Vol. 53 No. 10 , February 3 , 2000
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Razorcake Issue #09
PO Box 42129, Los Angeles, CA 90042 www.razorcake.com #9 know I’m supposed to be jaded. I’ve been hanging around girl found out that the show we’d booked in her town was in a punk rock for so long. I’ve seen so many shows. I’ve bar and she and her friends couldn’t get in, she set up a IIwatched so many bands and fads and zines and people second, all-ages show for us in her town. In fact, everywhere come and go. I’m now at that point in my life where a lot of I went, people were taking matters into their own hands. They kids at all-ages shows really are half my age. By all rights, were setting up independent bookstores and info shops and art it’s time for me to start acting like a grumpy old man, declare galleries and zine libraries and makeshift venues. Every town punk rock dead, and start whining about how bands today are I went to inspired me a little more. just second-rate knock-offs of the bands that I grew up loving. hen, I thought about all these books about punk rock Hell, I should be writing stories about “back in the day” for that have been coming out lately, and about all the jaded Spin by now. But, somehow, the requisite feelings of being TTold guys talking about how things were more vital back jaded are eluding me. In fact, I’m downright optimistic. in the day. But I remember a lot of those days and that “How can this be?” you ask. -
Addison Street Poetry Walk
THE ADDISON STREET ANTHOLOGY BERKELEY'S POETRY WALK EDITED BY ROBERT HASS AND JESSICA FISHER HEYDAY BOOKS BERKELEY, CALIFORNIA CONTENTS Acknowledgments xi Introduction I NORTH SIDE of ADDISON STREET, from SHATTUCK to MILVIA Untitled, Ohlone song 18 Untitled, Yana song 20 Untitied, anonymous Chinese immigrant 22 Copa de oro (The California Poppy), Ina Coolbrith 24 Triolet, Jack London 26 The Black Vulture, George Sterling 28 Carmel Point, Robinson Jeffers 30 Lovers, Witter Bynner 32 Drinking Alone with the Moon, Li Po, translated by Witter Bynner and Kiang Kang-hu 34 Time Out, Genevieve Taggard 36 Moment, Hildegarde Flanner 38 Andree Rexroth, Kenneth Rexroth 40 Summer, the Sacramento, Muriel Rukeyser 42 Reason, Josephine Miles 44 There Are Many Pathways to the Garden, Philip Lamantia 46 Winter Ploughing, William Everson 48 The Structure of Rime II, Robert Duncan 50 A Textbook of Poetry, 21, Jack Spicer 52 Cups #5, Robin Blaser 54 Pre-Teen Trot, Helen Adam , 56 A Strange New Cottage in Berkeley, Allen Ginsberg 58 The Plum Blossom Poem, Gary Snyder 60 Song, Michael McClure 62 Parachutes, My Love, Could Carry Us Higher, Barbara Guest 64 from Cold Mountain Poems, Han Shan, translated by Gary Snyder 66 Untitled, Larry Eigner 68 from Notebook, Denise Levertov 70 Untitied, Osip Mandelstam, translated by Robert Tracy 72 Dying In, Peter Dale Scott 74 The Night Piece, Thorn Gunn 76 from The Tempest, William Shakespeare 78 Prologue to Epicoene, Ben Jonson 80 from Our Town, Thornton Wilder 82 Epilogue to The Good Woman of Szechwan, Bertolt Brecht, translated by Eric Bentley 84 from For Colored Girls Who Have Considered Suicide I When the Rainbow Is Enuf, Ntozake Shange 86 from Hydriotaphia, Tony Kushner 88 Spring Harvest of Snow Peas, Maxine Hong Kingston 90 Untitled, Sappho, translated by Jim Powell 92 The Child on the Shore, Ursula K. -
Razorcake Issue #82 As A
RIP THIS PAGE OUT WHO WE ARE... Razorcake exists because of you. Whether you contributed If you wish to donate through the mail, any content that was printed in this issue, placed an ad, or are a reader: without your involvement, this magazine would not exist. We are a please rip this page out and send it to: community that defi es geographical boundaries or easy answers. Much Razorcake/Gorsky Press, Inc. of what you will fi nd here is open to interpretation, and that’s how we PO Box 42129 like it. Los Angeles, CA 90042 In mainstream culture the bottom line is profi t. In DIY punk the NAME: bottom line is a personal decision. We operate in an economy of favors amongst ethical, life-long enthusiasts. And we’re fucking serious about it. Profi tless and proud. ADDRESS: Th ere’s nothing more laughable than the general public’s perception of punk. Endlessly misrepresented and misunderstood. Exploited and patronized. Let the squares worry about “fi tting in.” We know who we are. Within these pages you’ll fi nd unwavering beliefs rooted in a EMAIL: culture that values growth and exploration over tired predictability. Th ere is a rumbling dissonance reverberating within the inner DONATION walls of our collective skull. Th ank you for contributing to it. AMOUNT: Razorcake/Gorsky Press, Inc., a California not-for-profit corporation, is registered as a charitable organization with the State of California’s COMPUTER STUFF: Secretary of State, and has been granted official tax exempt status (section 501(c)(3) of the Internal Revenue Code) from the United razorcake.org/donate States IRS. -
Joe-Thinking Sideways Is Not Brought to You by Crawfish Boxing. Instead, It Is Supported by the Generous Contributions of People Like You, Our Listeners, on Patreon
Joe-Thinking Sideways is not brought to you by crawfish boxing. Instead, it is supported by the generous contributions of people like you, our listeners, on Patreon. Visit patreon dot com slash thinking sideways to learn more. [Intro] Steve-Why, hey there! And welcome again to another episode of Thinking Sideways. As always, I'm Steve, joined, of course, by... Devin-Devin... J-And Joe. S-And once again, we've got a mystery. D-What? J-Uh huh. S-Yeah. We do. J-It's a pretty scary one, too. S-It, well, no it isn't, but you know what the thing is? I had so much fun last week, or not last week, last time that I hosted doing a wrestling episode, that I decided we'd do another one. D-It seems like it's been a million years since that, we did that episode. S-It really does. D-Yeah. S-Cause in our world, it's been a month. D-At least, at least. J-Uh huh. D and S-Yeah. J-Three weeks. S-Ok, well we're not actually going to do a wrestling story. D-Well, a little bit. S-Kinda. It's kind of, kind of a wrestling story. D-Yeah. S-We are, this week, for anyone for who, as Devin would say, didn't read the episode title, going to be talking about Mr. Andy Kaufman. J-Yeah. S-And you might say, “Well, why?” Well, the mystery is is Andy Kaufman really dead or not? D-Dun dun dun! S-Cause he's one of those people who has had sightings of him for years. -
'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Glasgow School of Art: RADAR 'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir) David Sweeney During the Britpop era of the 1990s, the name of Mike Leigh was invoked regularly both by musicians and the journalists who wrote about them. To compare a band or a record to Mike Leigh was to use a form of cultural shorthand that established a shared aesthetic between musician and filmmaker. Often this aesthetic similarity went undiscussed beyond a vague acknowledgement that both parties were interested in 'real life' rather than the escapist fantasies usually associated with popular entertainment. This focus on 'real life' involved exposing the ugly truth of British existence concealed behind drawing room curtains and beneath prim good manners, its 'secrets and lies' as Leigh would later title one of his films. I know this because I was there. Here's how I remember it all: Jarvis Cocker and Abigail's Party To achieve this exposure, both Leigh and the Britpop bands he influenced used a form of 'real world' observation that some critics found intrusive to the extent of voyeurism, particularly when their gaze was directed, as it so often was, at the working class. Jarvis Cocker, lead singer and lyricist of the band Pulp -exemplars, along with Suede and Blur, of Leigh-esque Britpop - described the band's biggest hit, and one of the definitive Britpop songs, 'Common People', as dealing with "a certain voyeurism on the part of the middle classes, a certain romanticism of working class culture and a desire to slum it a bit". -
The Cowl 2 MIDNIGHT MADNESS October 12,1995 Lady Friars: up to the Challenge?
Cowl 1919 The 1995 Special Issue Providence College - Providence, RI October 12,1995 LET THE MADNESS BEGIN Head Coach Pete Gillen "excited" about this year's team with class. After them Eric (Williams) handled it by Cory McGann '98 with class. Now I want to handle it with class.” Asst. Sports Editor Gillen has high hopes for his lone senior. “He is the heart and soul of our team and I’m counting on Head Coach Pete Gillen has his work cut out for him to be a leader for the team. For us, he is our him this year as he attempts to lead Providence Col anchor.” lege to the top of the BIG EAST Conference. The Croshere, a 6’9" power forward, spent the sum men in black have lost three starters, two of them to mer with USA Basketball playing with and against the NBA: center Troy Brown to the Atlanta Hawks some great basketball talent. He was also a team and power forward Eric Williams to the Boston mate of Georgetown’s Othela Harrington and Allen Celtics. Iverson, so he must be in great physical shape. Af Going Gillen’s way, however, is his stellar recruit ter showing flashes of absolute brilliance during his ing class. Dipping into the junior college, as well as sophomore year, the Los Angeles native truly came the high school, pool of talent, Gillen has come up into his own during the stretch run of the season with not only talented players, but guys who can play and during tournament time. -
Screeching Weasel How to Make Enemies and Irritate People Mp3, Flac, Wma
Screeching Weasel How To Make Enemies And Irritate People mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: How To Make Enemies And Irritate People Country: US Released: 1994 Style: Punk MP3 version RAR size: 1146 mb FLAC version RAR size: 1233 mb WMA version RAR size: 1808 mb Rating: 4.5 Votes: 403 Other Formats: AHX TTA MPC AU AIFF AUD ADX Tracklist Hide Credits A1 Planet Of The Apes A2 99 A3 I Hate Your Guts On Sunday Jonny R U Weird? A4 Backing Vocals – Gretchen SmearWritten-By – B. Paine*, L. Paine* A5 Time Bomb A6 Burnout Girl A7 If I Was You Nobody Likes You B1 Written-By – D. Vapid* B2 Degenerate Surf Goddess B3 Written-By – J. King* B4 Kathy Isn't Right B5 Kathy's On The Roof B6 I Wrote Holden Caulfield Companies, etc. Copyright (c) – Screeching Weasel Phonographic Copyright (p) – Lookout! Records Recorded At – Panic's Basement Mastered At – Golden Mastering Mastered At – Greg Lee Processing – L-43197 Credits Bass [Off The Rack Bass], Backing Vocals – Mike Dirnt Cover – Christopher Appelgren Drums [Garage Sale Drums] – Dan Panic Engineer – Mass Giorgini Guitar [Pawn Shop Guitar] – Jughead Photography By [Band Photos] – Anne Mullen Producer – Benito Mussoweasel* Vocals [Vocalization], Guitar [$200 Guitar] – Ben Weasel Written-By – B. Weasel* (tracks: A1 to A3, A5 to B6) Notes Includes lyric sheet and detailed discography (through 1994). Recorded June 14-16 & 22-24, 1994 in Panic's basement. Engineered on the Leapin' Lizard mobile division of Sonic Iguana Studios. Gretchen Smear appears courtesy of Headhunter Records. Mike Dirnt appears courtesy of Reprise Records Ben Weasel, Dan Panic, and Jughead appear courtesy of Lookout Records Mass Giorgini appears courtesy of Lafayette, Indiana. -
Karaoke Catalog Updated On: 11/01/2019 Sing Online on in English Karaoke Songs
Karaoke catalog Updated on: 11/01/2019 Sing online on www.karafun.com In English Karaoke Songs 'Til Tuesday What Can I Say After I Say I'm Sorry The Old Lamplighter Voices Carry When You're Smiling (The Whole World Smiles With Someday You'll Want Me To Want You (H?D) Planet Earth 1930s Standards That Old Black Magic (Woman Voice) Blackout Heartaches That Old Black Magic (Man Voice) Other Side Cheek to Cheek I Know Why (And So Do You) DUET 10 Years My Romance Aren't You Glad You're You Through The Iris It's Time To Say Aloha (I've Got A Gal In) Kalamazoo 10,000 Maniacs We Gather Together No Love No Nothin' Because The Night Kumbaya Personality 10CC The Last Time I Saw Paris Sunday, Monday Or Always Dreadlock Holiday All The Things You Are This Heart Of Mine I'm Not In Love Smoke Gets In Your Eyes Mister Meadowlark The Things We Do For Love Begin The Beguine 1950s Standards Rubber Bullets I Love A Parade Get Me To The Church On Time Life Is A Minestrone I Love A Parade (short version) Fly Me To The Moon 112 I'm Gonna Sit Right Down And Write Myself A Letter It's Beginning To Look A Lot Like Christmas Cupid Body And Soul Crawdad Song Peaches And Cream Man On The Flying Trapeze Christmas In Killarney 12 Gauge Pennies From Heaven That's Amore Dunkie Butt When My Ship Comes In My Own True Love (Tara's Theme) 12 Stones Yes Sir, That's My Baby Organ Grinder's Swing Far Away About A Quarter To Nine Lullaby Of Birdland Crash Did You Ever See A Dream Walking? Rags To Riches 1800s Standards I Thought About You Something's Gotta Give Home Sweet Home -
112 It's Over Now 112 Only You 311 All Mixed up 311 Down
112 It's Over Now 112 Only You 311 All Mixed Up 311 Down 702 Where My Girls At 911 How Do You Want Me To Love You 911 Little Bit More, A 911 More Than A Woman 911 Party People (Friday Night) 911 Private Number 10,000 Maniacs More Than This 10,000 Maniacs These Are The Days 10CC Donna 10CC Dreadlock Holiday 10CC I'm Mandy 10CC I'm Not In Love 10CC Rubber Bullets 10CC Things We Do For Love, The 10CC Wall Street Shuffle 112 & Ludacris Hot & Wet 1910 Fruitgum Co. Simon Says 2 Evisa Oh La La La 2 Pac California Love 2 Pac Thugz Mansion 2 Unlimited No Limits 20 Fingers Short Dick Man 21st Century Girls 21st Century Girls 3 Doors Down Duck & Run 3 Doors Down Here Without You 3 Doors Down Its not my time 3 Doors Down Kryptonite 3 Doors Down Loser 3 Doors Down Road I'm On, The 3 Doors Down When I'm Gone 38 Special If I'd Been The One 38 Special Second Chance 3LW I Do (Wanna Get Close To You) 3LW No More 3LW No More (Baby I'm A Do Right) 3LW Playas Gon' Play 3rd Strike Redemption 3SL Take It Easy 3T Anything 3T Tease Me 3T & Michael Jackson Why 4 Non Blondes What's Up 5 Stairsteps Ooh Child 50 Cent Disco Inferno 50 Cent If I Can't 50 Cent In Da Club 50 Cent In Da Club 50 Cent P.I.M.P. (Radio Version) 50 Cent Wanksta 50 Cent & Eminem Patiently Waiting 50 Cent & Nate Dogg 21 Questions 5th Dimension Aquarius_Let the sunshine inB 5th Dimension One less Bell to answer 5th Dimension Stoned Soul Picnic 5th Dimension Up Up & Away 5th Dimension Wedding Blue Bells 5th Dimension, The Last Night I Didn't Get To Sleep At All 69 Boys Tootsie Roll 8 Stops 7 Question -
Songs by Artist
YouStarKaraoke.com Songs by Artist 602-752-0274 Title Title Title 1 Giant Leap 1975 3 Doors Down My Culture City Let Me Be Myself (Wvocal) 10 Years 1985 Let Me Go Beautiful Bowling For Soup Live For Today Through The Iris 1999 Man United Squad Loser Through The Iris (Wvocal) Lift It High (All About Belief) Road I'm On Wasteland 2 Live Crew The Road I'm On 10,000 MANIACS Do Wah Diddy Diddy When I M Gone Candy Everybody Wants Doo Wah Diddy When I'm Gone Like The Weather Me So Horny When You're Young More Than This We Want Some PUSSY When You're Young (Wvocal) These Are The Days 2 Pac 3 Doors Down & Bob Seger Trouble Me California Love Landing In London 100 Proof Aged In Soul Changes 3 Doors Down Wvocal Somebody's Been Sleeping Dear Mama Every Time You Go (Wvocal) 100 Years How Do You Want It When You're Young (Wvocal) Five For Fighting Thugz Mansion 3 Doors Down 10000 Maniacs Until The End Of Time Road I'm On Because The Night 2 Pac & Eminem Road I'm On, The 101 Dalmations One Day At A Time 3 LW Cruella De Vil 2 Pac & Eric Will No More (Baby I'ma Do Right) 10CC Do For Love 3 Of A Kind Donna 2 Unlimited Baby Cakes Dreadlock Holiday No Limits 3 Of Hearts I'm Mandy 20 Fingers Arizona Rain I'm Not In Love Short Dick Man Christmas Shoes Rubber Bullets 21St Century Girls Love Is Enough Things We Do For Love, The 21St Century Girls 3 Oh! 3 Wall Street Shuffle 2Pac Don't Trust Me We Do For Love California Love (Original 3 Sl 10CCC Version) Take It Easy I'm Not In Love 3 Colours Red 3 Three Doors Down 112 Beautiful Day Here Without You Come See Me -
Towards a Holistic Interpretation of Musical Genre Analysis Thesis
1 JYVÄSKYLÄ STUDIES IN HUMANITIES Chris Kemp Towards a Holistic Interpretation of Musical Genre Analysis JYVÄSKYLÄN YLIOPISTO 1 2 JYVÄSKYLÄ STUDIES IN HUMANITIES Chris Kemp Towards a Holistic Interpretation of Musical Genre Analysis Academic dissertation to be publicly discussed, by permission of the Faculty of Humanities at the University of Jyväskylä, in Auditorium S212, on June 10, 2004 at 12 o’clock noon. 2 3 Towards a Holistic Interpretation of Musical Genre Analysis JYVÄSKYLÄ STUDIES IN HUMANITIES 3 4 Chris Kemp Towards a Holistic Interpretation of Musical Genre Analysis Academic dissertation to be publicly discussed, by permission of the Faculty of Humanities at the University of Jyväskylä, in Auditorium S212, on June 10, 2004 at 12 o’clock noon. 4 5 ABSTRACT Kemp, Chris Towards a holistic interpretation of musical genre analysis Jyväskylä: University of Jyväskylä, 2004 ? (Jyväskylä Studies in Humanities ISSN ISBN Diss In the past, exploration of music has focused on analysis by formalists, refferentialists and through social, semiotic and anthropological viewpoints including Schenkerian-Yeston (1977), Semiotic-Eco (1977), and Motivic-Ruwet (1987). Although each has its merits in the formal analysis of music, few explore genre identification. In musical genre studies the exploration of musical, paramusical (extramusical) and perceptual elements are essential to facilitate a full understanding of the subject area. Johnson in Zorn supports such a perspective in his argument for a holistic approach to musical analysis (Zorn 2000:29). The multidisciplinary nature of music and the discourses embodied in its creation, development and dissemination utilise a range of signifiers for identification advocating the utilisation of a “hybrid” (Wickens 1999) methodology combining quantitative and qualitative analysis. -
America's Hardcore.Indd 278-279 5/20/10 9:28:57 PM Our First Show at an Amherst Youth Center
our first show at an Amherst youth center. Scott Helland’s brother Eric’s band Mace played; they became The Outpatients. Our first Boston show was with DYS, The Mighty COs and The AMERICA’S HARDCORE FU’s. It was very intense for us. We were so intimidated. Future generations will fuck up again THE OUTPATIENTS got started in 1982 by Deep Wound bassist Scott Helland At least we can try and change the one we’re in and his older brother Eric “Vis” Helland, guitarist/vocalist of Mace — a 1980-82 — Deep Wound, “Deep Wound” Metal group that played like Motörhead but dug Black Flag (a rare blend back then). The Outpatients opened for bands like EAST COAST Black Flag, Hüsker Dü and SSD. Flipside called ’em “one of the most brutalizing live bands In 1980, over-with small cities and run-down mill towns across the Northeast from the period.” 1983’s gnarly Basement Tape teemed with bored kids with nothing to do. Punk of any kind earned a cultural demo included credits that read: “Play loud in death sentence in the land of stiff upper-lipped Yanks. That cultural isolation math class.” became the impetus for a few notable local Hardcore scenes. CANCEROUS GROWTH started in 1982 in drummer Charlie Infection’s Burlington, WESTERN MASSACHUSETTS MA bedroom, and quickly spread across New had an active early-80s scene of England. They played on a few comps then 100 or so inspired kids. Western made 1985’s Late For The Grave LP in late 1984 Mass bands — Deep Wound, at Boston’s Radiobeat Studios (with producer The Outpatients, Pajama Slave Steve Barry).