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Dj Shadow Return of the Master Beats Craftsman
SUMMER 2017 FREE ISSUE 31 DJ SHADOW RETURN OF THE MASTER BEATS CRAFTSMAN INSIDE: KRAFTWERK, SLOWDIVE, SAM LEE, BRICKWORK LIZARDS FESTIVAL REVIEWS: SEAN PAUL, PETE TONG IBIZA CLASSICS, RAG ‘N’ BONE MAN, THE MAGIC NUMBERS, DISCO SHED & MORE OMS31 MUSIC NEWS There’s a history of multi – venue metro festivals in Cowley Road with Truck’s OX4 and then Gathering setting the pace. Well now Future Perfect have taken up the baton with Ritual Union on Saturday October 21. Venues are the O2 Academy 1 and 2, The Library, The Bullingdon and Truck Store. The first stage of acts announced includes Peace, Toy, Pinkshinyultrablast, Flamingods, Low Island, Dead Reborn local heroes Ride are sounding in fine stage Pretties, Her’s, August List and Candy Says with DJ fettle judging by their appearance at the 6 Music sets from the Drowned in Sound team. Tickets are Festival in Glasgow. The former Creation shoegaze £25 in advance. trailblazers play the New Theatre, Oxford on July 10, having already appeared at Glastonbury, their The Jericho Tavern in Walton Street have a new first local show in many years. They have also promoter to run their upstairs gigs. Heavy Pop announced a major UK tour. The eagerly awaited are well – known in Reading having run the Are new album, the Erol Alkan produced Weather Diaries You Listening? festival there for 5 years. Already is just released. (See our album review in the Local confirmed are an appearance from Tom Williams Releases section). Tickets for New Theatre gig with (formerly of The Boat) on September 16 and Original Spectres supporting, can be bought from Rabbit Foot Spasm Band on October 13 with atgtickets.com Peerless Pirates and Other Dramas. -
1; Iya WEEKLY
Platinum Blonde - more than just a pretty -faced rock trio (Page 5) Volume 39 No. 23 February 11, 1984 $1.00 :1;1; iyAWEEKLY . Virgin Canada becomes hotti Toronto: Virgin Records Canada, headed Canac by Bob Muir as President, moves into the You I fifth month flying its own banner and has become one of the hottest labels in the Cultu country. action THE PROMISE CONTINUES.... Contributing to the success of the label by th has been Culture Club with their albums of th4 Basil', Kissing To Be Clever and Colour By Num- bers. Also a major contributor is the break- W. out of the UB40 album, Labour Of Love, first ; boosted by the reggae group's cover of the forth Watch for: old Neil Diamond '60s hit, Red Red Wine. sampl "Over100,000 Colour By Numbers also t albums were shipped in the first ten days band' -the new Images In Vogue video of 1984 alone," said Muir. "The last Ulle40 Tt album only did about 13,000 here. Now, The' albun ... with Labour Of Love, we have the first gold Lust for Love album outside of Europe, and the success ships here is opening doors in the U.S. The record and c; broke in Calgary and Edmonton and started Al -Darkroom's tour (with the Payola$) spreading." Colour By Numbers has just surpassed quintuple platinum status in Canada which Ca] ...Feb. 17-29 represents 500,000 units sold, which took Va. about 16 weeks. The album was boosted and a new remixed 7" and 12" of San Paku by the hit singles Church Of The Poison Toros Mind, now well over gold, and the latest based single, Karma Chameleon, now well over of Ca the platinum mark in less than ten weeks prom This - a newsingle by Ann Mortifee of release. -
Constructing the Witch in Contemporary American Popular Culture
"SOMETHING WICKED THIS WAY COMES": CONSTRUCTING THE WITCH IN CONTEMPORARY AMERICAN POPULAR CULTURE Catherine Armetta Shufelt A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2007 Committee: Dr. Angela Nelson, Advisor Dr. Andrew M. Schocket Graduate Faculty Representative Dr. Donald McQuarie Dr. Esther Clinton © 2007 Catherine A. Shufelt All Rights Reserved iii ABSTRACT Dr. Angela Nelson, Advisor What is a Witch? Traditional mainstream media images of Witches tell us they are evil “devil worshipping baby killers,” green-skinned hags who fly on brooms, or flaky tree huggers who dance naked in the woods. A variety of mainstream media has worked to support these notions as well as develop new ones. Contemporary American popular culture shows us images of Witches on television shows and in films vanquishing demons, traveling back and forth in time and from one reality to another, speaking with dead relatives, and attending private schools, among other things. None of these mainstream images acknowledge the very real beliefs and traditions of modern Witches and Pagans, or speak to the depth and variety of social, cultural, political, and environmental work being undertaken by Pagan and Wiccan groups and individuals around the world. Utilizing social construction theory, this study examines the “historical process” of the construction of stereotypes surrounding Witches in mainstream American society as well as how groups and individuals who call themselves Pagan and/or Wiccan have utilized the only media technology available to them, the internet, to resist and re- construct these images in order to present more positive images of themselves as well as build community between and among Pagans and nonPagans. -
Wizard of Oz Red 2Bused.Fdx
The Wizard of OZ __________________________ a LINX adaptation RED CAST LINX 141 LINDEN ST. WELLESLEY, MA 01746 (781) 235-3210 [email protected] PROLOGUE [ALL] GLINDA GREETS THE AUDIENCE CURTAIN OPENS. Behind the curtain is GLINDA. She looks at the audience with wonder.] GLINDA_PP What a wonderful audience. So many excited and eager faces. Are we all ready for an adventure? Watch one another’s back now. Things do sneak up on you in Oz. Fortunately, they can be very nice things... (points to back of house) Like that... 1ST SONG - FIREWORK ACT I, SCENE 1 [PP] IN WHICH DOROTHY IS CALLED BEFORE THE WIZARD. CHARACTERS: WIZARD, DOROTHY, SCARECROW, LION, TIN MAN [Head of Wizard hovers before audience. Below, Dorothy, Scarecrow, Lion and Tin Man tremble in terror. Mid-runner curtain is closed behind them. Also onstage is a booth with a hanging curtain. Thick ducts branch out from the booth.] WIZARD I am the great and powerful OZ! Who dares approach me? [Scarecrow, Lion and Tin Man shove Dorothy forward. Dorothy looks back at them.] SCARECROW_PP You got this. LION_PP We’re right behind you. [Dorothy turns toward Wizard. Scarecrow, Lion and Tin Man shuffle backwards. Dorothy turns to them, noticing the increased distance.] TIN MAN_PP Right behind you! 2. WIZARD (to Dorothy) Who are you? DOROTHY_PP My name is Dorothy. Dorothy Gale. WIZARD And where do you come from, “Dorothy Gale”? DOROTHY_PP Kansas. WIZARD Kansas? (long pause) What is Kansas? DOROTHY_PP It’s a place. My home - and I so want to return. A tornado picked up my home, picked up me and my little dog - only, he’s not so little anymore. -
Album Review: Bon Iver's 22, a Million
Album Review: Bon Iver’s 22, a Million 22, a Million, the newest album by American indie folk band Bon Iver, leaves the listener with an overarching question: Is there any border left between acoustic and electronic music? Although ambiguous as to which category it falls into, Bon Iver manages to respect both genres with a rich, homogenous mixture of experimental and traditional instrumentation. However, the album is a motley of songs that—both individually and as a group—build to nowhere, like a fleeting thought that crosses the mind at one point, but leaves no lasting impression. Founded in 2007 by singer/songwriter Justin Vernon, Bon Iver has been the vanguard of the indie folk/experimental genre. Vernon—a Wisconsin native with deep ties to the American wilderness—is undeniably influenced by a guitar-and-voice acoustic sound that is reminiscent of childhood campfires, roasting s’mores, and long silences between experienced fishermen. Tracks like “29 #Strafford APTS” and “00000 Million” have obvious connections to the folk genre: banjo, acoustic guitar, three and four-part vocal harmonizing, and chatter and laughter among musicians before the start of the song. These elements anchor the album, preventing it from straying too far from the group’s previous releases. During the five-year gap between the album Bon Iver and 22, a Million, Bon Iver evidently delved into the uncharted territory of experimental music. The use of synthesizers, vocal filtration, extensive sampling, and static-ridden beats establishes a distinctive atmosphere of digital haziness, a complementary frame for Vernon’s midwestern accent-tinged voice. -
Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY Robert Jacob Sivy University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.459 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sivy, Robert Jacob, "EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY" (2019). Theses and Dissertations--Music. 149. https://uknowledge.uky.edu/music_etds/149 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
National Conference
NATIONAL CONFERENCE OF THE POPULAR CULTURE ASSOCIATION AMERICAN CULTURE ASSOCIATION In Memoriam We honor those members who passed away this last year: Mortimer W. Gamble V Mary Elizabeth “Mery-et” Lescher Martin J. Manning Douglas A. Noverr NATIONAL CONFERENCE OF THE POPULAR CULTURE ASSOCIATION AMERICAN CULTURE ASSOCIATION APRIL 15–18, 2020 Philadelphia Marriott Downtown Philadelphia, PA Lynn Bartholome Executive Director Gloria Pizaña Executive Assistant Robin Hershkowitz Graduate Assistant Bowling Green State University Sandhiya John Editor, Wiley © 2020 Popular Culture Association Additional information about the PCA available at pcaaca.org. Table of Contents President’s Welcome ........................................................................................ 8 Registration and Check-In ............................................................................11 Exhibitors ..........................................................................................................12 Special Meetings and Events .........................................................................13 Area Chairs ......................................................................................................23 Leadership.........................................................................................................36 PCA Endowment ............................................................................................39 Bartholome Award Honoree: Gary Hoppenstand...................................42 Ray and Pat Browne Award -
Hard to Be a God / Arkady and Boris Strugatsky ; Translated by Olena Bormashenko
Copyright © 1964 by Arkady and Boris Strugatsky Foreword copyright © 2014 by Hari Kunzru Aerword copyright © 2014 by Boris Strugatsky English language translation copyright © 2014 by Chicago Review Press Incorporated All rights reserved Published by Chicago Review Press Incorporated 814 North Franklin Street Chicago, IL 60610 ISBN 978-1-61374-828-2 e publication was effected under the auspices of the Mikhail Prokhorov Foundation TRANSCRIPT Programme to Support Translations of Russian Literature. Published with the support of the Institute for Literary Translation (Russia). Library of Congress Cataloging-in-Publication Data Strugatskii, Arkadii, 1925–1991, author. [Trudno byt’ bogom. English. 2014] Hard to be a god / Arkady and Boris Strugatsky ; translated by Olena Bormashenko. pages ; cm ISBN 978-1-61374-828-2 I. Strugatskii, Boris, 1933–2012, author. II. Bormashenko, Olena, translator. III. Title. PG3476.S78835T7813 2014 891.73’44—dc23 2014007355 Interior design: PerfecType, Nashville, TN Printed in the United States of America 5 4 3 2 1 Foreword by Hari Kunzru here are always schisms, even in medieval fantasy. Weird tales are Tweird in more than one way. One the one hand we have a rural tradition, sentimental, conservative, and wedded to absolute notions of good and evil. is is the English school of Tolkien and Lewis, in which Christ-lions and schoolchildren ght cosmopolitan witches and wizards with suspiciously foreign names. e nasty working classes of industrial Mordor threaten the exurban tranquility of the Shire, a place full of morally centered artisans and small tradesmen, destined, once the dwarves build the railway and the elves nally get out of their hot tubs and invent the Internet, to end up as commuters. -
"Erase Me": Gary Numan's 1978-80 Recordings
Ought: The Journal of Autistic Culture Volume 2 Issue 2 Article 4 June 2021 "Erase Me": Gary Numan's 1978-80 Recordings John Bruni [email protected], [email protected] Follow this and additional works at: https://scholarworks.gvsu.edu/ought Part of the Critical and Cultural Studies Commons, Disability Studies Commons, and the Music Commons Recommended Citation Bruni, John (2021) ""Erase Me": Gary Numan's 1978-80 Recordings," Ought: The Journal of Autistic Culture: Vol. 2 : Iss. 2 , Article 4. Available at: https://scholarworks.gvsu.edu/ought/vol2/iss2/4 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Ought: The Journal of Autistic Culture by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. “Erase Me”: Gary Numan’s 1978-80 Recordings John Bruni ary Numan, almost any way you look at him, makes for an unlikely rock star. He simply never fits the archetype: his best album, both Gin terms of artistic and commercial success, The Pleasure Principle (1979), has no guitars on it; his career was brief; and he retired at his peak. Therefore, he has received little critical attention; the only book-length analysis of his work is a slim volume from Paul Sutton (2018), who strains to fit him somehow into the rock canon. With few signposts at hand—and his own open refusal to be a star—writing about Numan is admittedly a challenge. In fact, Numan is a good test case for questioning the traditional belief in the authenticity of individual artistic genius. -
Satya 13 Ram Gopal Varma, 1998
THE CINEMA OF INDIA EDITED BY LALITHA GOPALAN • WALLFLOWER PRESS LO NOON. NEW YORK First published in Great Britain in 2009 by WallflowerPress 6 Market Place, London WlW 8AF Copyright © Lalitha Gopalan 2009 The moral right of Lalitha Gopalan to be identified as the editor of this work has been asserted in accordance with the Copyright, Designs and Patents Act of 1988 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transported in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of both the copyright owners and the above publisher of this book A catalogue record for this book is available from the British Library ISBN 978-1-905674-92-3 (paperback) ISBN 978-1-905674-93-0 (hardback) Printed in India by Imprint Digital the other �ide of 1 TRUTH l Hl:SE\TS IU\ffi(W.\tYEHl\"S 1 11,i:1111111,1:11'1111;1111111 11111111:U 1\ 11.IZII.IH 11.1\lli I 111 ,11 I ISll.lll. n1,11, UH.Iii 236 24 FRAMES SATYA 13 RAM GOPAL VARMA, 1998 On 3 July, 1998, a previously untold story in the form of an unusual film came like a bolt from the blue. Ram Gopal Varma'sSatya was released all across India. A low-budget filmthat boasted no major stars, Satya continues to live in the popular imagination as one of the most powerful gangster filmsever made in India. Trained as a civil engineer and formerly the owner of a video store, Varma made his entry into the filmindustry with Shiva in 1989. -
The Embassy Theatre Gets
PROJECT BALLET ACADEMIC CONSERVATORY things to do World class. Nationwide impact. Right here in Fort Wayne. pg12-13 285 in the area CALENDARS START ON PAGE 10 Jan. 24-30, 2019 FREE WHAT THERE IS TO DO IN FORT WAYNE AND BEYOND THE EMBASSY TONY AWARD- THEATRE GETS WINNING KINKY BOOTS STEPS INTO TOWN. KINKY PAGES 8-9 ALSO INSIDE: LOCAL MUSIC COVERAGE INCLUDES STRANGE WATERS, KEVIN HAMBRICK, AND ALICIA PYLE whatzup.com Inside This Week Volume 23, Number 26 4The Harlem TRADE UP Globetrotters in 2019 5 Make Your Old Gear New Jefferson We will help you sell your Starship gear on consignment or trade it in on the spot for in-store credit 6Kinky Boots 8New Clyde executive director 12Project Ballet Columns & Reviews Calendars Spins ⁄ 9 Picks ⁄ 16 Music/On the Road ⁄ 10-11 Visit the Gear Exchange today! Kevin Hambrick, Stephen Pearcy Bizet’s Carmen with The Fort Wayne Philharmonic and Chorus, Road Trips ⁄ 11 Backtracks ⁄ 9 Tuck Everlasting with Fire & Light Live Music & Comedy ⁄ 15-18 The Frost, Frost Music (1969) Productions Stage & Dance ⁄ 21 Road Notes ⁄ 10-11 Reel Views ⁄ 19 The Who answer yes to tour, new Glass: Shyamalan flips comic book Things To Do ⁄ 22 album formula Art & Exhibits ⁄ 23 Out and About ⁄ 14 Screen Time ⁄ 20 Hit the tropics with local surf rock Glass hits ceiling; The Upside still up 5501 US Hwy 30 W quartet Fort Wayne, IN 46818 JANUARY 24-30, 2019 WHATZUP 3 How to reach us Family fun from basketball court jesters Whatzup LLC 5501 U.S. Highway 30 West Fort Wayne, IN 46818 Globetrotters Phone: (260) 407-3198 Fax: (260) 469-1027 dribble their way [email protected] whatzup.com to the Coliseum facebook.com/whatzupftwayne instagram.com/whatzupftwayne BY HEATHER HERRON twitter.com/whatzupftwayne WHATZUP FEATURES WRITER Publisher It’s a life Chandler “Bulldog” Mack Gerson Rosenbloom could only dream of when growing up in Huntsville, Ala. -
Maurice Merleau-Ponty: Phenomenology of Perception
Phenomenology of Perception ‘In this text, the body-organism is linked to the world through a network of primal significations, which arise from the perception of things.’ Michel Foucault ‘We live in an age of tele-presence and virtual reality. The sciences of the mind are finally paying heed to the centrality of body and world. Everything around us drives home the intimacy of perception, action and thought. In this emerging nexus, the work of Merleau- Ponty has never been more timely, or had more to teach us ... The Phenomenology of Perception covers all the bases, from simple perception-action routines to the full Monty of conciousness, reason and the elusive self. Essential reading for anyone who cares about the embodied mind.’ Andy Clark, Professor of Philosophy and Director of the Cognitive Science Program, Indiana University Maurice Merleau-Ponty Phenomenology of Perception Translated by Colin Smith London and New York Phénomènologie de la perception published 1945 by Gallimard, Paris English edition first published 1962 by Routledge & Kegan Paul First published in Routledge Classics 2002 by Routledge 11 New Fetter Lane, London EC4P 4EE 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor and Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” © 1945 Editions Gallimard Translation © 1958 Routledge & Kegan Paul All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.