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Herbicide Persistence and Toxicity in the Tropical Marine Environment Mr
Herbicide persistence and toxicity in the tropical marine environment Mr. Philip Mercurio III MSc, BSc (Honours) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Medicine National Research Centre for Environmental Toxicology (Entox) Faculty of Medicine and Biomedical Sciences Abstract Agricultural herbicides are ubiquitous in the nearshore water bodies of the World Heritage listed Great Barrier Reef (GBR). The main transport mechanism for herbicides is via offsite migration during intense monsoonal rainfall events of the wet season. However, some herbicides can be detected year round, indicating potentially long persistence. Despite the high mobility and potential toxicity of herbicides, there is very little information on the degradation of herbicides in the marine environment. This study was comprised of 4 major components: (i) flask experiments to test herbicide degradation over 60 days; (ii) an extended flask experiment for 365 days including light and temperature treatments; (iii) an outdoor open tank experiment for 365 days with light and sediment treatments; and (iv) experiments to examine the potential toxicity of transformation products. The flask degradation experiments were designed to mimic natural conditions including low herbicide concentrations, relevant temperatures and light and the inclusion of natural microbial communities. Very little degradation was recorded over the standard 60 d period (Experiment 1). The second experiment over 365 d revealed half-lives of PSII herbicides ametryn, atrazine, diuron, hexazinone and tebuthiuron were consistently greater than a year. The detection of atrazine and diuron metabolites and longer persistence in mercuric chloride-treated seawater confirmed that biodegradation contributed to the breakdown of herbicides. -
Zerohack Zer0pwn Youranonnews Yevgeniy Anikin Yes Men
Zerohack Zer0Pwn YourAnonNews Yevgeniy Anikin Yes Men YamaTough Xtreme x-Leader xenu xen0nymous www.oem.com.mx www.nytimes.com/pages/world/asia/index.html www.informador.com.mx www.futuregov.asia www.cronica.com.mx www.asiapacificsecuritymagazine.com Worm Wolfy Withdrawal* WillyFoReal Wikileaks IRC 88.80.16.13/9999 IRC Channel WikiLeaks WiiSpellWhy whitekidney Wells Fargo weed WallRoad w0rmware Vulnerability Vladislav Khorokhorin Visa Inc. Virus Virgin Islands "Viewpointe Archive Services, LLC" Versability Verizon Venezuela Vegas Vatican City USB US Trust US Bankcorp Uruguay Uran0n unusedcrayon United Kingdom UnicormCr3w unfittoprint unelected.org UndisclosedAnon Ukraine UGNazi ua_musti_1905 U.S. Bankcorp TYLER Turkey trosec113 Trojan Horse Trojan Trivette TriCk Tribalzer0 Transnistria transaction Traitor traffic court Tradecraft Trade Secrets "Total System Services, Inc." Topiary Top Secret Tom Stracener TibitXimer Thumb Drive Thomson Reuters TheWikiBoat thepeoplescause the_infecti0n The Unknowns The UnderTaker The Syrian electronic army The Jokerhack Thailand ThaCosmo th3j35t3r testeux1 TEST Telecomix TehWongZ Teddy Bigglesworth TeaMp0isoN TeamHav0k Team Ghost Shell Team Digi7al tdl4 taxes TARP tango down Tampa Tammy Shapiro Taiwan Tabu T0x1c t0wN T.A.R.P. Syrian Electronic Army syndiv Symantec Corporation Switzerland Swingers Club SWIFT Sweden Swan SwaggSec Swagg Security "SunGard Data Systems, Inc." Stuxnet Stringer Streamroller Stole* Sterlok SteelAnne st0rm SQLi Spyware Spying Spydevilz Spy Camera Sposed Spook Spoofing Splendide -
Könnyűzene” Történetéből Sinkó Dániel Tartalomjegyzék
14 kiemelkedő év a „könnyűzene” történetéből Sinkó Dániel Tartalomjegyzék: Előszó ….......................................................................…….. 3 1979-Pink Floyd, The Wall...................................................... 6 1980-Genesis, Duke ............................................................. 17 1981-Szabó Gábor, Femme Fatale........................................... 25 1981- King Crimson, Discipline …………………………….. 30 1982-Miles Davis, We want Miles.......................................... 39 1983-Yes, 90125 ....................................................................... 46 1983- Manfred Mann Earth Band, Somewhere in Africa ….... 53 1984-Pat Metheny, First circle …............................................… 60 1985- Dire Straits, Brothers in Arms …...................................… 67 1986-Peter Gabriel, So …........................................................... 75 1986-Paul Simon Graceland…………………………………….. 85 1987-U2, The Joshua tree.......................................................... 96 1987-Sting, Nothing Like the sun............................................. 105 1988-Pink Floyd, Delicate Sound of thunder............................. 114 1989-Jeff Beck, Guitar shop. …............................................... 123 1990- Phish, Lawn Boy …....................................................... 129 1991- U2, Achtung Baby........................................................ 134 1992- R.E.M., Automatic for the people …............................ 146 1992- Mike Oldfield, Tubular -
15! Phish—Comprised of Trey Anastasio on Guitar and Lead Vocals
Phish—comprised of Trey Anastasio on guitar and lead vocals; Mike Gordon on bass and vocals; Page McConnell on piano, keyboards, and vocals; and Jon “Fish” Fishman on drums and vocals—formed at the University of Vermont (UVM) in the early ‘80s and became one of the most successful rock bands ever. Their success story is built upon a rare combination of raw talent, strategic business acumen, and various moments of rock and roll serendipity. An abbreviated synopsis of Phish’s formation helps to place their trajectory and subsequent press coverage in context. Recognized as the first Phish gig, Anastasio, Gordon, Fishman, and brief member Jeff Holdsworth played as Blackwood Convention at a UVM cafeteria on December 2, 1983. In late 1984, they adopted the name Phish, reportedly in homage to Fishman. Through this period in the early-‘80s they were also joined by brief member Marc “Daubs” Daubert on percussion and occasional guest Steve Pollack, “The Dude of Life.” In May, 1985, nearby Goddard College student Page McConnell joined the band for the first concert collaboration of what would eventually become the four constant Phish members. McConnell was invited to join the band permanently in September that year. In spring of 1986, Holdsworth graduated from UVM and left the band. With the departure of Holdsworth, Phish’s current four-member lineup emerged (Mockingbird, 2004, p. 5). Gehr (1998) explained that “Phish had covered several Dead tunes during their first couple of years together but soon dropped them to avoid the onus of being pigeonholed as yet another Dead cover band” (p. -
"You'll Get Used to It!": the Internment of Jewish Refugees in Canada, 1940–43
"You'll Get Used to It!": The Internment of Jewish Refugees in Canada, 1940–43 by Christine Whitehouse A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History Carleton University Ottawa, Ontario © 2016, Christine Whitehouse Abstract After the fall of France in 1940, when German invasion of the British Isles seemed imminent, some 2000 Jewish refugees from Nazi oppression were detained by the British Home Office as dangerous "enemy aliens" and sent to Canada to be interned for the duration of the war. While the British government admitted its mistake in interning the refugees within months of their arrest, the Canadian government continued to keep them behind barbed wire for up to three years, reflecting its administration's anti-semitic immigration policies more broadly. Instead of using their case as a signpost in Canada's liberalizing immigration history, this dissertation situates their story in a longer narrative of class and ethnic discrimination to show the troubling foundations of modern democracy. As one tool in the nation state's normalizing project, incarceration attempted to mould the Jewish men in the state's eye. How the refugees pushed back in a joint claim of selfhood forms the material basis of this study. Through their relationship with the spaces of internment, work and leisure, sexual desire and gender performance, and by protesting governmental power, the refugees' identities evolved and coalesced, demonstrating the fluidity of modern selfhood despite the limiting power of nationhood. The internees' evolving sense of self played a large role in their experience and the development of their collective postwar narrative which trumpets their own success in Canada; while the state differentiated them from its own citizenry, the Jewish refugees pushed back in order to be seen as valuable contributors to the national body. -
Music, Sound and the Networked Performance
MUSIC, SOUND AND THE NETWORKED_PERFORMANCE BLOG BY HELEN THORINGTON For the Extensible Toy Piano Symposium “Play!: Contemporary Composition, Technology and Listening” Clark University, November 5, 2005 Introduction In July 2004, Michelle Riel, Assistant Professor of New Media at California State University Monterey Bay (CSUMB), Jo-Anne Green, my colleague at Turbulence.org, and I originated the networked_performance blog.1 It was our intent to chronicle current network-enabled practice, to obtain a wide-range of perspectives on issues and to uncover commonalities in the work. For our purpose, we defined networked_performance as any live event that is network enabled. We included any form of networking in which computational devises speak to each other and create a feedback loop. What the blog revealed and continues to reveal in its over 1900 entries is an explosion of creative experimental pursuits2 made possible by the migration of computation out of the desktop pc and into the physical world, where it is becoming increasingly woven into the fabric of our lives*, and by the continuing advances in internet technologies, wireless telecommunications, sensor technologies and Geographic Information Systems (GIS). In these explorations artists are utilizing pervasive, ubiquitous computing technologies that are inexpensive, readily available, and most importantly, mobile and wirelessly networked. These include technologies, devices, and protocols such as mobile phones, PDAs, GPS cards, Wi-Fi, Bluetooth, sensors, and open source software. The blog further reveals that these technologies are being utilized by a growing generation of programming capable artists and artistically minded engineers and computer scientists. In virtually all of this new work, the ephemeral conceptual art practices that came into existence during the 50s and 60s – with John Cage, Happenings, Fluxus, the Situationists, and others – and that re-emerged as participatory works on the Internet in the early ‘90s, are now proliferating as new ways of working and experiencing. -
Theater of Jambands: Performance of Resistance
THEATER OF JAMBANDS: PERFORMANCE OF RESISTANCE by CHRISTINA L. ALLABACK A DISSERTATION Presented to the Department ofTheater Arts and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Doctor ofPhilosophy June 2009 11 University of Oregon Graduate School Confirmation ofApproval and Acceptance ofDissertation prepared by: Christina Allaback Title: "Theatre ofJambands: Performance ofResistance" This dissertation has been accepted and approved in partial fulfillment ofthe requirements for the Doctor ofPhilosophy degree in the Department ofTheater Arts by: John Schmor, Chairperson, Theater Arts John Watson, Member, Theater Arts Theresa May, Member, Theater Arts Daniel Wojcik, Outside Member, English and Richard Linton, Vice President for Research and Graduate Studies/Dean ofthe Graduate School for the University of Oregon. June 13,2009 Original approval signatures are on file with the Graduate School and the University of Oregon Libraries. III © 2009 Christina L. Allaback IV An Abstract ofthe Dissertation of Christina L. Allaback for the degree of Doctor ofPhilosophy in the Department ofTheater Arts to be taken June 2009 Title: THEATER OF JAMBANDS: PERFORMANCE OF RESISTANCE Approved: _ Dr. John Schmor Jambands were born in the Haight-Ashbury district ofSan Francisco with the Grateful Dead, who dominated this musical geme until the mid-nineties. Jamband expert Dean Budnick coined the term shortly thereafter to describe bands that perform long, improvised jams during their live shows. As these improvised shows have increased in popularity, they have become great spectacles, featuring light shows, filmed images, dancing, storytelling, and short plays. While the performance happening inside the arena deserves study, there is an equally interesting performance that takes place in parking lots before and after the shows. -
Phish So This Episode Is Definitely Going to Be My Most
Phish So this episode is definitely going to be my most contemporary considering the band Phish exists still, and as a result of that my notes are going to be less focused on the history of the band Phish and more of an examination of the Jam Band Phenomena/Movement in general. The reason this is going to be titled the Phishcast, however, is that my guest, Charlie Kirby, is himself a big fan of the band. He has seen Phish a number of times with the most recent being about a week and a half ago, am I correct? -- --Would you like to talk for a minute or two about your personal history with the band? --And while we’re on the subject of Phish history, have you looked into the band’s past or are you more just riding the wave so to speak? Well I have a little bit of band history I can read off, but for longtime fans of the show I want to note that this is more or less the only part of the show that I’m using Wikipedia as a source, for better or for worse, so here we go: The band was formed at the University of Vermont in 1983 by Trey Anastasio, Mike Gordon, Jon Fishman, and Jeff Holdsworth, joined by Page McConnell in 1985. In 1986 Holdsworth left and the 4 remaining men (Anastasio, Gordon, Fishman, and McConnell) are still the members of Phish to this day. The band first started when Trey Anastasio heard Jon Fishman playing drums in their dorm and asked if he and Holdsworth could come jam with him. -
Fall 2020 PHIL 6150: History of Continental Philosophy: 'In a Minute
Fall 2020 ─ PHIL 6150: History of Continental Philosophy: ‘In a minute, I’ll be free’: Hegel, Phish, and the Beautiful Failure of Aesthetic Emancipation Course Director: Jim Vernon Email: [email protected] Office Hours: By appt. (and, sadly, on Zoom). Course Description: “[W]e must maintain that art’s vocation is to unveil the truth in the form of sensuous artistic configuration […] and so to have its end and aim in itself, in this very setting forth and unveiling. For other ends, like instruction, purification, bettering, financial gain, struggling for fame and honour, have nothing to do with the work of art as such, and do not determine its nature”, Hegel’s Aesthetics, 55. “We’re living among infinite possibilities, and the prevalent philosophies of postmodernist pessimism that come out of the universities are really a major tragedy [because t]he opportunities for progress and change of a positive nature are absolutely tremendous” ─ Robert Anton Wilson, speaking in Maybe Logic: The Lives and Ideas of Robert Anton Wilson (dir. L. Baucher, 2003). “Hopeless has exceptions”, banner flown over the Clifford Ball, Plattsburgh, NY, Aug. 16-17, 1996. “Welcome to the dream everybody” ─ Trey Anastasio, introducing the final ‘Gamehenge’ set, 7/8/1994, Great Woods, MA There may be no theory of art that lies further from current trends in both philosophical aesthetics and artistic practice than that of G.W.F. Hegel. The most influential aesthetic discourses since the 1950s ─ those that define what we might loosely call the ‘postmodern’ era ─ have in the main rejected the universal and positive accounts of human essence that defined Enlightenment modernity, as well as the progressive narratives of what humanity has accomplished and might yet achieve, replacing them with ‘critical’, or pessimistic, conceptions of world history, social institutions, and individual/collective capacity. -
Comfest2017 CS5.Pdf
SFW SMALL IN STATURE. BURSTING IN FLAVOR. SFW is our version of a Belgian style farmhouse ale. This beer is brewed with wheat, oats, and fresh ground coriander. COMFEST.COM COMMUNITY FESTIVAL 2017 3 Welcome to ComFest 2017 WHAt’s INSIDE? Welcome to ComFest! This four-decade-old experiment in self- government exists because people like you and the person beside you Welcome ........................................................ 3,4 realized they could change fundamental social relationships and, in doing Festival Rules .................................................... 5 so, gain some measure of control over their own lives. And, of course, Theme/Slogan .................................................. 7 hang out together. The first Community Festival on East 16th Avenue in 1972 was a Who We Are ...................................................... 8 celebration by community groups (a tenants' union, food co-op, health ComFest Principles/Meeting Schedule ............... 9 clinic, underground newspaper, and information bank) formed to address Honored Community Activist .............................11 the unique needs of an alternative culture that emerged in the late 1960s. Bringing together political and cultural activists, small business people, Community Organizations/Hopewell Symbol ....13 and artists, it was part of a broad socio-political uprising that preferred Honored Community Organization ...................15 compassion and cooperation to competition. The underpinnings of that Information Station/Field Guide .......................17 uprising are embodied in the Principles that define ComFest (see page 9). Volunteer Thank Yous ................................18 - 22 This year's logo—a clenched fist and the words "Rise Up!"— acknowledges that the appalling attitudes and actions of our national and Spirit & Purpose/ComFest Museum .................. 23 state governments can't be ignored. The times demand an image with— Workshop Schedule ......................................... 24 dare I say it?—a punch. -
The Early Compositional Style and Technique of Trey Anastasio and Phish
University of Connecticut OpenCommons@UConn Honors Scholar Theses Honors Scholar Program Spring 5-13-2021 Analyzing Non-Strophic Forms through the Facets Model: The Early Compositional Style and Technique of Trey Anastasio and Phish William Mandelbaum [email protected] Follow this and additional works at: https://opencommons.uconn.edu/srhonors_theses Part of the Music Education Commons, Musicology Commons, Music Performance Commons, and the Music Theory Commons Recommended Citation Mandelbaum, William, "Analyzing Non-Strophic Forms through the Facets Model: The Early Compositional Style and Technique of Trey Anastasio and Phish" (2021). Honors Scholar Theses. 810. https://opencommons.uconn.edu/srhonors_theses/810 Analyzing Non-Strophic Forms through the Facets Model: The Early Compositional Style and Technique of Trey Anastasio and Phish William Mandelbaum Honors Thesis University of Connecticut May 13, 2021 THE EARLY COMPOSITIONAL STYLE AND TECHNIQUE OF TREY ANASTASIO 2 THE EARLY COMPOSITIONAL STYLE AND TECHNIQUE OF TREY ANASTASIO 3 Table of Contents Abstract .................................................................................................................................. 4 Dedication .............................................................................................................................. 5 Acknowledgements ............................................................................................................... 6 Chapter 1: Introduction ......................................................................................................... -
To Create Cd Insert, Cut Along Border & Fold in Half
Set I 1 Buried Alive (Anastasio) 2:37 2 Possum (Jeff Holdsworth) 9:08 3 The Squirming Coil (Anastasio, Marshall) 6:01 4 The Lizards (Anastasio) 10:01 5 Stash (Anastasio, Marshall) 8:30 6 Bouncing Around The Room (Anastasio, Marshall) 3:52 7 You Enjoy Myself (Anastasio) 16:23 8 The Asse Festival (Anastasio) 1:56 9 My Sweet One (Fishman) 2:16 10Cavern (Anastasio, Marshall) 4:32 11Run Like An Antelope (Anastasio, Steve Pollak) 10:03 Set II 1 The Landlady (Anastasio) 3:30 2 Reba (Anastasio) 10:17 3 Runaway Jim (Anastasio) 6:25 4 Foam (Anastasio) 8:53 5 Tweezer (Anastasio, Fishman, Gordon, McConnell) 10:44 6 Fee (Anastasio) 5:11 7 Oh Kee Pah Ceremony/Suzy Greenberg (Anastasio)/(Pollak) 7:16 8 Love You (Syd Barrett/Lupus Music Inc (BMI)) 5:45 9 Mike's Song/I Am Hydrogen/Weekapaug Groove 15:07 (Gordon)/(Anastasio, Marshall, Daubert)/(Anastasio, Fishman, Gordon, McConnell) 10Uncle Pen (Bill Monroe/Unichappell Music, Inc. (BMI)) 5:10 11Big Black Furry Creature From Mars (Gordon) 3:52 Trey Anastasio – guitar, vocals • Jon Fishman – drums, vocals Mike Gordon – bass, vocals • Page McConnell – keyboards, vocals Recorded at Armstrong Theatre, Colorado College, Colorado Springs, Colorado on October 31, 1990. Recorded and mixed on 24 channels live to two tracks by Michael Grace. Project Coordination: Jason Colton and Shelly Culbertson. Phish Archivist: Kevin Shapiro. Management: John Paluska, Dionysian Productions. Poster Design: Laila Schill.Special thanks to Don Strasburg. All songs published by Who Is She? Music Inc. (BMI) except where noted above. Intro and outro to "Love You" contains portions of "Hold Your Head Up", written by Rod Argent and Chris White/Mainstay Music, Inc.