DOCSLIB.ORG

THE CLASH the CLASH Compils for Ever Compils for Ever

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE CLASH the CLASH Compils for Ever Compils for Ever L’estimaTION DE VOS VINYLES 33 T / 45 T Estim’Vinyl® STUDIO - LIVE - SINGLES - CD COMPILS N°35 A CONSULTER EGALEMENT édito SUR LE SITE THE CLASH THE CLASH Compils for ever Compils for ever Mieux vaut une bonne compilation Better a good compilation than an qu'un album aux quelques titres album with some interesting titles. interessant. Mais avec the Clash, je me trompe, But with the Clash, I'm wrong, I moi adepte du punk à une cer- adept punk at a certain time well taine époque bien lointaine vous away confirms that all their albums confirme que tous leurs albums are good. sont bons. Que celui qui écoute un de leurs Whoever listens to one of their al- albums et ne bouge pas est soit un bums and does not move is either a peu trop trop bourré ou les produits little too drunk or the euphoric pro- euphorisants sont trop fort pour lui. ducts are too strong for him. Un conseil d'ami, remet-toi à la A friend's advice, go back to cha- camomille. momile. Cordialement Cordially Yehl Yehl C35-2 IL NE SERT À RIen d’être LE MEILLEUR T F RE SI VOUS ÊTES LE SEUL À LE SAVOIR l 2 SPÉCIAL THE CLASH 31 3 CODE TRADUCTION ÉTAT COUVERTURE ÉTAT VINYLE CODE TRADUCTION STATE COVERAGE STATE VINYL S Neuf Le disque est encore sous son Le disque est encore sous son S Nine The disc is still in its The disc is still in its (scellé) emballage d’origine. emballage d’origine. (sealed) original packaging. original packaging. M Comme neuf La pochette est comme neuve, mais Le disque est absolument parfait, M Like new The cover is like new, but it is not The disc is absolutely perfect, like elle n’est plus scellée. comme neuf, mais il n’est plus scellé. sealed. new, but it is no longer sealed. NM Parfait La pochette est parfaite, pouvant Le disque est parfait. Un frottement NM Perfect The cover is perfect, however, may The disc is perfect. Friction can be néanmoins comporter de très peut être constaté sur le disque, mais have very minimal signs of wear. found on the disk, but must be really minimes signes d’usure. doit être vraiment moindre. Il ne doit By cons, line art drawing or photo low. There should be no effect on Par contre, le dessin artistique ou la y avoir aucun effet sur la qualité must be as flawless as possible. the sound quality of the disc. If so, photo doivent être aussi impeccable sonore du disque. Si c’est le cas, however small, it can no longer be que possible même minime, il ne pourra plus être considered NM. considéré comme NM. EX Excellent La pochette peut avoir quelques très Le disque montre des signes d’avoir EX Excellent The cover may have some very dis- The disc shows signs of having been discrètes rayures et/ou des petits été joué (marques lumineuses creet stripes and / or small folds. played (light sensitive brands), but plis. sensibles), mais la perte de qualité the loss of sound quality is inaudible sonore est pratique ment inaudible. ment practice. VG+ Très bon La pochette présente des signes de C’est l’état le plus courant des VG+ Very Good The cover shows signs of obvious It is the state the most common manipulations évidentes : extrémité disques de deuxième main. Les manipulations: tip slightly horny, second hand discs. The discs have légèrement cornée, étiquette du prix, disques ont quelques rayures qui price tag, folds. But any major fault. some scratches that do not affect plis. Mais aucun défaut majeur. Il se n’affectent pas la qualité sonore. It is also possible that it is in perfect sound quality. peut aussi qu’elle soit en parfait état Certains crépitements peuvent condition but has a Poinson or a Some crackles may be audible on mais présente un être audibles sur des platines très beveled end. sensitive plates. poinson ou une extrémité biseautée. sensibles. VG- Bon La pochette est usée avec des plis, Le disque a des rayures et marques VG- Good The cover is worn with creases, The disc has scratches and marks that des marques, des décollements, une qui affectent la qualité sonore avec marks, delamination, edge wear, affect the sound quality with possibly usure des bords, des décolorations, éventuellement quelques craque- discoloration, a circular mark the some cracking and / or jump on un début de marque circulaire du ments et/ou sautements sur quelques beginning of the disk on the cover. some tracks. disque sur la pochette. pistes. G Passable L’état de la pochette est proche La qualité du son est détériorée par G Fair The state of the cover is similar to The sound quality is deteriorated by de celui de VG- avec en plus des les nombreuses lectures, il y a du that of VG-plus entries, a curled the many readings, there is breath, écritures, un papier gondolé à cause souffle, des sautements ou des cra- paper due to moisture, tears and / jumps or repeated cracking and de l’humidité, des déchirures et/sur quements répétés et nuisibles. On ne on the edge ... damaging. Can be distinguished les bords ... distingue pratiquement plus les sillons practically the grooves of the disc. du disque. B Mauvais La pochette est très abîmée avec des Le disque n’est plus jouable correcte B Bad The cover is very worn with tears, The disc is not playable correct ment déchirures, des traces et marques ment à cause des trops nombreuses wear marks and traces everywhere. because of too many scratches and d’usure un peu partout. rayures et défauts de surface. Le surface defects. The disc can be bro- disque peut être cassé, dans ce cas il ken in this case it deserves its place mérite sa place au catalogue unique- in the catalog only if it is rare. ment s’il est rare. NA Non La pochette est manquante ou ce Le disque est manquant ou ce code NA Not The cover is missing or this code The disk is missing or this code applicable code n’est pas applicable à ce type n’est pas applicable à ce type Relevant shall not apply to such articles does not apply to such items d’articles (Pochette neutre blanche ou d’articles (livres, merchandising, ...) (neutral white or black bag, (books, merchandising, ...) noire, livres, merchandising, ...). books, merchandising ...). 4 SPÉCIAL THE CLASH 31 SPÉCIAL THE CLASH 31 5 BIBLIOGRAPHIE BIBLIOGRAPHY The Clash est un groupe de punk britannique, formé à The Clash was a British punk band, formed in London Londres dans les années 1970 et connu pour être un des qua- in the 1970s and known to be one of the major quartets in tuors majeurs de l'histoire du rock et du punk rock britannique. the history of rock and British punk rock. He began his career Il commence sa carrière en 1976 et se dissout en 1985. in 1976 and disbanded in 1985. Le groupe se caractérise également par sa capacité à intégrer The group is also characterized by its ability to integrate his à sa musique des sonorités différentes en puisant à la source music sounds different, drawing from the source of the musical des racines musicales de ses membres, parmi lesquelles le roots of its members, including punk, rock, rockabilly, reggae, punk, le rock, le rockabilly, le reggae, le ska ou encore le ska or dub. Thus, The Clash is one of the first white groups to dub. Ainsi, The Clash est un des premiers groupes blancs à assimilate reggae. assimiler le reggae. On stage, the group's style is very rhythmic. The sound is not Sur scène, le style du groupe est extrêmement rythmé. Le son perfect but the public appreciates the energy they emit. n'est pas parfait mais le public apprécie l'énergie qu'ils dé- gagent. Their various services they are worth acquiring a reputation quickly. The critics then compare the Who and Rolling Leurs différentes prestations leur valent d'acquérir assez ra- Stones or early Bruce Springsteen. The rage they gene- pidement une solide réputation. Les critiques les comparent rate on stage is their trademark. And the full involvement of alors aux Who et Rolling Stones des débuts ou encore members in their stage performances impressed the audience à Bruce Springsteen. La rage qu'ils dégagent sur scène during their tours. devient leur marque de fabrique. Et la totale implication des membres dans leurs performances scéniques impressionne le As stated by Mick Jones, the texts of their songs are more public lors de leurs tournées. slogans and words that are traditional. In the early days of the group, members of the reuse elsewhere to make their own T- Comme le déclare Mick Jones, les textes de leurs chan- shirts. Output of the single B-side of White Riot but not pre- sons sont plus des slogans que des paroles traditionnelles. sent on the first album, the song in 1977 is typical of that time Aux débuts du groupe, les membres les réutilisent d'ailleurs with its passage catchy "No Elvis, Beatles or the Rol- pour confectionner leurs propres tee-shirts. Sortie en face B ling Stones in 1977." It sums up the spirit that reigns in du single de White Riot mais non présente sur le premier 1977 during the explosion of the punk movement. The group album, la chanson 1977 est caractéristique de cette époque still meets the artists that influence their music. avec son passage accrocheur « No Elvis, Beatles, or the Rolling Stones in 1977 ».
Load more

Recommended publications
  • To Download the PDF File
    Reproductive Anxiety: Reconfiguring the Human in Virtual Culture by John Shiga, B.A., M.A. A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy School of Journalism & Communication Carleton University Ottawa, Canada © 2009, John P. Shiga Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-60120-4 Our file Notre reference ISBN: 978-0-494-60120-4 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • Kate's Parties Orr 21St
    An Associated Collegiate Press Pacemaker Award Winner • THE • Bacchus rocked by local Wildcats defeat Hens, bands, 19-14, B1 C1 Non-Profit Org. 250 Student Center • University of Delaware • Newark, DE 19716 U.S. Postage Paid Thesday & Friday Newark, DE Permit No. 26 FREE \'olun1c 128, Issue 22 www.review.udel.edu Tuesday, November 20, 2001 Mayor proposes ending environmental commission BY STACEY CARLOUGH AND public debate. Ultimately, however, commission and the method in Godwin said he believes the TRISTAN SPINSKJ the City Council members will which he proposed it. commission accomplished much in decide CAC's fate. "It was i nsulting to the its early years, but has stagnated The future of the city of Steven Dente!, CAC chairman committee not to be consulted recently. Newark's Conservation Advisory and professor of civil and before announcing the issue," be "They're idling and out of Commission remains uncertain environmental engineering, said the said. "The manner in which it was work," he said. " I don't think it's after Mayor Harold F . Godwin 24-year-old volunteer group managed can only foster doubts fair to expect [city employee ] to proposed its abolishment at last deserves to stay in existence as a regarding the intention behind the meet once a month for a committee week's City Council meeting. "watchdog for the environment.'' motion." without accomplishment." The city charter established CAC " We do environment- and Godwin supported his motion by Councilman Jerry Clifton, 2nd in I 977 " to advise in the conservation-related work with the saying he believes the commission district, said he agreed with the development, management and city," he said.
    [Show full text]
  • Conserve Water
    YEAR ZERO: 1977-2017 THE CLASH @ TCD 21 OCTOBER 2017 EXAMINATIONS HALL, TCD DON LETTS Don Letts is a filmmaker, DJ and musician whose association with The Clash goes back over 40 years. As DJ at the Roxy, he is credited with introducing reggae to punk rock fans. A founding member of Big Audio Dynamite with Clash guitarist Mick Jones, he has released numerous compilation albums and directed a variety of films and documentaries. In 2003 he won a Grammy for his Clash documentary Westway to the World. He released his autobiography Culture Clash: Dread Meets Punk Rockers in 2007. JJuliUen TLemIpEle Nis a feTatuEre Mfilm,P doLcuEmentary and music video director. He started his career with the short documentary Sex Pistols Number 1 and went on to make feature length documentaries on the Sex Pistols, Dr. Feelgood, Dave Davies and Joe Strummer, as well as the movies Absolute Beginners, Earth Girls Are Easy, Bullet with Mickey Rourke and Tupac Shakur, and Pandaemonium. His film The Clash: New Year’s Day ’77 captured the moment when punk emerged into the mainstream consciousness. JOHNNY GREEN Starting out as a roadie for the Sex Pistols, Green became The Clash’s Tour Manager – his first ever show in this capacity was the Trinity College Dublin gig in 1977. He went on to tour the USA with The Clash three times, appears extensively in the Rude Boy film and is the author of A Riot of Our Own: Night and Day with The Clash recounting his experiences.. ROBIN BANKS Robin James Banks was a friend and confidante to The Clash throughout their career.
    [Show full text]
  • Jesse Dayton – Mixtape Volume 1
    Jesse Dayton – Mixtape Volume 1 “If you open your arms to the world, it’s amazing what will come back atcha,” drawls East Texas native, singer/songwriter/filmmaker/author Jesse Dayton, who has a bunch more homespun wisdoms where that came from. A veteran of more than 30 years as a musician, Dayton was discovered as a young teenager playing “a toilet dive” in his hometown of Beaumont by legendary club owner Clifford Antone, who booked him into his famed Austin venue, then immediately shifted him over to the honky-tonk Broken Spoke, where the likes of Willie Nelson, George Strait and Ernest Tubb have had residencies. “When I first got to Austin, everybody else sounded like Stevie Ray Vaughan, but I sounded more like Jerry Reed. I didn’t think I was cool, either, because this was before every punk sported that image of Johnny Cash flipping the rod.” Equally steeped in Texas/Louisiana blues, old-school country and punk-rock, Dayton is the music world’s best-kept secret, hiding in plain sight as a guitarist for Waylon Jennings, Johnny Cash, Ryan Bingham and L.A. punk pioneers X, as well as touring alongside Social Distortion, the Supersuckers and John Doe. After releasing 11 studio albums and an EP as a solo artist, Dayton’s new album, Mixtape Volume 1, is a series of 10 cover songs he thoroughly makes his own, reinterpreting and revisiting them in a brand-new way. On the first track and single, Jackson Browne’s “Redneck Friend”, Dayton takes the song to a place where it would be eQually at home on the first two Eagles albums or as a Rolling Stones collaboration with Gram Parsons.
    [Show full text]
  • Why Am I Doing This?
    LISTEN TO ME, BABY BOB DYLAN 2008 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, NEW RELEASES, RECORDINGS & BOOKS. © 2011 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Listen To Me, Baby — Bob Dylan 2008 page 2 of 133 1 INTRODUCTION .................................................................................................................................................................. 4 2 2008 AT A GLANCE ............................................................................................................................................................. 4 3 THE 2008 CALENDAR ......................................................................................................................................................... 5 4 NEW RELEASES AND RECORDINGS ............................................................................................................................. 7 4.1 BOB DYLAN TRANSMISSIONS ............................................................................................................................................... 7 4.2 BOB DYLAN RE-TRANSMISSIONS ......................................................................................................................................... 7 4.3 BOB DYLAN LIVE TRANSMISSIONS .....................................................................................................................................
    [Show full text]
  • The White Animals
    The 5outh 'r Greatert Party Band Playr Again: Narhville 'r Legendary White AniMalr Reunite to 5old-0ut Crowdr By Elaine McArdle t's 10 p.m. on a sweltering summer n. ight in Nashville and standing room only at the renowned Exit/In bar, where the crowd - a bizarre mix of mid­ Idle-aged frat rats and former punk rockers - is in a frenzy. Some drove a day or more to get here, from Florida or Arizona or North Carolina. Others flew in from New York or California, even the Virgin Islands. One group of fans chartered a jet from Mobile, Ala. With scores of people turned away at the door, the 500 people crushed into the club begin shouting song titles before the music even starts. "The White Animals are baaaaaaack!" bellows one wild-eyed thirty­ something, who appears mainstream in his khaki shorts and docksiders - until you notice he reeks of patchouli oil and is dripping in silver-and-purple mardi gras beads, the ornament of choice for White Animals fans. Next to him, a mortgage banker named Scott Brown says he saw the White Animals play at least 20 times when he was an undergrad at the University of Tennessee. He wouldn't have missed this long-overdue reunion - he saw both the Friday and Saturday shows - for a residential closing on Mar-A-Lago. Lead singer Kevin Gray, a one-time medical student who dropped his stud­ ies in 1978 to work in the band fulltime, steps onto the stage and peers out into the audience, recognizing faces he hasn't seen in more than a decade.
    [Show full text]
  • Game of Text: Bruce Lee's Media Legacies
    GCH0010.1177/2059436419869565Global Media and ChinaBowman 869565research-article2019 Special Issue Article Global Media and China 2019, Vol. 4(3) 325–338 Game of text: Bruce © The Author(s) 2019 Article reuse guidelines: Lee’s media legacies sagepub.com/journals-permissions https://doi.org/10.1177/2059436419869565DOI: 10.1177/2059436419869565 journals.sagepub.com/home/gch Paul Bowman Cardiff University, UK Abstract This article situates Bruce Lee at the heart of the emergence of ‘martial arts’. It argues that the notion ‘martial arts’, as we now know it, is a discursive entity that emerged in the wake of media texts, and that the influence of Bruce Lee films of the early 1970s was both seminal and structuring of ‘martial arts’, in ways that continue to be felt. Using the media theory proposition that a limited range of ‘key visuals’ structure the aesthetic terrain of the discursive entity ‘martial arts’, the article assesses the place, role and status of images of Bruce Lee as they work intertextually across a wide range of media texts. In so doing, the article demonstrates the enduring media legacy of Bruce Lee – one that has always overflowed the media realm and influenced the lived, embodied lifestyles of innumerable people the world over, who have seen Bruce Lee and other martial arts texts and gone on to study Chinese and Asian martial arts because of them. Keywords Bruce Lee, discourse, discursive entity, martial arts, media legacy Introduction: the origin of martial arts The term ‘martial arts’ is so familiar to us that we barely notice that it is a misnomer.
    [Show full text]
  • General Education Course Information Sheet FILM TV 98TA Youth Culture
    Film TV 98T General Education Course Information Sheet Please submit this sheet for each proposed course Department & Course Number Course Title 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 ñ Literary and Cultural Analysis ñ Philosophic and Linguistic Analysis ñ Visual and Performance Arts Analysis and Practice Foundations of Society and Culture ñ Historical Analysis ñ Social Analysis Foundations of Scientific Inquiry (IMPORTAN: If you are only proposing this course for FSI, please complete the updated FSI information sheet. If you are proposing for FSI and another foundation, complete both information sheets) ñ Physical Science With Laboratory or Demonstration Component must be 5 units (or more) ñ 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. 3. "List faculty member(s) who will serve as instructor (give academic rank): Do you intend to use graduate student instructors (TAs) in this course? Yes No If yes, please indicate the number of TAs Page 1 of 18 Page 1 of 3 Film TV 98T 4. Indicate when do you anticipate teaching this course over the next three years: 2018-19 Fall Winter Spring Enrollment Enrollment Enrollment 2019-20 Fall Winter Spring Enrollment Enrollment Enrollment 2020-21 Fall Winter Spring Enrollment Enrollment Enrollment 5. GE Course Units Is this an existing course that has been modified for inclusion in the new GE? Yes No If yes, provide a brief explanation of what has changed: Present Number of Units: Proposed Number of Units: 6.
    [Show full text]
  • Karaoke Book
    10 YEARS 3 DOORS DOWN 3OH!3 Beautiful Be Like That Follow Me Down (Duet w. Neon Hitch) Wasteland Behind Those Eyes My First Kiss (Solo w. Ke$ha) 10,000 MANIACS Better Life StarStrukk (Solo & Duet w. Katy Perry) Because The Night Citizen Soldier 3RD STRIKE Candy Everybody Wants Dangerous Game No Light These Are Days Duck & Run Redemption Trouble Me Every Time You Go 3RD TYME OUT 100 PROOF AGED IN SOUL Going Down In Flames Raining In LA Somebody's Been Sleeping Here By Me 3T 10CC Here Without You Anything Donna It's Not My Time Tease Me Dreadlock Holiday Kryptonite Why (w. Michael Jackson) I'm Mandy Fly Me Landing In London (w. Bob Seger) 4 NON BLONDES I'm Not In Love Let Me Be Myself What's Up Rubber Bullets Let Me Go What's Up (Acoustative) Things We Do For Love Life Of My Own 4 PM Wall Street Shuffle Live For Today Sukiyaki 110 DEGREES IN THE SHADE Loser 4 RUNNER Is It Really Me Road I'm On Cain's Blood 112 Smack Ripples Come See Me So I Need You That Was Him Cupid Ticket To Heaven 42ND STREET Dance With Me Train 42nd Street 4HIM It's Over Now When I'm Gone Basics Of Life Only You (w. Puff Daddy, Ma$e, Notorious When You're Young B.I.G.) 3 OF HEARTS For Future Generations Peaches & Cream Arizona Rain Measure Of A Man U Already Know Love Is Enough Sacred Hideaway 12 GAUGE 30 SECONDS TO MARS Where There Is Faith Dunkie Butt Closer To The Edge Who You Are 12 STONES Kill 5 SECONDS OF SUMMER Crash Rescue Me Amnesia Far Away 311 Don't Stop Way I Feel All Mixed Up Easier 1910 FRUITGUM CO.
    [Show full text]
  • Gender, Ethnicity, and Identity in Virtual
    Virtual Pop: Gender, Ethnicity, and Identity in Virtual Bands and Vocaloid Alicia Stark Cardiff University School of Music 2018 Presented in partial fulfilment of the requirements for the degree Doctor of Philosophy in Musicology TABLE OF CONTENTS ABSTRACT i DEDICATION iii ACKNOWLEDGEMENTS iv INTRODUCTION 7 EXISTING STUDIES OF VIRTUAL BANDS 9 RESEARCH QUESTIONS 13 METHODOLOGY 19 THESIS STRUCTURE 30 CHAPTER 1: ‘YOU’VE COME A LONG WAY, BABY:’ THE HISTORY AND TECHNOLOGIES OF VIRTUAL BANDS 36 CATEGORIES OF VIRTUAL BANDS 37 AN ANIMATED ANTHOLOGY – THE RISE IN POPULARITY OF ANIMATION 42 ALVIN AND THE CHIPMUNKS… 44 …AND THEIR SUCCESSORS 49 VIRTUAL BANDS FOR ALL AGES, AVAILABLE ON YOUR TV 54 VIRTUAL BANDS IN OTHER TYPES OF MEDIA 61 CREATING THE VOICE 69 REPRODUCING THE BODY 79 CONCLUSION 86 CHAPTER 2: ‘ALMOST UNREAL:’ TOWARDS A THEORETICAL FRAMEWORK FOR VIRTUAL BANDS 88 DEFINING REALITY AND VIRTUAL REALITY 89 APPLYING THEORIES OF ‘REALNESS’ TO VIRTUAL BANDS 98 UNDERSTANDING MULTIMEDIA 102 APPLYING THEORIES OF MULTIMEDIA TO VIRTUAL BANDS 110 THE VOICE IN VIRTUAL BANDS 114 AGENCY: TRANSFORMATION THROUGH TECHNOLOGY 120 CONCLUSION 133 CHAPTER 3: ‘INSIDE, OUTSIDE, UPSIDE DOWN:’ GENDER AND ETHNICITY IN VIRTUAL BANDS 135 GENDER 136 ETHNICITY 152 CASE STUDIES: DETHKLOK, JOSIE AND THE PUSSYCATS, STUDIO KILLERS 159 CONCLUSION 179 CHAPTER 4: ‘SPITTING OUT THE DEMONS:’ GORILLAZ’ CREATION STORY AND THE CONSTRUCTION OF AUTHENTICITY 181 ACADEMIC DISCOURSE ON GORILLAZ 187 MASCULINITY IN GORILLAZ 191 ETHNICITY IN GORILLAZ 200 GORILLAZ FANDOM 215 CONCLUSION 225
    [Show full text]
  • Listado Completo Rsd2018
    Ediciones RecordStoreDaySpain 2018 NACIONAL ARTISTA TÍTULO FORMATO SELLO 12TWELVE SPERITISMO LP BRUNZIT RECORDS VETUSTA MORLA PUNTO SIN RETORNO / CONSEJO DE SABIOS 7" PEQUEÑO SALTO MORTAL ELS SURFING SIRLES LP 2LP BANKROBBER LOS PUNSETES LOS PUNSETES 2LP EVERLASTING LOS LABIOS BIRTHDAY LP TRILOBITE CUTI VERICAD EL CAMINO DEL SAMURAI LP TRILOBITE NIÑOS MUTANTES DIEZ Y MEDIO 10" ERNIE RECORDS LAUREN "LORENZO" AITKEN PERFIDIA / MI VIDA SIN TU AMOR 7" LIQUIDATOR SLACKERS / LO PARDAL ROQUER I CAN'T HIDE / SÓC DE L'OEST 7" PONENT ROOTS / GRANS RECORDS ELVIS PRESLEY & THE BLUE MOON BOYS SHAKE RATTLE & BLUE MOON 7" SLEAZY RECORDS LOS TIKI PHANTOMS REGRESAN DE LA TUMBA LP BCORE THE NEW RAEMON LA DIMENSIÓN DESCONOCIDA LP BCORE DR. CALYPSO ORIGINAL VOL.1 LP DAILY RECORDS / BCORE VARIOS ¡DESAFINANDO! LP ADARCE MARLANGO POCO A POCO 7" ALTAFONTE WILD MAN RIDDIM WORLDWIDE FREQUENCY LP BRIXTON RECORDS IVÁN FERREIRO PERVERSIONES CATASTRÓFICAS 10" WARNER TRIANA EL PATIO LP WARNER MIKEL ERENTXUN LIVE AT THE ROXY 12" WARNER EL DROGAS UN DÍA NADA MÁS (HÉROES) / NOS DA PENA 7" WARNER JAIME L. PANTALEÓN E.N.T.E. LP LONG LIVE RECORDS MÖNO WE ARE MÖNO LP+7" MUSIC BUS FIZZY SOUP NOT SO FAR LP SON BUENOS BURNING MUEVE TUS CADERAS 7" SONY KAKA DE LUXE KAKA DE LUXE 7" SONY SMASH NI RECUERDO, NI OLVIDO 7" SONY STAY / THE SLINGSHOTS IN THE HOLE / CRANKY HONKY 7" GRANS RECORDS ISLANDIA NUNCA QUEMA BEHOLD THE EVIL MIND 7" PHILATELIA RECORDS Ediciones RecordStoreDaySpain 2018 INTERNACIONAL ARTISTA TÍTULO FORMATO SELLO AALIYAH BACK & FORTH 12" JIVE ABBA SUMMER NIGHT CITY 7" USM AC/DC BACK IN BLACK CASSETTE SONY AGNETHA FALTSKOG ELVA KVINNOR I.
    [Show full text]
  • 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.
    [Show full text]