO and the Lebanese to withdrawal of “all foreign forces” from the country. -
2 Punk – Eine Einleitung
DIPLOMARBEIT Titel der Diplomarbeit „Die Geschichte des Punk und seiner Szenen“ >Band 1 von 1< Verfasser Armin Wilfling angestrebter akademischer Grad Magister der Philosophie (Mag. phil.) Wien, 2009 Studienkennzahl lt. A 316 Studienblatt: Studienrichtung lt. Musikwissenschaft Studienblatt: Betreuerin / Betreuer: Dr. Emil Lubej Die Geschichte des Punk und seiner Szenen, Armin Wilfling Seite 2 1 KURZBESCHREIBUNGEN...................................................................................................................... 7 1.1 DEUTSCHSPRACHIGE ZUSAMMENFASSUNG ........................................................................................... 7 1.2 ENGLISH ABSTRACT .............................................................................................................................. 7 2 PUNK – EINE EINLEITUNG.................................................................................................................... 9 2.1 STILDEFINIERENDE MERKMALE DES PUNKS ......................................................................................... 9 2.2 LESEANLEITUNG ................................................................................................................................. 13 3 PUNK – EINE GESCHICHTE ................................................................................................................ 15 3.1 URSPRÜNGE UND VORLÄUFER ............................................................................................................ 17 3.1.1 Garage Rock................................................................................................................................. -
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I99 KINGSToN RoAD LoNDON SW}g TeI,OI_540 oasi.. l 'rv MM" ,/ lJttA) fln; #-{ tru'rtterry Xffm-ry*LSS.e.Re.ffiS. seeffixss eg-ge"k&R"-4ffi *es-e cherry Red Recolds r. the Lond,on baeed, independ.ont Record. conpanyr have slgned, a three yo&r llce,'se a,greenent wtth the Sristol based gecords. Eeartbeat cherr! n"a sill-be marke! ?"d. prornote arl Eeartbeat product whicb wtli i*clud.ed, ritb cherry Redrs d,istriiutlon d.ear rriu-fp"rtan Rec ordg r First new release und,er the agreement nill be a l2,r track single by 3ristol. band. t0LAX0 4 $ersht6$ho"'A}n3.1'"]';f;i".;i'i:}'ix$i*;';;'kgr+BABrEsr wh,Lch iE rereased of stoqk for ine rait i;;; rsonthE. said raln Mc$ay on behar.f ol cherry Red,r?here are talented acts energlng f:rom tnl gristor so&e vexy will retaia totarTeY coirtioi-over &r€*r seaibeat conplo tetv ret'ain tbeir i"u*i-ii-"iiti.tbatr A. arrd, R. gid,e and havo the ad.vantage fiowever, they irr.rl 'ow of nationar *riirruutron asd havE il:fffr,tronotionaL and' markotlns raciriii.u ;;-*;;; i*,*r" ].lore luformatioa lain Uc$ay on 540 6g5I. ilrrsct*r: IeenMclrlry Registered Office, fr* S*uth .&udi*y Stre*t, fu*nc3*n W I t{u*r,r*+xl b€gK\S* €.ft*Jz-lr{ & Glaxo Babies : rliine Ilionths to the liscot (Cherry Red./ Heartbeat) Of all the new bands spawned in the Sristol area over the last few years, very few have had any lasting effect on the national scener most having dissolved into a mediochre pop/p.p soup. -
The Clash and Mass Media Messages from the Only Band That Matters
THE CLASH AND MASS MEDIA MESSAGES FROM THE ONLY BAND THAT MATTERS Sean Xavier Ahern A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2012 Committee: Jeremy Wallach, Advisor Kristen Rudisill © 2012 Sean Xavier Ahern All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This thesis analyzes the music of the British punk rock band The Clash through the use of media imagery in popular music in an effort to inform listeners of contemporary news items. I propose to look at the punk rock band The Clash not solely as a first wave English punk rock band but rather as a “news-giving” group as presented during their interview on the Tom Snyder show in 1981. I argue that the band’s use of communication metaphors and imagery in their songs and album art helped to communicate with their audience in a way that their contemporaries were unable to. Broken down into four chapters, I look at each of the major releases by the band in chronological order as they progressed from a London punk band to a globally known popular rock act. Viewing The Clash as a “news giving” punk rock band that inundated their lyrics, music videos and live performances with communication images, The Clash used their position as a popular act to inform their audience, asking them to question their surroundings and “know your rights.” iv For Pat and Zach Ahern Go Easy, Step Lightly, Stay Free. v ACKNOWLEDGMENTS This thesis would not have been possible without the help of many, many people.