DOCSLIB.ORG

Texas Tales Stephens Un-Quit

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Texas Tales Stephens Un-Quit Page 10 The Junction Eagle, Wednesday, May 4, 2011 them, and I did. They didn’t the way from Sulphur Springs that at the carnival.” Fort Worth-Dallas. By then, like it much when I quit.” So to McKinney,” he recalled with They may have had steady Sunshine was working out of Texas Tales Stephens un-quit. a smile. “I had a pair of shoes work, but money remained the show’s main office, doing Stubblefield, better known as that used to be called ‘gators’ tight. Sometimes, he said, they the “runnin’,” as he put it. by Mike Cox “Sunshine,” joined the show in and I wore a hole in ‘em.” had so little cash that he and his Both men agreed that the car- 1925. He and Stephens became At first, Sunshine did odd friends pooled what they had to nival business just wasn’t what Edgar Stephens and Robert ing stock. The merry-go-round good friends, but Sunshine jobs around the carnival. But get enough to buy the makings it used to be. For one thing, “Sunshine” Stubblefield spent Stephens controlled had been didn’t operate any midway that changed one night after the for a stew. costs had gone way up. The most of their lives on the road part of the show since 1936, equipment. Through the last show closed when he and some “Even the boss used to eat merry-go-round used to cost a traveling from town to town the year Hames finally junked decades of Jim Crow America, friends had gathered behind the with us sometimes,” he said. dime. A hobby horse ride was in Texas with the Bill Hames the steam model. After accom- he worked as a dancing min- tent for a bit of spiritous con- Sunshine continued in the 25 cents in 1969. carnival. modating countless thousands strel, a black in blackface viviality. carnival’s minstrel act until Sunshine lived up to his Back in 1913, Stephens of youngsters and the young clowning for the amusement “I was clowning around and 1954, by which time he said name. hoped to make a living as a at heart, Stephens said the of whites. dancing after a few drinks and he’d gotten “too old to jump.” “I’ve just stayed happy,” he farmer near Pilot Point, a small Depression-era carousel still Sunshine grew up in Sulphur somebody came up and said, Into the late 1960s, during the said. “My philosophy is, if I do, community north of Denton. ran just fine early into its fourth Springs. Like Stephens, he gave ‘I’m gonna make a comedian off-season, Sunshine still occa- I do. If I don’t, I don’t. When Barely getting by, he made a decade. up farming for a carnie’s life. out of you.’ By golly, he did.” sionally did some night club they ask me why I laugh, I tell little extra cash cutting fire- Though working the clutch Seeing some of the carni- For the next quarter-century, entertaining and bar tending in ‘em it’s to keep from crying.” wood for Hames, founder of lever as a wooden platform val wagons on their way to Sunshine performed as a side- the carnival that still bears his goes around and around might the train, he followed them to show minstrel. name. Hames liked the big man seem like highly repetitive the railroad siding, asked for a “I wore a red coat I called my and his big smile and offered work, Stephens said his moti- job and got hired on the spot monkey suit,” he laughed. “I Land Surveying him a full-time job. vaton – beyond regular pay as a “roughy,” or laborer. He used to be known as the fastest Starting off as a “back – renewed every time he saw ended up working all night dancer what ever came through yard boy” or general laborer, how happy such a simple ride long as the Hames crew took the country.” Paul Bushong Stephens soon graduated to made the children. down the tents and rides after “He sure was,” Stephens 830-367-7302 operator of the show’s steam- “I sure like little kids,” he their Sulphur Springs run and chimed in. powered merry-go-round, or beamed. loaded them for the next gig Hames’ carnival managed Ranches - Estates - Subdivisions “Jenny.” And that’s what he Based in Fort Worth, the in McKinney. When he went to stay in business through was still doing more than a Hames carnival traveled from home to get some sleep, he the Great Depression, and 106 Glen Lakes Ct., Ingram, Texas 78025 half-century later when I inter- event to event all over Texas, had his pay in his pocket – a unlike millions of Americans, viewed him in March 1969 at first by train and then by quarter. Stephens and Stubblefield kept at the annual San Angelo truck caravan. In the off-season The foreman who’d hired their jobs. Classifieds! Real Estate Livestock Show and Rodeo. Stephens lived in Brady. But him said that to get on with “Back… [then],” Sunshine Of course, by then he ran a after so many years on the road, the show full-time, he’d have said, “they didn’t even give 224 Ac. N. of Junction on Hwy 83. gasoline-powered carousel. he said, “In a way, it kind of to ride with them on the train us money. We got what they As Stephens’ longevity dem- feels like home to be with the to McKinney and sign up called ‘dukies,’ – brass coins Game fenced w/whitetail & exotics. 3/2 onstrated, the Hames show got carnival.” there. That’s what Stubblefield we couldn’t spend anywhere MF home, bunkhse./gameroom, deer a lot of mileage out of its regu- He tried to quit in October planned to do, but dead tired, he but at the carnival. They gave lar employees. The same held 1968, he said, “but they wanted overslept and missed the train. us a dollar in real money for cleaning facility, 2 wells. A great value! true for its equipment and roll- me to go to Beaumont with “I walked darn near most of cigarettes, providing we spent $695,000 LEHMBERG REALTY Classifieds! Real Estate 1-800-880-8163 www.lehmbergrealty.com L-12-tfnc Junction Ranch Real Estate Trey Sullivan Real Estate KIMBLE COUNTY REALTY 1100-B Main Street Junction, Texas Trey Sullivan, Broker 1909 N. Main Junction, Texas 76849 76849 1802 Main St. – Junction, TX (325) 446-3811 Daniel Henderson www.junctionranchrealestate.com 325-446-3725 325-446-6060 2.5 Acres of Commercial Land on the corner of FM 2169 and I-10 waiting to be developed. Possible uses include restaurant, convenient 1320 +/- Acres-2.5 miles of Hwy. frontage. Six water wells. Two dirt WWW.TREYSULLIVAN.COM store, professional office, etc. Call for pricing! tanks. 3 metal barns. Minerals. Great hunting. 3.094 Acres – Gorgeous home site with quality restrictions located 3.5 75 Acres in the 10,000 acre YO RANCHLANDS! Property boast a gor- 627 +/- Acres-Hwy. frontage. New 3Br/2Ba. home, new barn. Great miles from Junction with beautiful views of the surrounding hills and geous pond, large metal barn w/living quarters, access to YO amenities, hunting. creek. $47,500* and some of the best wildlife the Hill Country has to offer. Turn Key! 491.34 Acres-Hwy. frontage, new cabin, new well. Liveoak and 9.599 Acres – MainSOLD Llano River with large hole of water, under- 180 Acres located 16.7 miles southwest of Junction. Hunting cabin, shared mesquite country, very little cedar. Good network of roads- ground electricity and live oak and pecan trees. $210,000* water well, partially fenced, nice oaks! Gorgeous and views. $1,795/ac. entire ranch is accessible by two-wheel drive vehicle. Great 9.738 Acres – Main Llano River, scattered lg. live oak and pecan trees. 205 Cenizo – 4 bed, 2 bath with CH/AC, fireplace, utility room, and $210,000.* large fenced backyard w/alley entrance. $89,900. hunting for native game and axis deer. REDUCED TO $1650 p/a SOLD 393.70 Acres-County Rd. frontage. Older ranch house (recently 9.906 Acres – Main Llano River scattered liveoak and pecan trees.* 814 Hackberry – CONTRACTCharming 3 bd/1 1/2 ba. metal roof, CH/AC, land- remolded-inside) barns, pens, 2 water wells. Selective cedar clear 9.935 Acres – Main Llano River with pecan/live oak trees and under- scaped, Large open kit., 2 living areas. Reduced to $59,000. 302 W. Redbud – 3 bed, 2 bath, 2 car garage with large off./gameroom. ing. Great views from the hilltops. Superb hunting. ground electricity. $210,000* 28.113 Acres – Main Llano River. Great showplace with over 985 ft. of Entertain guest with your outdoor kit. & fireplace. Corner lot, lg. Pecan 67.3 Acres-Eastern Kimble County. County road frontage. Great hunting trees, sprinkler system, and much more! $159,900 for whitetail and exotics. $234,000 river with large grassy fields and scattered pecan and oak trees. A new water well, underground electricity, fencing and entrance. $545,000* Office: 325-446-9020 60 Acres-in gated game preserve. Stocked with exotics and native game. 532 +/- Acres Kimble County – Great hunting property with remod- Toll Free: 877-446-9020 Cell: 325-446-6110 Water well, septic and electricity. $198,000. SOLD eled home, workshop, small spring, recent cedar clearing. [email protected] K-52-tfnx 51.6 Acres-County Rd. frontage, older mobile home, water well, perimeter Price fenced. Exotics and native game.
Load more

Recommended publications
  • Cultural Representations of the Moors Murderers and Yorkshire Ripper Cases
    CULTURAL REPRESENTATIONS OF THE MOORS MURDERERS AND YORKSHIRE RIPPER CASES by HENRIETTA PHILLIPA ANNE MALION PHILLIPS A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages School of Languages, Cultures, Art History, and Music College of Arts and Law The University of Birmingham October 2016 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This thesis examines written, audio-visual and musical representations of real-life British serial killers Myra Hindley and Ian Brady (the ‘Moors Murderers’) and Peter Sutcliffe (the ‘Yorkshire Ripper’), from the time of their crimes to the present day, and their proliferation beyond the cases’ immediate historical-legal context. Through the theoretical construct ‘Northientalism’ I interrogate such representations’ replication and engagement of stereotypes and anxieties accruing to the figure of the white working- class ‘Northern’ subject in these cases, within a broader context of pre-existing historical trajectories and generic conventions of Northern and true crime representation. Interrogating changing perceptions of the cultural functions and meanings of murderers in late-capitalist socio-cultural history, I argue that the underlying structure of true crime is the counterbalance between the exceptional and the everyday, in service of which its second crucial structuring technique – the depiction of physical detail – operates.
    [Show full text]
  • The Dally Will Be Partly Sunny, Windy and Warmer with Highs in the Upper 30S to Low 40S
    Eastern Illinois University The Keep December 1982 12-10-1982 Daily Eastern News: December 10, 1982 Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/den_1982_dec Recommended Citation Eastern Illinois University, "Daily Eastern News: December 10, 1982" (1982). December. 8. http://thekeep.eiu.edu/den_1982_dec/8 This Book is brought to you for free and open access by the 1982 at The Keep. It has been accepted for inclusion in December by an authorized administrator of The Keep. For more information, please contact [email protected]. Friday, December 10, t 982 The Dally will be partly sunny, windy and warmer with highs in the upper 30s to low 40s. Friday night will be cloudy with a chance of rain or snow and lows in the upper · 20s to low 0s . Eastern llllnols University I Charleaton, Ill. 81 920 I Vol. 88, No. 75 / 28 Pagea 3 Eastern News ------- Wor-kers he-re to share cuts e by Maryqually-Mi Holland- ller An Eastern official told close to 100 non­ negotiated employees Thursday that spending cuts made necessary by a state shortfall will be shared equally throughout the campus. George Miller, vice president for administration and finance, told non-negotiated workers at Thursday's Civil Serice Council meeting that it is too early to tell how the state shortfall will affect schedul­ ed salary raises for university employees. "I honestly can't give you any information on it now because that has to come from the governor, the legislature and our own board. We're looking at other people for answers right now," he said.
    [Show full text]
  • Large Print Guide
    Large Print Guide You can download this document from www.manchesterartgallery.org Sponsored by While principally a fashion magazine, Vogue has never been just that. Since its first issue in 1916, it has assumed a central role on the cultural stage with a history spanning the most inventive decades in fashion and taste, and in the arts and society. It has reflected events shaping the nation and Vogue 100: A Century of Style has been organised by the world, while setting the agenda for style and fashion. the National Portrait Gallery, London in collaboration with Tracing the work of era-defining photographers, models, British Vogue as part of the magazine’s centenary celebrations. writers and designers, this exhibition moves through time from the most recent versions of Vogue back to the beginning of it all... 24 June – 30 October Free entrance A free audio guide is available at: bit.ly/vogue100audio Entrance wall: The publication Vogue 100: A Century of Style and a selection ‘Mighty Aphrodite’ Kate Moss of Vogue inspired merchandise is available in the Gallery Shop by Mert Alas and Marcus Piggott, June 2012 on the ground floor. For Vogue’s Olympics issue, Versace’s body-sculpting superwoman suit demanded ‘an epic pose and a spotlight’. Archival C-type print Photography is not permitted in this exhibition Courtesy of Mert Alas and Marcus Piggott Introduction — 3 FILM ROOM THE FUTURE OF FASHION Alexa Chung Drawn from the following films: dir. Jim Demuth, September 2015 OUCH! THAT’S BIG Anna Ewers HEAT WAVE Damaris Goddrie and Frederikke Sofie dir.
    [Show full text]
  • (Or Do You Want the Truth)? Intersections of Punk and Queer in the 1970S
    Jordan (Pamela Rooke) outside the SEX shop owned by Vivienne Westwood and Malcolm McLaren. Courtesy Wikimedia Commons RHR100_07_Nyongo.indd 102 9/14/07 11:01:57 AM Do You Want Queer Theory (or Do You Want the Truth)? Intersections of Punk and Queer in the 1970s Tavia Nyong’o In a May 11, 1978, interview on NBC television’s late-night talk show Tomorrow, the punk poet Patti Smith assured her interviewer, Tom Snyder, that the kids were alright. Smith — whose first single, “Hey Joe/Piss Factory,” had been financed by her friend and former lover, Robert Mapplethorpe — told Snyder: I want the future to be like, I mean, I just want it to be like an open space for children. I mean, for me the future is children, and I feel like, you know, when I was younger first I wanted to be a missionary, then I wanted to be a schoolteacher, it’s like, you know, I couldn’t, I couldn’t, uh, get through all the dogma, and I couldn’t really integrate all of the rules and regulations of those professions into like my lifestyle and into the, into the generation that I was part of. And the really great thing about, umm, doing the work that I’m doing now, I have like all the ideals that I ever had to like communicate, you know, to, to, to children, or to people in general, to everybody, and to communicate with my creator, I, I can do everything all the perverse ends of it, and also, you know, all the innocence.
    [Show full text]
  • The Yogiebogeybox
    AN ABSTRACT OF THE THESIS OF Tracy Boothman Duyck for the degree of Master of Fine Arts in Creative Writing presented on December 1, 2003. Title: The Yogiebogeybox Abstract Approved: Redacted for Privacy The Yogiebogeybox isa novel-in-stories. This novel explores spiritual transcendence and the connection of art to that spiritual journey. A variety of points of view are employed in the narrative in order to depict the journey of the protagonist, Ant Malo, through this journey. Some of the narrative threads are layered, told through filters, and filters are central to the theme of this novel. In each story, the narrators, many of whom speak through the author (a character named Tracy Boothman Duyck) comment on these journeys. In "Practical Jokes" a neighbor of Ant's, Sally, has a physical experience that is orchestrated by Ant, who rests secure in his good deeds. He believes that his deeds alone, inspired by a spirit of goodwill, make him a good man. "Prince Lovely and the Little Bigs" offers a portrait of Ant's daughter Regina, an adolescent girl whose opinion of her father, in the light of events that happen in her life, would differ from his own. "In the Company of Bards" illustrates Ant's late coming-of- age and acceptance of his transgressions in the physical world and depicts how the consequence of those transgressions compel him to seek a penance that shadows his daughter's fate. Stories like "Jimi Hendrix's Banshee," "Liturgy of the Hour," and "2001- A View from a Dreamscape Out West" and "More in the Way of Dreams," bring the spiritual and sub-conscience life of Ant Malo together, and couple the presence of the metaphysical with the mystery of existence.
    [Show full text]
  • The Sex Pistols and the London Mob
    The Sex Pistols and the London Mob Michael Ewen Kitson Doctor of Philosophy University of Western Sydney, 2008 From my point of view it’s got nothing to do with music. And you could build up a whole thesis just on that thing. Marcus Lipton MP Johnny Rotten? Sid Vicious? Aren’t they characters from a Dickens novel? Kenny Rogers, country music singer1 1 Barry Cain, 77 Sulphate Strip, Ovolo, Cornwall 2007: p.101. Thank you to my brother Max for your hospitality in London and generous assistance (financial and intellectual); to my father Michael for unstinting encouragement and for our regular Tuesday meets; to my mother Jill for your support and excellent editorial advice; thank you to Sally Joy for her many gifts; to Dr Linda Hawryluk for your friendship; to David Brazil, Tyswan Slater, daughter, Kahlila, and Briana McLean who all welcomed me into your extraordinary lives and kept me from loneliness in the mountains’ Blue. Finally, thank you to Gary Scott and Eva Kahans, Michael Francis and especially you, Joe – who never failed to remind me that a PhD was a very boring subject for discussion with a five-year old. For the punks I’ve known: Cressida, Josh, Ken, Sean and Matt, John and Shane, and A.J. I wish to warmly acknowledge the invaluable assistance of Dr Jane Goodall, whose wit and humour combined with infinite patience, transformed my ideas and tested my theories, while Dr Glen McGillivray’s eye for the whole, combined with his detailed editorial advice, saw this thesis become the thing it is.
    [Show full text]
  • “Seditionaries”
    “Seditionaries” By Kelly Arlene Grant A Thesis Submitted to Saint Mary’s University, Halifax, Nova Scotia in Partial Fulfillment of the Requirements for the Degree of Masters of Arts in Women and Gender Studies. April 24, 2015, Halifax, Nova Scotia Copyright Kelly Arlene Grant, 2015 Approved: Dr. Randi Warne Supervisor Approved: Dr Michele Byers Examiner Approved: Dr Jayne Wark Reader Date: April 24, 2015 0 Abstract “Seditionaries” by Kelly Arlene Grant Abstract: What has fashion to do with gender studies? This is a reasonable question to ask. How the body is constrained, decorated and presented has been a central enterprise in human culture, and continues to be so today. This thesis will explore the world of 1970s UK Punk beyond Malcolm McLaren, intentionally shifting focus to Vivienne Westwood and the larger cultural landscape. It will explain the context within which a normative hyper masculine narrative has been drawn in the past and will lift up other equally rich and important aspects of Punk through the medium of sartorial language. The young women and men of the Bromley Contingent will serve as a key example of how the clothing Vivienne Westwood designed was used and incorporated within an existing Mod and Teddy-boy aesthetic to express their identity and create a subcultural aesthetic in the UK. April 24, 2015 1 Acknowledgements It is important that I recognize the importance of several people to the completion of this project. First, Dr. R. R. Warne, without whose guidance and ear I may not have completed this program. Also, my husband Pierre Longtin, who pushed me to return to academia, my mother Dianne Grant, who wouldn’t let me give up, and my brother Dane for starting me off on the best financial footing.
    [Show full text]
  • Título Provisório
    UNIVERSIDADE ESTADUAL DE CAMPINAS Instituto de Artes LUIZ CARLOS ANDREGHETTO GESTOS PICTÓRICO-ENSAÍSTICOS: A CÂMERA-PINCEL DE DEREK JARMAN CAMPINAS 2018 LUIZ CARLOS ANDREGHETTO GESTOS PICTÓRICO-ENSAÍSTICOS: A CÂMERA-PINCEL DE DEREK JARMAN Tese apresentada ao Instituto de Artes da Universidade Estadual de Campinas como parte dos requisitos exigidos para a obtenção do título de Doutor em Multimeios. ORIENTADOR: PROF. DR. FRANCISCO ELINALDO TEIXEIRA. ESTE TRABALHO CORRESPONDE À VERSÃO FINAL DA TESE DEFENDIDA PELO ALUNO LUIZ CARLOS ANDREGHETTO, E ORIENTADA PELO PROF. DR. FRANCISCO ELINALDO TEIXEIRA. CAMPINAS 2018 BANCA EXAMINADORA DA DEFESA DE DOUTORADO LUIZ CARLOS ANDREGHETTO ORIENTADOR: PROF. DR. FRANCISCO ELINALDO TEIXEIRA MEMBROS: 1. PROF. DR. FRANCISCO ELINALDO TEIXEIRA 2. PROF. DR. MAURICIUS MARTINS FARINA 3. PROF. DR. GILBERTO ALEXANDRE SOBRINHO 4. PROF(A). DR(A). CECÍLIA ANTAKLY DE MELLO 5. PROF. DR. CRISTIAN DA SILVA BORGES Programa de Pós-Graduação em Multimeios do Instituto de Artes da Universidade Estadual de Campinas. A ata de defesa com as respectivas assinaturas dos membros da Comissão Examinadora encontra-se no SIGA/Sistema de Fluxo de Dissertação/Tese e na Secretaria do Programa da Unidade. DATA DA DEFESA: 29.08.2018 Aos meus pais, pelo constante apoio. AGRADECIMENTOS Em primeiro lugar, agradeço ao meu orientador, prof. Francisco Elinaldo Teixeira, pela inestimável oportunidade de aprendizagem, pela tranquilidade na condução desse longo processo e pela confiança na minha capacidade de realizá- lo. Aos professores, Gilberto Alexandre Sobrinho e Pedro Maciel Guimãraes, pela participação na banca de qualificação, contribuindo com valiosos comentários que ampliaram minha percepção em relação ao objeto central dessa pesquisa. Aos professores Mauricius Martins Farina e Marta Strambi, por terem plantado a sementinha dessa pesquisa, iniciada, guardando as devidas proporções, à partir do curso de extensão em Artes Visuais, Intermeios e Educação, no Instituto de Artes dessa instituição.
    [Show full text]
  • La Déferlante Punk Charlotte Selb
    Document generated on 09/30/2021 2:37 a.m. 24 images La déferlante punk Charlotte Selb Années 1980 – Laboratoire d’un cinéma populaire Number 183, August–September 2017 URI: https://id.erudit.org/iderudit/85991ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this article Selb, C. (2017). La déferlante punk. 24 images, (183), 17–20. Tous droits réservés © 24/30 I/S, 2017 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Années 1980 – Laboratoire d’un cinéma populaire LA DÉFERLANTE PUNK par Charlotte Selb Suburbia de Penelope Spheeris (1984) De la fin des années 1970 à la moitié de la décennie 1980, le mouvement punk débarque sur les écrans, inspirant en particulier les réalisateurs américains et britanniques. Retour sur les premières années du cinéma punk. ans une des scènes clés de T2 Trainspotting (2017), Mark recyclage, la dérision et le détournement faisant partie intégrante D Renton (Ewan McGregor), après vingt ans de vie « clean » de son esprit, il est en outre infiniment récupérable. Mais qu’en à Amsterdam, retrouve la chambre de sa jeunesse à Edinburgh, est-il du cinéma lors de la naissance et de l’apogée du punk ? À fouille à travers ses vinyles, et en dépose un sur la platine.
    [Show full text]
  • Wednesday 15 June 2016, London This August BFI Southbank Will Host
    Wednesday 15 June 2016, London This August BFI Southbank will host Don Letts Presents: Punk on Film, a season of films curated by the film director, DJ and musician Don Letts. The season will bring together a broad range of documentary, archive footage and feature films that draw attention to the diversity of the punk movement, how it has been depicted on film, and its huge influence on filmmakers past and present. Films being screened during the season will include Don Letts' Grammy award-winning doc The Clash: Westway to the World (2000), Jubilee (Derek Jarman, 1978) and Pussy Riot: A Punk Prayer (Mike Lerner, Maxim Pozdorovkin 2013). The season will include a World Punk Day on Sunday 7 August, featuring screenings of Afro Punk (2003) which follows black punks in the USA, Taqwacore: The Birth of Punk Islam (2009) about the birth of the Muslim punk scene, and Punk in Africa (2012) which explores the spread of punk across that continent. The BFI Mediatheque, located in BFI Southbank and free to use, will feature a new set of material from the BFI National Archive for audiences to explore; the Anarchy in the UK collection will feature footage of seminal punk bands including The Sex Pistols, The Clash and The Stranglers. This season offers audiences an exciting chance to see punk’s depiction and influence on film – from the politics of searing documentaries, to race and identity in punk scenes around the globe; from the DIY punk- ethos of radical filmmakers, to the feminist trailblazers and fashion icons who continue to inspire.
    [Show full text]
  • American Square Dance Vol. 36, No. 3
    MARCH 1981 AMERICAN .!. Copy $1.00 Annual $9.00 SQUARE DANCE r . ry• • S. 46 7. V:re 411%.7. S. in..? Tr Of, — .r.d. s r1 4 Se 0.e. 4 JR i 4 Sr .1. ryl Y. rdi lbe go% Jim Harris using Clinton Sound Equipment CLINTON Box 505, Clinton CT 06413 CV) CV:,fi lf, V) ea* 151 C4 Co fa U Co Co fa fa ea 6, Co V aa to Co to Co fa Co fa .To fa fa 2 t. .45. 40.4 g".4", t, 911' 'el, 014 'in. 4} 06.'5 in, 7. in 7 iny5 74 `.3$_:.4.• hn. .%t. 1.4 fI .4 N 44 4 4., 4 4 44 44 4.0 v 4 U v I, 9 9. rd. i, Jim Harris using any other equipment INSTRUMENT COMPANY Tel: (203)669-7548 C9 022 0.% 0.* t, ev2 Q. OA Cs.* OA0.1, OA 0.0 0.9 C. OA OA' OA OA OA CV:. 4.!,.* OA CV f; f1 VI *If rd 1, id Cs f., f.• AMERICAN [) SCJURRE DRNCE VOLUME 38, NO. 3 MARCH 1981 THE NATIONAL MAGAZINE WITH THE SWINGING LINES ASD FEATURES FOR ALL SQUARE DANCE SCENE 4 Co-editorial 17 LEGACY 5 By-Line 37 30TH National Convention 7 Meanderings 44 Challenge Chatter 21 The Road to Calling 73 Speaking of Singles 27 A Time to Grieve 31 Rhyme Time 32 Sketchpad Commentary OUR READERS SPEAK 33 Grand Square Dancer 6 Grand Zip 34 Best Club Trick 28 Feedback 35 Encore 38 Dancing Tips 52 People In the News FOR CALLERS 54 International News 39 Calling Tips 57 Dandy Idea 40 Easy Level 58 Product Line 46 Creative Choreography 63 Puzzle Page 60 Flip Side Squares 67 Events 71 Underlining 68 S/D Pulse Poll 70 Steal A Peek 81 Booknook ROUNDS 82 Finish Line 84 Laugh Line 19 Second the Suggestion 59 Flip Side Rounds 59 Choreography Ratings 69 RID Pulse Poll LEMAN!? TIPS 11 Leadership Workshop Editors Ed Fraldenburg Publishers and Editors Bob Howell Stan & Cathie Burdick Feature Writers Harold & LIII Bausch Dave & Shirley Fleck Member of NASRDS Mary Jenkins National Association of S&RID Suppliers Russ & Nancy Nichols Gene & Thelma Trimmer AMERICAN SQUAREDANCE Magazine Editorial Assistants (ISSN 0091-3383) is published by Burdick Mona Bird Enterprises.
    [Show full text]
  • Punkademicse Basement Show in the Ivory Tower
    Minor Compositions Open Access Statement – Please Read This book is open access. This work is not simply an electronic book; it is the open access version of a work that exists in a number of forms, the traditional printed form being one of them. All Minor Compositions publications are placed for free, in their entirety, on the web. This is because the free and autonomous sharing of knowledges and experiences is important, especially at a time when the restructuring and increased centralization of book distribution makes it difficult (and expensive) to distribute radical texts effectively. The free posting of these texts does not mean that the necessary energy and labor to produce them is no longer there. One can think of buying physical copies not as the purchase of commodities, but as a form of support or solidarity for an approach to knowledge production and engaged research (particularly when purchasing directly from the publisher). The open access nature of this publication means that you can: • read and store this document free of charge • distribute it for personal use free of charge • print sections of the work for personal use • read or perform parts of the work in a context where no financial transactions take place However, it is against the purposes of Minor Compositions open access approach to: • gain financially from the work • sell the work or seek monies in relation to the distribution of the work • use the work in any commercial activity of any kind • profit a third party indirectly via use or distribution of the work • distribute in or through a commercial body (with the exception of academic usage within educational institutions) The intent of Minor Compositions as a project is that any surpluses generated from the use of collectively produced literature are intended to return to further the development and production of further publications and writing: that which comes from the commons will be used to keep cultivating those commons.
    [Show full text]