Good Vibrations
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Music, Mayhem and Good Vibrations
Études irlandaises 40-2 | 2015 La crise ? Quelle crise ? Hooleygan: Music, Mayhem and Good Vibrations Tim Heron Édition électronique URL : http://journals.openedition.org/etudesirlandaises/4752 DOI : 10.4000/etudesirlandaises.4752 ISSN : 2259-8863 Éditeur Presses universitaires de Caen Édition imprimée Date de publication : 15 décembre 2015 Pagination : 160-162 ISBN : 978-2-7535-4366-9 ISSN : 0183-973X Référence électronique Tim Heron, « Hooleygan: Music, Mayhem and Good Vibrations », Études irlandaises [En ligne], 40-2 | 2015, mis en ligne le 15 décembre 2015, consulté le 22 septembre 2020. URL : http:// journals.openedition.org/etudesirlandaises/4752 ; DOI : https://doi.org/10.4000/etudesirlandaises. 4752 Études irlandaises est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d’Utilisation Commerciale - Partage dans les Mêmes Conditions 4.0 International. Book Reviews in, or haunted by, ancient Ireland », Mangan doit, selon Joseph Lennon, être situé dans le contexte culturel plus vaste d’une véritable vision, « distinguishing an Irish past to create an Irish future ». Allant encore plus loin, Cóilin Parsons écoute une voix qui, à l’instar de Goethe et de la Weltliteratur, certes avec des différences, vise à saisir la totalité du monde « in all its glorious and gruesome reality ». Dans Ulysses Stephen Dedalus est peint « in the gothic shadow of Mangan’s restless ghost », écrit John McCourt : Mangan est un « internal exile », à la fois emblème et victime de son pays, écrivain si novateur que même Joyce « struggled to keep up with him ». Au sein des débats contemporains sur les pouvoirs respectifs de la science et du spiritualisme, Anne Jamison étudie la « spiritualist vastation » d’un homme fasciné par figure du magicien et par le surnaturel, pour qui la réalité n’est sans doute qu’une illusion. -
Identity, Authority and Myth-Making: Politically-Motivated Prisoners and the Use of Music During the Northern Irish Conflict, 1962 - 2000
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Queen Mary Research Online Identity, authority and myth-making: Politically-motivated prisoners and the use of music during the Northern Irish conflict, 1962 - 2000 Claire Alexandra Green Submitted in partial fulfillment of the requirements of the Degree of Doctor of Philosophy 1 I, Claire Alexandra Green, confirm that the research included within this thesis is my own work or that where it has been carried out in collaboration with, or supported by others, that this is duly acknowledged below and my contribution indicated. Previously published material is also acknowledged below. I attest that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge break any UK law, infringe any third party’s copyright or other Intellectual Property Right, or contain any confidential material. I accept that the College has the right to use plagiarism detection software to check the electronic version of the thesis. I confirm that this thesis has not been previously submitted for the award of a degree by this or any other university. The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author. Signature: Date: 29/04/19 Details of collaboration and publications: ‘It’s All Over: Romantic Relationships, Endurance and Loyalty in the Songs of Northern Irish Politically-Motivated Prisoners’, Estudios Irlandeses, 14, 70-82. 2 Abstract. In this study I examine the use of music by and in relation to politically-motivated prisoners in Northern Ireland, from the mid-1960s until 2000. -
BBC Music Booklet Celebrating 80 Years of Music.Pdf
Celebrating Years of Music A Serenade to Music “We are the music-makers And we are the dreamers of dreams…” (Arthur William Edgar O’Shaughnessy, Ode) The story of BBC Northern Ireland’s involvement in nurturing and broadcasting local musical talent is still in the making. This exhibition provides a revealing glimpse of work in progress at the BBC’s Community Archive in documenting the programmes and personalities who have brought music in all its different forms to life, and looks at how today’s broadcasters are responding to the musical styles and opportunities of a new century. It celebrates BBC NI’s role in supporting musical diversity and creative excellence and reflects changes in fashion, technology and society across 80 years of local broadcasting. “ Let us celebrate the way we were and the way we live now. Much has been achieved since 2BE’s first faltering (and scarcely heard) musical broadcast in 1924. Innovation has Let us celebrate the ways we will be... been a defining feature of every decade from early radio concerts in regional towns and country halls to the pioneering work of Sean O’Boyle in recording traditional music and Sam Hanna Bell’s 1950s programmes of Belfast’s Let us count the ways to celebrate. street songs.The broadcasts of the BBC Wireless Orchestra and its successors find their contemporary echo in the world-class performances of the Ulster Orchestra and BBC NI’s radio and television schedules continue to Let us celebrate.” reverberate to the diverse sounds of local jazz, traditional and country music, religious services, brass bands, choirs, (Roger McGough - Poems of Celebration) contemporary rock, pop and dance music. -
Glastonburyminiguide.Pdf
GLASTONBURY 2003 MAP Produced by Guardian Development Cover illustrations: John & Wendy Map data: Simmons Aerofilms MAP MARKET AREA INTRODUCTION GETA LOAD OF THIS... Welcome to Glastonbury 2003 and to the official Glastonbury Festival Mini-Guide. This special edition of the Guardian’s weekly TV and entertainments listings magazine contains all the information you need for a successful and stress-free festival. The Mini-Guide contains comprehensive listings for all the main stages, plus the pick of the acts at Green Fields, Lost and Cabaret Stages, and advice on where to find the best of the weird and wonderful happenings throughout the festival. There are also tips on the bands you shouldn’t miss, a rundown of the many bars dotted around the site, fold-out maps to help you get to grips with the 600 acres of space, and practical advice on everything from lost property to keeping healthy. Additional free copies of this Mini-Guide can be picked up from the Guardian newsstand in the market, the festival information points or the Workers Beer Co bars. To help you keep in touch with all the news from Glastonbury and beyond, the Guardian and Observer are being sold by vendors and from the newsstands at a specially discounted price during the festival . Whatever you want from Glastonbury, we hope this Mini-Guide will help you make the most of it. Have a great festival. Watt Andy Illustration: ESSENTIAL INFORMATION INFORMATION POINTS hygiene. Make sure you wash MONEY give a description. If you lose There are five information your hands after going to the loo The NatWest bank is near the your children, ask for advice points where you can get local, and before eating. -
Listening in on Belfast Punk Linsey Mcfadden Photo Courtesy of Sing Sing Records N the Late 1970’S Punk Rock Struck a City Divided by Religion and Politics
Listening In On Belfast Punk Linsey McFadden Photo Courtesy of Sing Sing Records n the late 1970’s punk rock struck a city divided by religion and politics. A city with an atmosphere permeating with the smell of hatred and fear, security checkpoints marred the entrance to the city centre, while bombings and shootings were commonplace. At Inight the only people that dared to walk the city’s streets were the one’s that enforced the curfews and the ones that broke them— punks. It wasn’t London and it wasn’t New York. They weren’t the only cities to carve out their stake in the punk rock world. Welcome to Belfast, a city where punk rock came at a time when it really made sense. In Northern Ireland, punk rock was never simply a fashion piece to be gawked at. Punk rock came to Belfast at a time of Troubles, a time when the city was more comparable to a warzone than a Western metropolis. It came at a time of blown out buildings, shootings, tense security, intimidation, curfews, and hate. “It was a scary place to be, in the city centre at night,” said Aidan Murtagh of Protex. “People stayed in their own areas where they felt safe. The only people about town at nights were British army, police and punks. These tensions probably added to the way the music was played and performed by many of the bands.” Until the relatively recent release of the Good Vibrations movie, Northern Irish punk had largely been pushed to the background as writers and filmmakers rushed to document the rise of punk in cities like New ork,Y London and L.A. -
The Uses and Misuses of Popular Music Lyrics in Legal Writing, 64 Wash
Washington and Lee Law Review Volume 64 | Issue 2 Article 4 Spring 3-1-2007 [Insert Song Lyrics Here]: The sesU and Misuses of Popular Music Lyrics in Legal Writing Alex B. Long Follow this and additional works at: https://scholarlycommons.law.wlu.edu/wlulr Part of the Legal Writing and Research Commons Recommended Citation Alex B. Long, [Insert Song Lyrics Here]: The Uses and Misuses of Popular Music Lyrics in Legal Writing, 64 Wash. & Lee L. Rev. 531 (2007), https://scholarlycommons.law.wlu.edu/wlulr/vol64/iss2/4 This Article is brought to you for free and open access by the Washington and Lee Law Review at Washington & Lee University School of Law Scholarly Commons. It has been accepted for inclusion in Washington and Lee Law Review by an authorized editor of Washington & Lee University School of Law Scholarly Commons. For more information, please contact [email protected]. [Insert Song Lyrics Here]: The Uses and Misuses of Popular Music Lyrics in Legal Writing Alex B. Long* Table of Contents I. For Those About To Rock (I Salute You) .................................... 532 II. I'm Looking Through You ........................................................... 537 A. I Count the Songs That Make the Legal Profession Sing, I Count the Songs in Most Everything, I Count the Songs That Make the Young Lawyers Cry, I Count the Songs, I Count the Songs ................................................. 537 B . A dd It U p ............................................................................... 539 C. I'm Looking Through You .................................................... 541 1. It Takes a Profession of Thousands To Hold Us Back .... 541 2. Baby Boomers Selling You Rumors of Their History ..... 544 3. -
Idioms-And-Expressions.Pdf
Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context. -
C.O 03 P', I~ COCO F~F~ R~3~
If you have issues viewing or accessing this file, please contact us at NCJRS.gov. i ~a37t, National Institute of Justice and U.S. State Department Policing in Emerging Democracies Workshop k Prepared Papers and Participant Biographies l i C.O 03 P', I~ COCO f~f~ 1 r~3~ December 14-15, 1995 W.=- W-= Washington, DC DATABASE DOCUMENT SCREENING Document Checking (DUPE Checkiag) ............. TMP#_ Screening Decision:(in~ OUT (Circle) BRS Rec'd Date: Publication Date: ~"~CO.~.C~ Page Numbers: [ "'" l~ '/ BJS ~ AIDS (AID) FUNDING/GRANTS (FND) _.~'NIJ ~ COMPUTERS/I"ECHNOLQGY (TEC) __ GANGS (GNG) OJJDP ~ CORRECTIONS (cOt) JUVENILES (JUV) ONOcP ~ cRIME PrEvEntIon (coP) OVC ~ CRIMINOLOGY(C JR) __ STATISTICS (STA) BJA (grants only) ~ COURTS (CTS) VICTIMS (VRC) ~. DRUGS (DAC) GRANT# I .N~r.RNATIONAL International SPONSORINGAGENCY: IDE Foreign Document "['itlc/'rranslation ( 10 page minimum/publication date no later than 3 yearsI INTl.,.ATIVES BJS INTER'L STATISTICS DRUGS & CRIME STATISTICS YOUTII. GUNS & VIOLENCE SPF-C!AL SERVICES MEMO: NIJ Catalog Recommendations: YES REFERENCE SCREENING: Screener's Initials -- Dale Screened 9/93 David H. Bayley Dean and Professor School of Criminal Justice 1 University at Albany State University of New York 4 October 1995 Conference: Policing in Emerging Democracies WHO ARE WE KIDDING? or DEVELOPING DEMOCRACY THROUGH POLICE REFORM My thoughts are the topic are organized into three parts: Principles, by which I mean unavoidable impediments in achieving democracy through police reform. Possibilities, referring to opportunities through police reform that may be exploited. Policies, which will be specific recommendations for getting the job done. PRINCIPLES If the objective of American policy is to encourage and facilitate the reform of police forces abroad so as to smooth transitions to democracy, policy-makers must recognize three unavoidable constraints on their efforts. -
KEEFUS CIANCIA (Discography)
KEEFUS CIANCIA 1/1/19 (Discography) Recording Album / Project Artist Credit Beyond the Palace Walls Paragon Taxi Piano, Keyboards (1993) Jazz in the Present Tense The Solsonics Keyboards (1993) Bop Gun Ice Cube Keyboards (1993) Fo Life Mack 10 Keyboards (1993) Cool Struttin The Pacific Jazz Alliance Keyboards (1994) Keyboards, Moog Synthesizer, N Gatz We Truss South Central Cartel (1994) Claves Nut-Meg Sez "Bozo the Town" Weapon of Choice Keyboards, Vocals (1994) Clavinet, Fender Rhodes, Moog Back to Reality Jeune (1995) Lead Highperspice Weapon of Choice Keyboards, Vocals (1996) I Am L.V. L.V. Keyboards (1996) Radio Odyssey Various Artists Keyboards (1996) The Jade Vincent Moy Producer, Composer, Musician (1996) Experiment Concepto Sol d'Menta Keyboards (1998) Nutmeg Phantasy Weapon of Choice Keyboards (1998) Whitey Ford Sings the Blues [Clean] Everlast Keyboards, Performer (1998) Another True Fiction Jerry Toback Moog Synthesizer (1999) Eat at Whitey's Everlast Bass, Keyboards, Band (2000) Loud Rocks Various Artists Keyboards (2000) Moog Synthesizer, Claves, You Know, for Kids Hate Fuck Trio (2000) Wurlitzer Synthesizer, Farfisa Organ, The ID Macy Gray (2001) Composer Motherland Natalie Merchant Piano, Keyboards (2001) Stimulated, Vol. 1 Various Artists Keyboards (2001) Diana Priscilla Ahn (2001) Organ, Keyboards, Clavinet, C'mon, C'mon Sheryl Crow (2002) String Samples Keyboards, Producer, Engineer, Soul of John Black The Soul of John Black (2003) Associate Producer Piano, Keyboards, Moog Thousand Kisses Deep Chris Botti (2003) Synthesizer, -
GSC Films: S-Z
GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything. -
DPQL 2016 Apr 27 Verified
DPQL: Quiz Questions 27 Apr 16 Question Reader: All parts of the answer shown without brackets are required. Parts shown in brackets are not essential, but if given incorrectly will mean that the answer is wrong; for example, if the answer shown is “(Fred) Smith”, “Smith” would be a correct answer, but “John Smith” would be incorrect. Parts shown in brackets are purely explanatory and are not required. If the answer offered is incomplete (for example, “Roosevelt” for “Theodore Roosevelt”, you may, at your discretion, ask the person answering to expand the answer. In the event of any problem, three spare questions can be found on the final sheet. DPQL: Quiz Questions 27 Apr 16 Notes for Teams: DPQL: Quiz Questions 27 Apr 16 Individual Round 1 1. Which ITV drama series had the theme tune “Did I make the most of loving you”? Downton Abbey 2. Which river of the Isle of Wight shares its name with a Middle-Eastern city? Medina 3. Who is the actress mother of actor Benedict Cumberbatch? (Wanda) Ventham 4. Which marine creatures make up the phylum porifera? Sponges 5. Who became Prime Minister when Anthony Eden resigned in 1957? (Harold) MacMillan 6. Which sportsman’s 2010 autobiography is entitled ‘9.58’? (Usain) Bolt 7. Gorm the Sleepy is the first recognised monarch of which European nation? Denmark 8. Which wife of Rod Stewart starred in the video for the Fountains of Wayne record Stacey’s (Rachel) Hunter Mom? 9. Which garden bird is known in Italian as ‘pettirosso’? Robin 10. Thomas Cranmer was the uncle of which wife of Henry VIII? (Catherine) Parr Team Round 2 1. -
Popular Music Stuart Bailie a Troubles Archive Essay
popular music A Troubles Archive Essay Stuart Bailie Cover Image: Victor Sloan - Market Street, Derry From the collection of the Arts Council of Northern Ireland About the Author Stuart Bailie was on the staff of the NME (New Musical Express) from 1988 to 1996, rising to Assistant Editor in his last three years there. Since then, he has worked as a freelance journalist for Mojo, Uncut, Q, The Times, The Sunday Times and Hot Press. He has written sleevenotes for U2 and wrote the authorised story of Thin Lizzy, The Ballad Of The Thin Man in 1997. He has been presenting a BBC Radio Ulster show each Friday evening since 1999. He has been Associate Producer of several BBC TV music programmes, including the story of Ulster rock and pop: ‘So Hard To Beat’ in 2007. He has also been the scriptwriter / researcher for a series of BBC Radio 2 documentaries on U2, Thin Lizzy and Elvis Costello. Stuart is now CEO of Oh Yeah, a dedicated music centre in Belfast. Popular Music In September 1968 Van Morrison was in NewYork, recording a series of songs about life back in Belfast. This was his Astral Weeks album, one of his most important works. It was also a vivid snapshot of Northern Ireland just before the climate changed dramatically with the outbreak of the Troubles. In Morrison’s sentimental picture, there were youthful voices, parties and high-spirits; flamboyant figures such as Madame George cruised the streets of Belfast as the post-war generation challenged social conventions. The hippy ideals were already receding in America, but Belfast had experienced a belated Summer of Love and a blossoming social life.