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Precio Maketa Punk-Oi! Oi! Core 24 ¡Sorprendete!
GRUPO NOMBRE DEL MATERIAL AÑO GENERO LUGAR ID ~ Precio Maketa Punk-Oi! Oi! Core 24 ¡Sorprendete! La Opera De Los Pobres 2003 Punk Rock España 37 100% Pure British Oi! Música Punk HC Cd 1 Punk Rock, HC Varios 6 100% Pure British Oi! Música Punk HC Cd 2 Punk Rock, HC Varios 6 100% Pure British Oi! Música Punk HC Cd 1 Punk Rock, HC Varios 10 100% Pure British Oi! Música Punk HC Cd 2 Punk Rock, HC Varios 10 1ª Komunion 1ª Komunion 1991 Punk Rock Castellón 26 2 Minutos Valentin Alsina Punk Rock Argentina 1 2 Minutos Postal 97 1997 Punk Rock Argentina 1 2 Minutos Volvió la alegría vieja Punk Rock Argentina 2 2 Minutos Valentin Alsina Punk rock Argentina 12 2 Minutos 8 rolas Punk Rock Argentina 13 2 Minutos Postal ´97 1997 Punk Rock Argentina 32 2 Minutos Valentin Alsina Punk Rock Argentina 32 2 Minutos Volvio la alegria vieja 1995 Punk Rock Argentina 32 2 Minutos Dos Minutos De Advertencia 1999 Punk Rock Argentina 33 2 Minutos Novedades 1999 Punk Rock Argentina 33 2 Minutos Superocho 2004 Punk Rock Argentina 47 2Tone Club Where Going Ska Francia 37 2Tone Club Now Is The Time!! Ska Francia 37 37 hostias Cantando basjo la lluvia ácida Punk Rock Madrid, España 26 4 Skins The best of the 4 skins Punk Rock 27 4 Vientos Sentimental Rocksteady Rocksteady 23 5 Years Of Oi! Sweat & Beers! 5 Years Of Oi! Sweat & Beers! Rock 32 5MDR Stato Di Allerta 2008 Punk Rock Italia 46 7 Seconds The Crew 1984 Punk Rock, HC USA 27 7 Seconds Walk Together, Rock Together 1985 Punk Rock, HC USA 27 7 Seconds New Wind 1986 Punk Rock, HC USA 27 7 Seconds Live! One Plus One -
A High School Tradition for 84 Years Volume 84, Number 6 Salem Senior High School March 14,1997
A High School Tradition for 84 Years Volume 84, Number 6 Salem Senior High School March 14,1997 In this issue Erica Godfrey, Connie Morris, and Stephanie Schmid look at the dangers ofsmoking. Smoke and choke Pay for your crime by Stephanie Schmid Smoking at Salem McShane, have asked juve hard-core smokers has also High School is a continu nile court judge Ashley decreased in contrast to the ing problem. The Pike to support them in al increasing number of stu restrooms have become a lowing them to cite smok dents sharing cigarettes. haven for smokers; the ers to court. This would The first time a most popular being in Se then become a legal matter student is caught smoking nior Hall. Even though vari in which smokers would be or possessing a tobacco ous staff members monitor punished with fines for un product, the punishment is the restrooms between derage possession of a to three days of in- school classes, it is still possible bacco product and smoking suspension. The second for students to ·smoke dur in a public building. time is five days and the ing classes. The rate of SHS third time is ten days of in Some public smokers fluctuates. The school suspension. If two buildings are fining smok overall number of smokers or more students are ers $50 if they are caught has decreased in the men's caught in the same stall, all smoking in places such as restrooms whereas in the are punished with four the restrooms. The princi women's restrooms it is on night detention. -
The Lived Experience of Military Brats of Color In
ABSTRACT Title of Dissertation: THERE IS NO PLACE LIKE HOME: THE LIVED EXPERIENCE OF MILITARY BRATS OF COLOR IN COLLEGE Alicia Marie Peralta, Doctor of Philosophy, 2019 Dissertation directed by: Professor Francine H. Hultgren Department of Teaching and Learning, Policy and Leadership Military children of color live in various cultural contexts, often outside of mainstream U.S. society, leading to questions about their experiences as young people of color in college settings. To this end, this dissertation asks: What is the lived experience of military brats of color in college? This dissertation explores the experiences of seven military children of color in college settings as they navigate leaving their unique military context, encounter identities they did not know they had, and individuate from their families and the military context. The phenomenological questioning of identity coupled with conceptions of home and belonging shine a light on the bittersweet experience of the military brats of color feeling like strangers in their own country. These experiences are uncovered using Gadamerian (1975/2004) horizons and Heidegger’s dasein (1927/2008b) in addition to O’Donohue’s (1997, 1998) philosophical writings on belonging and home. The thematizing process brought forth experiences of attempting to forge an identity in the midst of preconceived ideas about who and what you should be as a person. The process of forging identity includes the transition from the military community to college; a settling into college; and a choosing of identity. Pedagogical insights include a critique of identity and how it is constructed, specifically because military children of color are never of a place, but move with and in spaces. -
Living with Stories
Utah State University DigitalCommons@USU All USU Press Publications USU Press 2008 Living With Stories William Schneider Follow this and additional works at: https://digitalcommons.usu.edu/usupress_pubs Part of the Indigenous Studies Commons Recommended Citation Schneider, W. S., & Crowell, A. (2008). Living with stories: Telling, re-telling, and remembering. Logan: Utah State University Press. This Book is brought to you for free and open access by the USU Press at DigitalCommons@USU. It has been accepted for inclusion in All USU Press Publications by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. Living with Stories Telling, Re-telling, and Remembering Living with Stories Telling, Re-telling, and Remembering Edited by William Schneider With Essays by Aron L. Crowell and Estelle Oozevaseuk Holly Cusack-McVeigh Sherna Berger Gluck Lorraine McConaghy Joanne B. Mulcahy Kirin Narayan Utah State University Press Logan, Utah Copyright © 2008 Utah State University Press All rights reserved Utah State University Press Logan, Utah 84322–7800 www.usu.edu/usupress Manufactured in the United States of America Printed on acid-free, recycled paper ISBN 978–0–87421–689-9 (cloth) ISBN 978–0–87421–690-5 (e-book) Chapter 3 was fi rst published as Aron L. Crowell and Estelle Oozevaseuk. 2006. “The St. Lawrence Island Famine and Epidemic, 1878–1880: A Yupik Narrative in Cultural and Historical Perspective.” Arctic Anthropology 43(1):1–19. Library of Congress Cataloging-in-Publication Data Living with stories : telling, re-telling, and remembering / edited by William Sch- neider ; with essays by Aron L. Crowell ... [et al]. -
Papau New Guinea, Soloman Islands, and Vanuatu
PAPUA NEW GUINEA COUNTRY READER TABLE OF CONTENTS Mary Seymour Olmsted 1975-1979 Ambassador, Papua New Guinea Harvey Feldman 1979-1981 Ambassador, Papua New Guinea Morton R. Dworken, Jr. 1983-1985 Deputy Chief of Mission, Port Moresby Paul F. Gardner 1984-1986 Ambassador, Papua New Guinea Robert Pringle 1985-1987 Deputy Chief of Mission, Port Moresby Everett E. Bierman 1986-1989 Ambassador, Papua New Guinea William Farrand 1990-1993 Ambassador, Papua New Guinea Richard W. Teare 1993-1996 Ambassador, Papua New Guinea John Allen Cushing 1997-1998 Consular/Political Officer, Port Moresby Arma Jane Karaer 1997-2000 Ambassador, Papua New Guinea MARY SEYMOUR OLMSTED Ambassador Papua New Guinea (1975-1979) Ambassador Mary Seymour Olmsted was born in Duluth, Minnesota and raised in Florida. She received a bachelor's degree in economics from Mount Holyoke College and a master's degree from Columbia University. Ambassador Olmsted's Foreign Service career included positions in India, Iceland, Austria, Washington, DC, and an ambassadorship to Papua New Guinea. Ambassador Olmsted was interviewed by Charles Stuart Kennedy in 1992. Q: That's an awful lot of responsibility, I would think. Now you went out to Port Moresby. That was in June of '74? OLMSTED: Yes. Q: As principal officer. So in other words, you were made Consul General. Sworn in and so forth. 1 OLMSTED: Yes. Q: At that time, did you know that was going to become an Embassy? OLMSTED: It seemed quite likely. Papua New Guinea, in the beginning, was obviously on the road to independence, and no one knew exactly when it would take place. -
Aurora Models, Garage Kits and the Object Practices of Horror
Materializing Monsters: Aurora Models, Garage Kits, and the Object Practices of Horror Media Bob Rehak Figure 1 The July 1962 issue of Famous Monsters of Filmland carried an advertisement for a new product from Aurora Plastics Company: a scale model of Frankenstein’s Monster (Figure 1). Announcing the first in what would become a long-running and profitable line of Aurora kits based on classic horror-movie creatures, the ad copy, running beside an exploded view of the model’s individual parts alongside a finished and painted version, emphasized rather than elided the steps required to make it whole: YOU ASKED FOR IT — AND HERE IT IS: A COMPLETE KIT of molded styrene plastic to assemble the world’s most FAMOUS MONSTER — 2 Frankenstein! A total of 25 separate pieces go into the making of this exciting, perfectly-scaled model kit by Aurora, quality manufacturer of scale model hobby sets. The FRANKENSTEIN MONSTER stands over 12-inches when assembled. You paint it yourself with quick-dry enamel, and when finished the menacing figure of the great monster appears to walk right off the GRAVESTONE base that is part of this kit. Taken with its insistent second-person you, the text’s avowal of “kit-ness” suggests that the appeal of monster models stemmed not just from their iconic content, but the way they promised to transform readers into modelers in a mutually reinforcing relationship of agency, much as the otherwise static and nonarticulated plastic monster would appear to “walk right off” its base. (Even the choice of subject held a felicitous -
Screams on Screens: Paradigms of Horror
Screams on Screens: Paradigms of Horror Barry Keith Grant Brock University [email protected] Abstract This paper offers a broad historical overview of the ideology and cultural roots of horror films. The genre of horror has been an important part of film history from the beginning and has never fallen from public popularity. It has also been a staple category of multiple national cinemas, and benefits from a most extensive network of extra-cinematic institutions. Horror movies aim to rudely move us out of our complacency in the quotidian world, by way of negative emotions such as horror, fear, suspense, terror, and disgust. To do so, horror addresses fears that are both universally taboo and that also respond to historically and culturally specific anxieties. The ideology of horror has shifted historically according to contemporaneous cultural anxieties, including the fear of repressed animal desires, sexual difference, nuclear warfare and mass annihilation, lurking madness and violence hiding underneath the quotidian, and bodily decay. But whatever the particular fears exploited by particular horror films, they provide viewers with vicarious but controlled thrills, and thus offer a release, a catharsis, of our collective and individual fears. Author Keywords Genre; taboo; ideology; mythology. Introduction Insofar as both film and videogames are visual forms that unfold in time, there is no question that the latter take their primary inspiration from the former. In what follows, I will focus on horror films rather than games, with the aim of introducing video game scholars and gamers to the rich history of the genre in the cinema. I will touch on several issues central to horror and, I hope, will suggest some connections to videogames as well as hints for further reflection on some of their points of convergence. -
The Long History of Indigenous Rock, Metal, and Punk
UNIVERSITY OF CALIFORNIA Los Angeles Not All Killed by John Wayne: The Long History of Indigenous Rock, Metal, and Punk 1940s to the Present A thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in American Indian Studies by Kristen Le Amber Martinez 2019 © Copyright by Kristen Le Amber Martinez 2019 ABSTRACT OF THESIS Not All Killed by John Wayne: Indigenous Rock ‘n’ Roll, Metal, and Punk History 1940s to the Present by Kristen Le Amber Martinez Master of Arts in American Indian Studies University of California Los Angeles, 2019 Professor Maylei Blackwell, Chair In looking at the contribution of Indigenous punk and hard rock bands, there has been a long history of punk that started in Northern Arizona, as well as a current diverse scene in the Southwest ranging from punk, ska, metal, doom, sludge, blues, and black metal. Diné, Apache, Hopi, Pueblo, Gila, Yaqui, and O’odham bands are currently creating vast punk and metal music scenes. In this thesis, I argue that Native punk is not just a cultural movement, but a form of survivance. Bands utilize punk and their stories as a conduit to counteract issues of victimhood as well as challenge imposed mechanisms of settler colonialism, racism, misogyny, homophobia, notions of being fixed in the past, as well as bringing awareness to genocide and missing and murdered Indigenous women. Through D.I.Y. and space making, bands are writing music which ii resonates with them, and are utilizing their own venues, promotions, zines, unique fashion, and lyrics to tell their stories. -
Sarà Il Chitarrista Bill Frisell, Ad Aprire Venerdì 9 Novembre, Ore 21, Alla Fiera Di Cagliari, Una Delle Notti Jazz Che Si P
36° Festival Internazionale Jazz in Sardegna – European Jazz Expo BILL FRISELL (solo) ENRICO RAVA 5et feat. JOE LOVANO Centro Congressi della Fiera di Cagliari, venerdì 9 novembre (ore 21) Sarà il chitarrista Bill Frisell, ad aprire venerdì 9 novembre, ore 21, alla Fiera di Cagliari, una delle notti jazz che si preannuncia esplosiva per il valore e la fama degli artisti che si esibiranno sul palco. Un unico concerto che vedrà, dopo l’esibizione di Frisell in solo, anche il live di un quintetto d’eccezione, il supergruppo formato dal sassofonista Joe Lovano, il trombettista Enrico Rava il contrabbassista Dezron Douglas, il batterista Gerald Ceaver e il pianista Giovanni Guidi. Bill Frisell, stella indiscussa del panorama musicale mondiale, riconosciuto non solo come uno dei chitarristi più inventivi di sempre ma anche come uno dei più versatili e prolifici, si esibirà in solo sul palco della fiera nella prima parte della serata. Con una carriera trentennale e oltre cento dischi pubblicati alle spalle, Frisell è tra le figure più di spicco nell’ambito jazzistico, con un repertorio che sconfina spesso nei territori del folk, del country, del pop e della musica d’avanguardia. Ha collaborato tra gli altri con Paul Motian, John Zorn, Elvis Costello, Marianne Faithfull, John Scofield, Jan Garbarek, Paul Bley, Bono, Robin Sylvian. Alcuni critici lo hanno paragonato a Miles Davis per il suo stile caratterizzato dalla ricerca del puro suono e dall’antitecnica inconfondibile. I suoi dischi coprono un ampio raggio di generi e influenze musicali: dalle colonne sonore di film di Buster Keaton e dei cartoni animati di Gary Larson (Quartet) alle composizioni originali per grossi ensemble con archi e collaborazioni con il bassista Viktor Krauss e il batterista Jim Keltner. -
Master Uten Bilder
A Transforming Voice in a Changing Genre - Alison Krauss Sigrun Sundet Sandstad Master Thesis in Musicology At the Faculty of Musicology University of Oslo Autumn 2016 i A Transforming Voice in a Changing Genre - Alison Krauss - Acknowledgements… First of all I would like to thank my husband, Torkild. Your patience, your eye for detail, and shared love for bluegrass has been priceless in this process. I am also forever thankful for how you and our children have cheered me on in this process. Thank you dad, for introducing me to bluegrass music. Thank you for daring to play and listen to music you loved, although it was not always mainstream. Thank you Holly and Bart, for providing me with language expertise. Thank you, staff at the Grey Fox Bluegrass Festival 2016 for being so helpful. A huge thanks to Barry Bales, Charles Clements, Mike Compton, Jerry Douglas, Leigh Gibson and Sierra Hull for letting me interview you and for providing me with unique and valuable material. Thank you Stan Hawkins, my supervisor, for challenging me, encouraging me, and believing in me. I could never have done this without your guiding. Thank you, Alison Krauss, for loving and respecting bluegrass. Without your love for bluegrass, I wouldn’t have had mine. Sigrun S. Sandstad Stavern, October 2016 ii A Transforming Voice in a Changing Genre - Alison Krauss - iii A Transforming Voice in a Changing Genre - Alison Krauss - PREFACE If you asked me to guess, I would have said that it happened last week. It was one of those defining moments, which feels like days and at the same time a lifetime ago. -
David Menconi
David Menconi “But tonight, we’re experiencing something much more demented. Something much more American. And something much more crazy. I put it to you, Bob: Goddammit, what’s goin’ on?” —Dexter Romweber, “2 Headed Cow” (1986) (Or as William Carlos Williams put it 63 years earlier: “The Pure Products of America/Go crazy.”) To the larger world outside the Southeastern college towns of Chapel Hill and Athens, Flat Duo Jets’ biggest brush up against the mainstream came with the self-titled first album comprising the heart of this collection. That was 1990’s “Flat Duo Jets,” a gonzo blast of interstellar rockabilly firepower that turned Jack White, X’s Exene Cervenka and oth- er latterday American underground-rock stars into fans and acolytes. In its wake, the Jets toured America with The Cramps and played “Late Night with David Letterman,” astounding audiences with rock ’n’ roll as pure and uncut as anybody was making in the days B.N. (Before Nirvana). But that kind of passionate devotion was nothing new for the Jets. For years, they’d been turning heads and blowing minds in their Chapel Hill home- town as a veritable rite of passage for music-scene denizens of a certain age. Just about everyone in town from that era has a story about happening across the Jets in their mid-’80s salad days, often performing in some terri- bly unlikely place – record store, coffeeshop, hallway, even the middle of the street – channeling some far-off mojo that seemed to open portals to the past and future at the same time. -
![JOHN COWAN - SIXTY [DELUXE EDITION] Compass 4630 Release Date: 8/26/14](https://docslib.b-cdn.net/cover/0821/john-cowan-sixty-deluxe-edition-compass-4630-release-date-8-26-14-1350821.webp)
JOHN COWAN - SIXTY [DELUXE EDITION] Compass 4630 Release Date: 8/26/14
JOHN COWAN - SIXTY [DELUXE EDITION] Compass 4630 Release date: 8/26/14 1. The Things I Haven’t Done (Bruce Coughlan) Bruce Coughlan Music (SESAC) The opening track, by Bruce Coughlan, a talented singer-songwriter from British Columbia with whom I’ve had the privilege of collaborating over the years, captures the theme of Sixty: I’ve been blessed with an amazing life and career. As with most of us, my journey has not been without loss and sacrifice, but by and large, I’ve been able to make a living doing what I love. One of the joys in my life has been to sing on records of people I admire greatly. Singing on Rodney Crowell’s recordings since the landmark “Houston Kid,” has been a source of great pride and satisfaction for me. I was a fan of his long before our lives intersected and we became friends. Having Rod on this song means very much to me. Alison Brown - Banjo | Rodney Crowell - Background Vocal, Lead Vocal on Bridge | Danny Flowers - Harmonica | Jim Pugh - B3 Organ | Ed Toth - Drums | John Cowan - Bass | John McFee - Acoustic 6 and 12-String Guitars, Electric 12-String Guitar, Pedal Steel, Vocals 2. Why Are You Crying (Rick Roberts) Hori Pro Entertainment Group Inc. dba Sixteen Stars Music (BMI)/Reservoir 416 (BMI) After dropping out of my first year of college in Indiana (where I seemingly confused GPA with THC), I moved back to Louisville, Kentucky, to pursue “the dream.” While working in a car wash full time and playing music on the weekends, I met a budding young concert promoter by the name of Rusty Lovell.