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Teodor Mateoc Editor
TEODOR MATEOC editor ------------------------------------------------ Cultural Texts and Contexts in the English Speaking World (V) Teodor Mateoc editor CULTURAL TEXTS AND CONTEXTS IN THE ENGLISH SPEAKING WORLD (V) Editura Universităţii din Oradea 2017 Editor: TEODOR MATEOC Editorial Board: IOANA CISTELECAN MADALINA PANTEA GIULIA SUCIU EVA SZEKELY Advisory Board JOSE ANTONIO ALVAREZ AMOROS University of Alicante, Spaian ANDREI AVRAM University of Bucharest, Romania ROGER CRAIK University of Ohio, USA SILVIE CRINQUAND University of Bourgogne, France SEAN DARMODY Trinity College, Dublin, Ireland ANDRZEJ DOROBEK Instytut Neofilologii, Plock, Poland STANISLAV KOLAR University of Ostrava, Czech Republic ELISABETTA MARINO University Tor Vergata, Rome MIRCEA MIHAES Universitatea de Vest, Timisoara VIRGIL STANCIU Babes Bolyai University, Cluj-Napoca PAUL WILSON University of Lodz, Poland DANIELA FRANCESCA VIRDIS University of Cagliari, Italy INGRIDA ZINDZIUVIENE Vytautas Magnus University, Kaunas, Lithuania Publisher The Department of English Language and Literature Faculty of Letters University of Oradea ISSN 2067-5348 CONTENTS Introduction Cultural Texts and Contexts in the English Speaking World: The Fifth Edition ............................................................................. 9 I. BRITISH AND COMMONWEALTH LITERATURE Adela Dumitrescu, Physiognomy of Fashion in Fiction: Jane Austen ..... 17 Elisabetta Marino, “Unmaidenly” Maidens: Rhoda Broughton’s Controversial Heroines ................................................ 23 Alexandru -
Rave Reviews of Psychedelics Encyclopedia
00 - Third Edition Update.htm Key to Cover Photos: 1. cross-section of yage vine; 2. psilocybin mushrooms; 3. morning glory; 4. sinsemilla marijuana flower tops; 5. peyote cactus blossom; 6. Tabernanth iboga roots; 7, Amanita muscaria mushroom. Rave Reviews of Psychedelics Encyclopedia "Peter Stafford has an elephant's memory for what happened to Public Consciousness." - Allen Ginsberg "A delightful Rabelaisian social history of psychedelics in America." - Whole Earth Review "A look at the history, pharmacology, and effects of these drugs, based upon ... literature, folklore, and the author's personal experiences." -Library Journal "Fascinating .. , consumer-oriented exposition details history, botany, synthesis, and use of LSD, pot, cactus, mushrooms, street, and ceremonial drugs popular in the '60s." file:///C|/My%20Shared%20Folder/Stafford,%20Peter%2...-%20Introduction%20&%20Third%20Edition%20Update.htm (1 of 102)3/24/2004 7:33:35 PM 00 - Third Edition Update.htm - American Library Association, Booklist "A wealth of information on each of these mind-altering substances. Even those who disagree will find it an important resource." - Drug Survival News 'There's no end to the great new things you'll learn about dope in Psychedelics Encyclopedia ,.. authoritative." - High Times Magazine "A fine reference book, always engaging and easy to read .. .1 have no hesitation in recommending it as a source of interesting and reliable information." - Andrew Weil, M.D., co-author of From Chocolate to Morphine "Stafford's Psychedelics Encyclopedia, -
Page 1 of 163 Music
Music Psychedelic Navigator 1 Acid Mother Guru Guru 1.Stonerrock Socks (10:49) 2.Bayangobi (20:24) 3.For Bunka-San (2:18) 4.Psychedelic Navigator (19:49) 5.Bo Diddley (8:41) IAO Chant from the Cosmic Inferno 2 Acid Mothers Temple 1.IAO Chant From The Cosmic Inferno (51:24) Nam Myo Ho Ren Ge Kyo 3 Acid Mothers Temple 1.Nam Myo Ho Ren Ge Kyo (1:05:15) Absolutely Freak Out (Zap Your Mind!) 4 Acid Mothers Temple & The Melting Paraiso U.F.O. 1.Star Child vs Third Bad Stone (3:49) 2.Supernal Infinite Space - Waikiki Easy Meat (19:09) 3.Grapefruit March - Virgin UFO – Let's Have A Ball - Pagan Nova (20:19) 4.Stone Stoner (16:32) 1.The Incipient Light Of The Echoes (12:15) 2.Magic Aum Rock - Mercurical Megatronic Meninx (7:39) 3.Children Of The Drab - Surfin' Paris Texas - Virgin UFO Feedback (24:35) 4.The Kiss That Took A Trip - Magic Aum Rock Again - Love Is Overborne - Fly High (19:25) Electric Heavyland 5 Acid Mothers Temple & The Melting Paraiso U.F.O. 1.Atomic Rotary Grinding God (15:43) 2.Loved And Confused (17:02) 3.Phantom Of Galactic Magnum (18:58) In C 6 Acid Mothers Temple & The Melting Paraiso U.F.O. 1.In C (20:32) 2.In E (16:31) 3.In D (19:47) Page 1 of 163 Music Last Chance Disco 7 Acoustic Ladyland 1.Iggy (1:56) 9.Thing (2:39) 2.Om Konz (5:50) 10.Of You (4:39) 3.Deckchair (4:06) 11.Nico (4:42) 4.Remember (5:45) 5.Perfect Bitch (1:58) 6.Ludwig Van Ramone (4:38) 7.High Heel Blues (2:02) 8.Trial And Error (4:47) Last 8 Agitation Free 1.Soundpool (5:54) 2.Laila II (16:58) 3.Looping IV (22:43) Malesch 9 Agitation Free 1.You Play For -
MAKING the SCENE: Yorkville and Hip Toronto, 1960-1970 by Stuart
MAKING THE SCENE: Yorkville and Hip Toronto, 1960-1970 by Stuart Robert Henderson A thesis submitted to the Department of History in conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada October, 2007 Copyright © Stuart Robert Henderson, 2007 Abstract For a short period during the 1960s Toronto’s Yorkville district was found at the centre of Canada’s youthful bohemian scene. Students, artists, hippies, greasers, bikers, and “weekenders” congregated in and around the district, enjoying the live music and theatre in its many coffee houses, its low-rent housing in overcrowded Victorian walk- ups, and its perceived saturation with anti-establishmentarian energy. For a period of roughly ten years, Yorkville served as a crossroads for Torontonian (and even English Canadian) youth, as a venue for experimentation with alternative lifestyles and beliefs, and an apparent refuge from the dominant culture and the stifling expectations it had placed upon them. Indeed, by 1964 every young Torontonian (and many young Canadians) likely knew that social rebellion and Yorkville went together as fingers interlaced. Making the Scene unpacks the complicated history of this fraught community, examining the various meanings represented by this alternative scene in an anxious 1960s. Throughout, this dissertation emphasizes the relationship between power, authenticity and identity on the figurative stage for identity performance that was Yorkville. ii Acknowledgements Making the Scene is successful by large measure as a result of the collaborative efforts of my supervisors Karen Dubinsky and Ian McKay, whose respective guidance and collective wisdom has saved me from myself on more than one occasion. -
Rock Album Discography Last Up-Date: September 27Th, 2021
Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least. -
The Civics of Rock: Sixties Countercultural Music and The
THE CIVICS OF ROCK: SIXTIES COUNTERCULTURAL MUSIC AND THE TRANSFORMATION OF THE PUBLIC SPHERE by Michael Jacob Kramer A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History. Chapel Hill 2006 Approved by Advisor: John F. Kasson Reader: Robert Cantwell Reader: Peter Filene Reader: Lawrence Grossberg Reader: Jacquelyn Hall © 2006 Michael Jacob Kramer ALL RIGHTS RESERVED ii ABSTRACT MICHAEL KRAMER: The Civics of Rock: Sixties Countercultural Music and the Transformation of the Public Sphere (Under the direction of Professor John F. Kasson) For the counterculture of the 1960s and 70s, rock music was not only mass entertainment, but also a form of public life. While many scholars have argued that rock was incompatible with civic participation, this book claims that in music scenes such as San Francisco, in poster art and dancing, on the radio and in print publications, rock served as a flash point for dilemmas of citizenship and civil society. As frequently as it deteriorated into escapism and hedonism, rock also created an atmosphere of inquiry in which the young might listen, think, move, and feel their way through issues of public and civic interaction, such as identity, belonging, power, and democracy. Even when exported by the American military to Vietnam or when circulating to youth movements worldwide, far from eclipsing public life, rock music transformed it into a mass-mediated mode of association -
Julian Cope E I Teardrop Explodes
JULIAN COPE E I TEARDROP EXPLODES Letture consigliate: Simon Reynolds: Post-punk, ISBN Julian Cope: Head-on, Lian Julian Cope: Repossessed, Lian Dischi consigliati: Teardrop explodes: Kilimanjaro Julian Cope: Fried Julian Cope: Jehovakill Scordatevi i Duran Duran o gli Spandau Ballett, lasciate perdere gli U2, snobbate gli Echo and the bunnymen e gli Psychedelic Furs: se nella seconda metà del 1980, dopo il suicidio di Ian Curtis dei Joy Division, aveste chiesto a qualsiasi giornalista musicale quale sarebbe stata la “next big thing” della musica inglese, la risposta sarebbe stata quasi sicuramente i Teardrop explodes. Nati l’anno precedente grazie alla determinazione del giovane Julian Cope, i Teardrop explodes (l’unico gruppo con un participio passato nel nome – come affermato da loro stessi) si fecero ben presto notare per alcuni singoli ottimamente recensiti dalla critica specializzata. Sleeping gas , Treason e When I Dream furono anche grandi e inaspettati successi commerciali, portando alla ribalta nazionale la piccola ma attiva comunità punk di Liverpool che aveva dato vita ad un’interessante scena New-pop. Tra i vari gruppi che la componevano cito gli Echo and the bunnymen, i Big in Japan e, naturalmente, i Teardrop explodes di Julian Cope, la cui attività artistica sarà al centro di questa prima parte dell’articolo. Nato nel 1957 in Galles, Julian passò la sua adolescenza a Tamworth nello Staffordshire; nonostante fosse cresciuto lontano dai centri culturali inglesi, Cope possedeva un’ottima conoscenza della musica rock, peculiarità decisiva per la sua vita - e per l’articolo che state leggendo. Egli infatti riversò nelle canzoni dei Teardrop explodes - e dei suoi dischi solisti - tutta la passione per il pop degli anni Sessanta, arricchendolo con una psichedelia barrettiana e sprazzi di follia sperimentale krautrock, rileggendo il tutto alla luce della nuova sensibilità New wave. -
C45 April 2001
T HE C ENACLE / APRIL 2001 /1 Ray Soulard, Jr. Secret Joy Amongst These Times: The History of Scriptor Press, 1995–2001 This book is dedicated to my Phamily in all times & places. You are not alone :) Much thanks to Douglas Clayton & Jeff Seglin "Think for yourself & question authority" Dr. Timothy Leary Abstract From its beginning in 1995, Scriptor Press has published the writing, art, & music of contemporary artists who work outside the current artistic mainstream, whose work is not regarded by this mainstream as legitimate work because it is intended for other than commercial consumption. It is the deeply-felt belief of this press that the artistic mainstream has isolated itself from the subtle but true changes occurring right now in the world on all levels, that devotion to commercial gain has blinded many to the secret joy amongst these times, a joy growing & spreading everyday. This book will discuss the founding and history of Scriptor Press. It is intended to offer instruction & hope for those who feel isolated from their spiritual kin & yet who pursue the higher calling of Art day by day, whatever their circumstances. Blessed be. 2/ THE C ENACLE / APRIL 2001 CRIPTOR PRESS IS NOT SO MUCH A BUSINESS ENTITY as a continuing mission, an S advocate for artistic & social & individual freedom, a vehicle for disseminating reports of various kinds from what Aldous Huxley calls the "Antipodes" of consciousness. Its projects offer greater connection among persons, & seeks greater connection among persons. It is a laboratory for developing & mature artists alike to experiment with various kinds of expression. -
Mein Krautrocksampler
Krautrocksampler Interviews, Artikel und anderes extrahiert aus dem Internet und aufbereitet von Heinrich Unkenfuß Nur zum internen Gebrauch und zu wissenschaftlichen und Unterrichtszwecken. Hamburg, 13. 11. 2010 Inhaltsverzeichnis Ein Augen- und Ohrenflug zum letzten Himmel - Die Deutsche Rockszene um 1969 (von Marco Neumaier) 4 The German Invasion (by Mark Jenkins) 7 Krautrock (by Chris Parkin) 10 Rock In Deutschland - Gerhard Augustin Interview 12 An Interview With Julian Cope 17 Krautrock: The Music That Never Was 22 German Rock (SPIEGEL 1970) 25 Popmusik: Sp¨ates Wirtschaftswunder (SPIEGEL 1974) 27 Neger vom Dienst (SPIEGEL 1975) 29 Trance-Musik: Schamanen am Synthesizer (SPIEGEL 1975) 31 Zirpt lustig (SPIEGEL 1970) 34 Prinzip der Freude (SPIEGEL 1973) 36 The Mythos of Rolf-Ulrich Kaiser (1943-??) 38 Exhibitionisten an die Front (SPIEGEL 1969) 42 Communing With Chaos (by Edwin Pouncey) 44 Amon Du¨ul¨ II - Yeti Talks to Yogi 50 We Can Be Heroes (Amon Du¨ul¨ II) 57 Interview with John Weinzierl 60 Dave Anderson - The Bass-Odyssey Files 69 1 Kraut-Rock (Interview mit Chris Karrer) 74 Interview mit Tangerine Dream (1975) 77 Interview with Klaus Schulze 79 “I try to bring order into the chaos.” Klaus D. Mueller Interview 91 Die wahre Geschichte des Krautrock 96 Faust: Clear 102 The Sound of the Eighties 104 Faust and Foremost: Interview with Uwe Nettelbeck 107 Having a Smashing Time 110 Interview with Jochen Irmler 115 After The Deluge - Interview with Jean-Herv´eP´eron 117 Faust: Kings of the Stone Age 126 Faust - 30 Jahre Musik zwischen Bohrmaschine und Orgel 134 Hans Joachim Irmler: ‘Wir wollten die Hippies mal richtig erschrecken“’ 140 ” Can: They Have Ways of Making You Listen 145 An Interview With Holger Czukay (by Richie Unterberger) 151 An Interview With Holger Czukay (by Jason Gross) 155 D.A.M.O. -
Home Taping: Country Rock
Home Taping: Country Rock At the time of his death, Gram Parsons was in grave danger of being taken for granted. Although it was accepted that he had 'invented' the musical style known as Country Rock, this was simply being overlooked in a mass outbreak of droopy-moustached yee-hawism. Today it is called New Country and has become the fastest growing market in American popular music. The roots of Country Rock lie in the 1960s recordings of West Coast artists Buck Owens and His Buckaroos, Merle Haggard and The Strangers and the sublime pop- country songwriting of the (late) great Harlan Howard. This was known as the Bakersfield sound, where true-to-life songs and fast shuffle rhythms, often performed by musicians attired in flashy Western duds, caught the creative imagination of approximately one person: the young Gram Parsons. When Parsons founded The International Submarine Band in 1966, rock and roll was entering its progressive phase and the Nashville hit machine was at the peak of its powers - a diabolical climate in which to attempt a revolution. 28 years later we see Gram Parsons in his true light: a man alone with no precedent, no road map, just a vision that has at last begun to register with the record buying public. Today Gram Parsons’s spirit lives on in the music of Marty Stuart, Travis Tritt, Vince Gill. And twenty-something years ago, awestruck by the imports in the windows of London's One Stop or Musicland, a small throng of fans were also travelling without a road map. -
Anaïs Nin and the Synthesis of the Arts
“The Multimedia of Our Unconscious Life”: Anaïs Nin and the Synthesis of the Arts Sandra Rehme University College London PhD History of Art 1 I, Sandra Rehme, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 Abstract This thesis explores Anaïs Nin’s idea of a synthesis of the arts in writing and its extension to different media through an analysis of her interdisciplinary collaborations with artists and composers in the United States of the 1950s and 1960s. I discuss these collaborations within the context of Nin’s unconventional understanding of the unconscious as multidimensional space and her interest in the sensory effects of different art forms, which are at the centre of Nin’s art theory. I look at the sources she drew on to formulate her ideas in Paris of the 1930s, including Symbolism, D.H. Lawrence’s writing, French Surrealism and various psychoanalytical models, and discuss how they relate to cultural and socio-political developments in America at mid-century. This includes a strong focus on Nin’s ambiguous negotiation of female identity and female creativity in her writing and the frictions it causes when it is translated into other media by her male collaborators. While Nin’s interest in different art forms and her attempt at imitating their sensuous effects in writing has been explored from a literary perspective, Nin’s extra-literary collaborations remain largely unexplored. Similarly, the work of most of the artists Nin collaborated with has not been analysed critically in a scholarly context. -
The Re-Enchantment of the West
The Re-Enchantment of the West Volume I This page intentionally left blank The Re-Enchantment of the West Volume I Alternative Spiritualities, Sacralization, Popular Culture, and Occulture Christopher Partridge T8.T CLARK INTERNATIONAL A Continuum imprint LONDON • NEW YORK Copyright © 2004 T&T Clark International A Continuum imprint Published by T&T Clark International The Tower Building, 11 York Road, London SE1 7NX 15 East 26th Street, Suite 1703, New York, NY 10010 www.tandtclark.com All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data A catalogue record for this book is available from the Library of Congress ISBN 0-567-08408-6 (paperback) Typeset by CA Typesetting, www.shefrieldtypesetting.com Printed on acid-free paper in Great Britain by CPI Bath For Sarah This page intentionally left blank CONTENTS Acknowledgements ix Introduction 1 Parti THE DISENCHANTMENT AND THE RE-ENCHANTMENT OF THE WEST Chapter 1 THE DISENCHANTMENT OF THE WEST 8 Types of Secularization 8 Max Weber and the Disenchantment of the World 8 What Secularization Is Not 11 Rationalization and Pluralism 13 Concluding Comments 16 Chapter 2 UNDERSTANDING NEW RELIGIONS AND ALTERNATIVE SPIRITUALITIES