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Camila Dias Borges
1 CAMILA DIAS BORGES BELA LUGOSI'S NOT DEAD: O DISCURSO E A REPRESENTAÇÃO DE GÓTICOS NO SITE DE REDE SOCIAL FACEBOOK Pelotas 2014 2 UNIVERSIDADE CATÓLICA DE PELOTAS PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS DISSERTAÇÃO DE MESTRADO Bela Lugosi's Not Dead: O Discurso e a Representação de Góticos no Site de Rede Social Facebook Por Camila Dias Borges Dissertação de Mestrado apresentada ao Programa de Pós-Graduação em Letras, área de concentração Linguística Aplicada, da Universidade Católica de Pelotas, como requisito parcial à obtenção do título de Mestre em Letras. Orientadora: Profa. Dra. Raquel Recuero (PPGL/UCPEL) Linha de Pesquisa: Texto, Discurso e Relações Sociais Pelotas, novembro de 2014. Dados Internacionais de Catalogação na Publicação (CIP) B732b Borges, Camila Dias Bela Lugosi’s not dead: o discurso e a representação de Góticos no site de rede social Facebook. / Camila Dias Borges. – Pelotas: UCPEL, 2014. 158f. Dissertação (mestrado) – Universidade Católica de Pelotas , Programa de Pós-Graduação em Letras, Pelotas, BR-RS, 2014. Orientadora: Raquel Recuero. 1. discurso. 2. representação. 3. subcultura gótica. 4.góticos. 5. sites de redes sociais I. Recuero, Raquel,or . II. Título. CDD 401.41 Ficha catalográfica elaborada pela bibliotecária Cristiane de Freitas Chim CRB 10/1233 3 AGRADECIMENTOS A todos do Programa de Pós-Graduação em Letras da Universidade Católica de Pelotas por terem me acolhido com muito carinho e, principalmente, por terem despertado em mim o interesse pela pesquisa. A todos os professores que, com dedicação, não somente repassaram conhecimento, mas também instigaram questionamentos que muito me auxiliaram no desenvolvimento pessoal. À querida orientadora Raquel, que constantemente amparou a minha reflexão sobre a teoria e os dados, esclarecendo com paciência e atenção as dúvidas de pesquisa. -
ENDER's GAME by Orson Scott Card Chapter 1 -- Third
ENDER'S GAME by Orson Scott Card Chapter 1 -- Third "I've watched through his eyes, I've listened through his ears, and tell you he's the one. Or at least as close as we're going to get." "That's what you said about the brother." "The brother tested out impossible. For other reasons. Nothing to do with his ability." "Same with the sister. And there are doubts about him. He's too malleable. Too willing to submerge himself in someone else's will." "Not if the other person is his enemy." "So what do we do? Surround him with enemies all the time?" "If we have to." "I thought you said you liked this kid." "If the buggers get him, they'll make me look like his favorite uncle." "All right. We're saving the world, after all. Take him." *** The monitor lady smiled very nicely and tousled his hair and said, "Andrew, I suppose by now you're just absolutely sick of having that horrid monitor. Well, I have good news for you. That monitor is going to come out today. We're going to just take it right out, and it won't hurt a bit." Ender nodded. It was a lie, of course, that it wouldn't hurt a bit. But since adults always said it when it was going to hurt, he could count on that statement as an accurate prediction of the future. Sometimes lies were more dependable than the truth. "So if you'll just come over here, Andrew, just sit right up here on the examining table. -
Felix Issue 504, 1979
THE NEWSPAPER OF IMPERIAL COLLEGE UNION Friday, November 9th, 1979 Issue No. 533 EXEC EXHAUSTED AFTER 8 MONTHS OF CONTROVERSY FELIX EDITOR DISPUTE FINALLY SETTLED COLIN PALMER RATIFIED Gary Dearmer speaking at the UGM Photo by Colin Palm, BRIGHTON 79 ICU LEADS THE WAY a driver's view An opportunity to drive in the London to On Wednesday afternoon, the Union's 'Death Brighton Veteran Car Run is a unique to British Education' Coffin led the NUS march experience, and I feel privileged to have been outside the Department of Education and given the opportunity to drive Boanerges in Science. At this stage the NUS Exec were this annual event. The build-up to 4 playing ultra callous by ordering Union banners November was nerve-racking to say the least, not to be raised. Yet earlier they had amongst, and preparations had been in hand for a good almost chaos, sanctioned a march along the two months. Waking up at 6am to a cold and pavements from Malet Street without full police wet day did nothing to subdue my spirits so I approval. Thus, as the 400 strong demo passed dressed in what I thought would be necessary the DES there were no placards and no banners, to keep out the cold, and then doubled it. a feature of any successful demo. After a final check at the garage, we loaded up To applause and clapping the coffin was the car and set off for Hyde Park, along with brought out from Waterloo tube entrance direct Sir Hugh Ford, the Guilds Motor Club from IC and across the road. -
Siouxsie and the Banshees the Scream Mp3, Flac, Wma
Siouxsie And The Banshees The Scream mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: The Scream Country: UK & Europe Released: 1989 Style: Post-Punk MP3 version RAR size: 1552 mb FLAC version RAR size: 1738 mb WMA version RAR size: 1738 mb Rating: 4.6 Votes: 514 Other Formats: APE VOX MOD DXD MP2 MP4 MMF Tracklist Hide Credits Pure 1 1:50 Music By – McKay*, Morris*, Sioux*, Severin* Jigsaw Feeling 2 4:37 Lyrics By – Severin*Music By – McKay*, Severin* Overground 3 3:48 Lyrics By – Severin*Music By – McKay* Carcass 4 3:49 Lyrics By – Sioux*, Severin*Music By – Fenton*, Sioux*Written-By – Fenton* Helter Skelter 5 3:46 Written-By – Lennon/McCartney* Mirage 6 2:48 Lyrics By – Severin*Music By – McKay* Metal Postcard 7 4:13 Lyrics By – Sioux*Music By – McKay* Nicotine Stain 8 2:57 Lyrics By – Sioux*Music By – Severin* Suburban Relapse 9 4:10 Lyrics By – Sioux*Music By – McKay* Switch 10 6:51 Lyrics By – Sioux*Music By – McKay* Companies, etc. Distributed By – Polydor Ltd. Marketed By – Polydor Ltd. Phonographic Copyright (p) – Polydor Ltd. (UK) Copyright (c) – Polydor Ltd. (UK) Recorded At – RAK Studios Mixed At – De Lane Lea Studios Published By – Dreamhouse Music Published By – Chappell Music Ltd. Published By – Sparta Florida Music Group Ltd. Published By – Northern Songs Credits Bass Guitar – Steven Severin Design [Concept] – Siouxsie And The Banshees* Drums, Percussion – Kenny Morris Guitar, Saxophone – John McKay Mixed By – Steve Lillywhite Photography By – Paul Wakefield Producer – Siouxsie And The Banshees*, Steve Lillywhite Voice – Siouxsie-Sioux* Written-By – McKay* (tracks: 1 to 4, 6 to 10), Morris* (tracks: 1 to 4, 6 to 10), Sioux* (tracks: 1 to 4, 6 to 10), Severin* (tracks: 1 to 4, 6 to 10) Notes ℗ 1978 Polydor Ltd (UK) © 1989 Polydor Ltd (UK) Original Sound Recording Made By Polydor Ltd (UK) Recorded at RAK. -
A Great Friggin'swindle? Sex Pistols, School Kids and 1979
Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Osborne, Richard ORCID: https://orcid.org/0000-0003-4111-8980 (2015) A great friggin’ swindle? Sex Pistols, school kids and 1979. Popular Music and Society, 38 (4) . pp. 432-449. ISSN 0300-7766 [Article] (doi:10.1080/03007766.2015.1034496) First submitted uncorrected version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/17322/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. -
E.E. Senior Works on Solar Energy
VOLUME LVI, NO. 18 DREXEL UNIVERSITY PHILADELPHIA, PA. Friday, November 14. 1980 E.E. senior works on solar energy special to Triangle Igor Fokin, a senior in elec mance and accomplishments trical engineering at Drexel on our Solar Energy Project,” University, was commended said Max Bycer, Kulicke and by Kulicke and Soffa In Soffa’s vice president and dustries, Inc., Horsham, for manager of government pro his work on the firm’s Solar jects. Energy Project. “Without Igor’s efforts we The project, a feasibility would not have been as far study to determine what type along on the project as we of machine could be built to were,” Bycer continued. “ He string solar cells together, was performed in an exemplary done for Jet Propulsion fashion in all the areas of the Laboratory, Pasadena, Calif. project for which he was utiliz Solar cells are used to convert ed, including system analysis, the radiant energy of sunlight programing, debugging and into electrical energy. wiring.” Fokin, 22, of northeast It was Fokin’s third co-op Philadelphia, worked on the experience at the engineering project earlier this year during and production company. his cooperative education During his first two co-ops, he assignment. has been assigned to a number “ We’re deeply appreciative (continued on page 5) of Igor’s outstanding perfor Ifior Fokin, E.E. senior, sits at the computer which he used on his co-op job. Election A Fight over the l\/linimum Student Wage After a brief but heated bat A House education commit the wage as of October 1, not allow schools to pay returns tle, the U.S. -
Vogue.Com/Vogue-Daily/Print/Rebel-Rouser-Sheila
Rebel Rouser: Sheila Rock Photographs the Scene in Punk+ - ... http://www.vogue.com/vogue-daily/print/rebel-rouser-sheila-... FASHION Rebel Rouser: Sheila Rock Photographs the Scene in Punk+ by Mark Holgate John Lydon Photo: Sheila Rock, PUNK+, 2013 1 of 6 27/04/2013 12:55 Rebel Rouser: Sheila Rock Photographs the Scene in Punk+ - ... http://www.vogue.com/vogue-daily/print/rebel-rouser-sheila-... Subey Photo: Sheila Rock, PUNK+, 2013 Jeannette Lee, formerly of Public Image Limited. 2 of 6 27/04/2013 12:55 Rebel Rouser: Sheila Rock Photographs the Scene in Punk+ - ... http://www.vogue.com/vogue-daily/print/rebel-rouser-sheila-... Photo: Sheila Rock, PUNK+, 2013 Chrissie Hynde (bottom) and Steve Strange of the Moors Murderers. Photo: Sheila Rock, PUNK+, 2013 3 of 6 27/04/2013 12:55 Rebel Rouser: Sheila Rock Photographs the Scene in Punk+ - ... http://www.vogue.com/vogue-daily/print/rebel-rouser-sheila-... Photo: Sheila Rock, PUNK+, 2013 From left: Siouxsie Sioux, John McKay, Steven Severin, and Kenny Morris of Siouxsie and the Banshees. 4 of 6 27/04/2013 12:55 Rebel Rouser: Sheila Rock Photographs the Scene in Punk+ - ... http://www.vogue.com/vogue-daily/print/rebel-rouser-sheila-... Photo: Sheila Rock, PUNK+, 2013 From left: Paul Simonon, Topper Headon, Mick Jones, and Joe Strummer of the Clash. Photo: Sheila Rock, PUNK+, 2013 “I was never a punk, I was too middle-class,” says Sheila Rock with a laugh. “The closest I ever got was wearing black jeans.” Rock is an American photographer who has been based in Britain since 1970, and perhaps this remove is why her fly-on-the-wall images of the ignition of the London punk scene in the mid-70s, and its subsequent flaring across the rest of the country, are so beautifully raw and utterly compelling. -
Psaudio Copper
Issue 94 SEPTEMBER 23RD, 2019 Welcome to Copper #94! As this issue goes live, I'll have just returned from a quick trip to NY and back----so sorry, no analysis of the Phil Collins song. I'll leave that to our busy friend, Christian James Hand. In this issue, Professor Larry Schenbeck looks at copycats---long before the "My Sweet Lord" debacle; Dan Schwartz examines an amazing gift from a famous friend; Richard Murison explores his family tree; Roy Hall remembers his (very active!!) dating life; Anne E. Johnson’s Off the Charts brings us lesser-known cuts from Siouxsie and the Banshees; J.I. Agnew goes into meticulous detail on the meticulous process of record quality control; Woody Woodward begins a new series on guitar god Jeff Beck; Anne’s Something Old/Something New brings us several recent recordings of Haydn Symphonies; the batting average of Tom Gibbs' record reviews drops from .800 last issue to .666 in this issue; and I look at inevitability in The Audio Cynic, and examine direct-drive turntables in Vintage Whine. I'm pleased to welcome a new contributor: Bob Wood will be telling stories of his long career in radio, and as a voice-over artist. I think you'll enjoy Bob's True-Life Radio Tales. Rocky Mountain Audio Fest is the subject of a feature, written by moi. And finally---- Copper #94 wraps up with Charles Rodrigues on divine intervention, and another stunning Parting Shot from our friend, James Schrimpf. Until next time, Leebs. In The Beginning TRUE-LIFE RADIO TALES Written by Bob Wood Believe it or not, several people have encouraged me to write about my time in radio. -
P of Progressive Rock, and from the from the Exclusiveness of Forebears Like the Velvets and Kraftwerk and Roxy and Bowie
POST-PUNK POST-PUNK 1979 | POST-PUNK Post-punk has a lousy name. It’s temporally accurate, mostly; and meaningful in that post-punk music generally benefited from the jolt of energy and attitude that briefly was punk, even when it was often made by musicians who’d been at it for years. But punk was mostly musically and culturally discrete, insular and self-constrained. Post-punk, conversely, represented a flourishing of many sounds, myriad scenes, and many styles, all with roots reaching back (garage rock, krautrock, funk, jazz, musique concrete, ska) and branches reaching out and intertwining (hip-hop, disco, Latin musics, dub), all while leaning eagerly forward into the future. In part post-punk was the liberation of “art rock” from the virtuosic grip of progressive rock, and from the from the exclusiveness of forebears like the Velvets and Kraftwerk and Roxy and Bowie. It was to varying degrees the breaking down of barriers between “rock” and non-white musics, always with the risk of appropriation; but mostly created with a sincere attitude of learning and engagement, rather than theft. Women in post-punk were not an oddity, an opening act, but were instead at the very center of its most creative scenes in a way rock music had rarely seen. Certainly post-punk was a rejection of “disco-sucks” and cock-rock meatheadedness, as even its simplest power pop forms generally rejected brute machismo. Post-punk was revolutionary in that it helped expand rock music’s typical access to means of production, and broadened the circle of who could be at the forefront; but it was also evolutionary of rock music’s best possibilities, no an ex nihilo event, and as such was made to last. -
Print Catalogue
Thursday 30th July 2020 | 10:00 Music & Music Memorabilia Auction July 2020 Lot 793 Description Estimate The Beatles - A Collection of Beatles Oldies (PCS 7016), first pressing. £20.00 - £40.00 Lot 794 Description Estimate David Bowie - Heroes LP (PL 12552), with insert. £15.00 - £20.00 Lot 795 Description Estimate The Beatles - Revolver LP (PMC 7009), early pressing £20.00 - £30.00 Lot 796 Description Estimate 5 x Blondie LPs, Autoamericans, Blondie, Eat To The Beat, Parrallel Lines, £20.00 - £30.00 Plastic Letters. Lot 797 Description Estimate Fairport Convention - Angel Delight LP ( ILPS 9162 ). £10.00 - £15.00 Lot 798 Description Estimate King Crimson - Discipline LP ( EGLP 49 ). £10.00 - £15.00 Lot 799 Description Estimate David Bowie - Scary Monsters And Super Creeps ( BOW LP2 ). with insert. £10.00 - £15.00 Lot 800 Description Estimate 2 x Frank Zappa LPs. Studio Tan ( K59210 ). Zoot Allures ( K56298 ). £10.00 - £15.00 Lot 801 Description Estimate The Beatles - Sgt Peppers Lonely Hearts Club Band. £15.00 - £20.00 Lot 802 Description Estimate 5 x Rock LPs. Edgar Winter - Jasmin Nightdreams. Ry Cooder (2) - Bop £10.00 - £15.00 Till Drop. Jazz. Santana - Abraxas. Steely Dan- Greatest Hits. Lot 803 Description Estimate 7 x 1980s LPs. Joan Armatrading - Walk Under Ladders. Grace Jones (3) - £15.00 - £20.00 Island Life. Nightclubbing. Slave to the Rhythm. Kate Bush - The Dreaming. Orchestral Manoeuvers In The Dark - Architecture And Morality. Carly Simon - Come Upstairs. Lot 804 Description Estimate 6 x LPs. Joan Baez - In Concert pt.2. Blood Sweat and Tears - Blood Sweat £10.00 - £15.00 and Tears. -
The Cord Weekly
THECORDWEEKLY Wilfrid Laurier University, Waterloo, Ontario Thursday, March 25,1982 Volume 22 Number 21 15% Increase Less Than UW's Students Pay Big Bucks Next Year by Steve Patten university increased tuition 5% Full-time undergraduate WLU more than the increase in operating students will pay $135 more for grants two years ago, and again last tuition next year. For senior BBA year did the same thing, then this students this means a 14.8% year that university's tuition could increase to $1,050. Other onlyincrease by the samepercentage undergraduate students will face as government operating grants, tuitions of $1,025, a 15.2%increase. 12.2%. These figures, which "were released Last year the basic operating last week in the Board of Governors grant was $851 and WLU arts Executive Committee 1982-83 fee tuition was $890 and therefore, schedule, bring the senior business WLU had used up 4.6% of the 10% tuitions and other Undergraduate allowed. This year operating grants tuitions to the maximum allowed to went up 12.2% andLaurier had the WLU by the government to 2.5% option of increasing tuition 17.6% below the maximum. (10% - 4.6% plus 12.2%). Tuition is only one of the number When asked why the Executive of fees to increase in September of Commitee of the Board of 1982. The business Co-op fee will Governors would recommend a increase by $20. The total of the 15.1% increase for Arts tuitions various incidental fees for Student when universities are in a financial Union, Athletic and Health services bind, and the Committee had the will increase by $8. -
Download 2014–2015 Catalogue of New Plays
CCoverover SSpreadpread 11415.ai415.ai 1 77/28/2014/28/2014 112:15:052:15:05 PPMM IInsidenside CCoverover SSpreadpread 11415.ai415.ai 1 88/12/2014/12/2014 55:13:13:13:13 PPMM Catalogue of New Plays 2014–2015 © 2014 Dramatists Play Service, Inc. NNEWEW CCATALOGUEATALOGUE 114-15.indd4-15.indd 1 88/12/2014/12/2014 110:23:060:23:06 AAMM Dramatists Play Service, Inc. A Letter from the President Fall 2014 Dear Subscriber: After 22 years, you’ll see that this traditional letter is being sent to you by someone new. Stephen Sultan is now enjoying a well-deserved retirement, although he remains onboard here at the Play Service as a trusted and valued consultant. I became the president — only the sixth to head the company since its founding in 1936 — in January, after years of serving as an agent representative on our Board of Directors. I couldn’t be happier in my new position, as DPS has always meant a great deal to me. And I am extremely fortunate to work with a wonderful staff, whose dedication, intelligence, and good humor are an inspiration. The original charter for Dramatists Play Service empha- sizes the importance of the word “service” in our name. I think you’ll find that the service to both our customers and our playwrights continues at a higher level than ever before. As always, there are some great new additions to our catalogue this year. I’m very happy that we have acquired all five nominees for Best Play in this season’s Tony Awards, with ALL THE WAY, Robert Schenkkan’s riveting portrait of LBJ and the politics of power and compromise, leading the pack.