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PDF (V. 86:21, March 15, 1985)
COV\q(~UI~6)\SJ CCfl..'\~ THE ro.:h!\lrl-r0\1\S I K~r-lo.\. CALIFORNIA ::red \. VOLUME 86 PASADENA, CALIFORNIA / FRIDAY 15 MARCH 1985 NUMBER ~1 Admiral Gayler Speaks On The Way Out by Diana Foss destroyed just as easily by a gravi- Last Thursday, the Caltech ty bomb dropped from a plane as Distinguished Speakers Fund, the by a MIRVed ICBM. In fact, Caltech Y, and the Caltech World technology often has a highly Affairs Forum jointly sponsored a detrimental effect. Improved ac talk by Admiral Noel Gayler entitl- curacy of nuclear missles has led ed, "The Way Out: A General to the ability to target silos with Nuclear Settlement." The talk, pinpoint precision. This leads to the which was given in Baxter Lecture dangerous philosophy of "use Hall, drew about sixty people, them or lose them," with such mainly staff, faculty, and graduate manifestations as preemptive students, with a sprinkling of strikes and launch-on-warning undergraduates. President systems. Goldberger introduced Admiral While Gayler views as laudable 15' Gayler, who is a former Com- Reagan's attempts to find a more :tl mander in Chiefofthe Pacific Fleet "humane" policy than Mutually ~ and a former director of the Na- Assured Detruction, he sees the ~ tional Security Agency. Space Defense Initiative as a .s Gayler began his talk by em- fruitless attempt to use technology ~ phasizing the. threat of the huge to work impossible miracles, part -a nuclear stockpiles of the two super- of a general trend to make science I powers. The numbers themselves, an omnipotent god. -
“9” Just Short of a Perfect 10
6 AQUINAS THURSDAY, SEPTEMBER 17, 2009 7 Arts & Life Editor Joe Wolfe Brand New’s darker “Daisy” VMAs still full Campus Comment COMMentarY BY Arts Life Nicholas Chinman Dervela O’BRIEN of surprises & Staff Writer In the aftermath of the West Fans of the alternative-rock COMMentarY BY incident, Swift stunned the audi- band, Brand New, are anxiously TIM SIMpsON ence with her live performance. Download awaiting the release of the band’s Staff Writer She sang her award winning “9” just short of a perfect 10 fourth album entitled “Daisy,” single “You Belong with Me” in a which is scheduled to be released On September 13, the 2009 crowded New York City subway of the September 22. After almost three MTV Video Music Awards took COMMentarY BY with fans providing the back- years of touring and writing new place at Radio City Music Hall ground vocals to her tune. She JEREMY Evans material since their well-received in New York City. For the sec- week glowed with enthusiasm while Staff Writer “The Devil and God Are Raging ond consecutive year, the event spinning around in circles, danc- Inside Me,” the Long Island native was hosted by comedian Russell ing on the seats and involving In 2005, Shane Acker created band has worked hard to put to- Brand. several members of the crowd an animated short as a student “Pale Blue gether their latest album, which is The night began with a heart- in her upbeat performance. Af- project. He crafted a fascinating sure to surprise its listeners. felt speech delivered by Madon- ter leaving the subway, she and world, one which caught the at- “Daisy” follows many of the na in honor of her late friend Mi- PHOTO BY BRAND NEW MYSPACE PAGE her fans ran to the front of Radio tention of many in the film-mak- Eyes” same dark philosophical themes chael Jackson. -
Michele Mulazzani's Playlist: Le 999 Canzoni Piu' Belle Del XX Secolo
Michele Mulazzani’s Playlist: le 999 canzoni piu' belle del XX secolo (1900 – 1999) 001 - patti smith group - because the night - '78 002 - clash - london calling - '79 003 - rem - losing my religion - '91 004 - doors - light my fire - '67 005 - traffic - john barleycorn - '70 006 - beatles - lucy in the sky with diamonds - '67 007 - nirvana - smells like teen spirit - '91 008 - animals - house of the rising sun - '64 009 - byrds - mr tambourine man - '65 010 - joy division - love will tear us apart - '80 011 - crosby, stills & nash - suite: judy blue eyes - '69 012 - creedence clearwater revival - who'll stop the rain - '70 013 - gaye, marvin - what's going on - '71 014 - cocker, joe - with a little help from my friends - '69 015 - fleshtones - american beat - '84 016 - rolling stones - (i can't get no) satisfaction - '65 017 - joplin, janis - piece of my heart - '68 018 - red hot chili peppers - californication - '99 019 - bowie, david - heroes - '77 020 - led zeppelin - stairway to heaven - '71 021 - smiths - bigmouth strikes again - '86 022 - who - baba o'riley - '71 023 - xtc - making plans for nigel - '79 024 - lennon, john - imagine - '71 025 - dylan, bob - like a rolling stone - '65 026 - mamas and papas - california dreamin' - '65 027 - cure - charlotte sometimes - '81 028 - cranberries - zombie - '94 029 - morrison, van - astral weeks - '68 030 - springsteen, bruce - badlands - '78 031 - velvet underground & nico - sunday morning - '67 032 - modern lovers - roadrunner - '76 033 - talking heads - once in a lifetime - '80 034 -
Atravessar O Fogo 310 Letras
LOU REED Atravessar o fogo 310 letras Tradução Christian Schwartz e Caetano W. Galindo 12758-atravessarofogo.indd 3 7/5/10 4:43:29 PM Copyright © 2000 by Lou Reed. Todos os direitos reservados Grafia atualizada segundo o Acordo Ortográfico da Língua Portuguesa de 1990, que entrou em vigor no Brasil em 2009. Título original Pass thru fire – The collected lyrics Capa Jeff Fischer Preparação Alexandre Boide Revisão Huendel Viana Marina Nogueira Dados Internacionais de Catalogação na Publicação (CIP ) (Câmara Brasileira do Livro, SP , Brasil) Reed, Lou Atravessar o fogo : 310 letras / Lou Reed ; tradução Christian Schwartz e Caetano W. Galindo — São Paulo : Companhia das Letras, 2010. Título original : Pass thru fire : the collected lyrics. ISBN 978-85-359-1697-3 1. Letras de música 2. Música rock - Letras I. Título. 10-05405 CDD -782.42166 Índice para catálogo sistemático: 1. Rock : Letras de música 782.42166 [2010] Todos os direitos desta edição reservados à EDITORA SCHWARCZ LTDA . Rua Bandeira Paulista 702 cj. 32 04532-002 — São Paulo — SP Tel. (11) 3707-3500 Fax (11) 3707-3501 www.companhiadasletras.com.br 12758-atravessarofogo.indd 4 7/5/10 4:43:29 PM Sumário 19 Prefácio à edição da Da Capo Press 21 Introdução — Atravessar o fogo 23 Nota sobre a tradução THE VELVET UNDERGROUND & NICO 26/ 501 Domingo de manhã/ Sunday morning 27/ 501 Estou esperando o cara/ I’m waiting for the man 28/ 502 Femme fatale/ Femme fatale 29/ 503 A Vênus das peles/ Venus in furs 30/ 503 Corra corra corra/ Run run run 31/ 504 Todas as festas de amanhã/ All tomorrow’s -
1965 Falling Spikes: a Fake Tape
Source/Title: FallingSpikes 1965 The text says: FALLING SPIKES LOU REED, JOHN CALE, STERLING MORRISON, ANGUS MACLISE IN 1965 A NEW YORK BAND CALLED THE PRIMITIVES CHANGED IT'S NAME TO THE WARLOCKS AND THEN TO THE FALLING SPIKES, LATER TO BECOME FAMOUS AS THE VELVET UNDERGROUND. THIS RARE RECORDING FROM 1965 IS THEIR ONLY RECORDED WORK. Actually: it's a tape copy of the "Live at the Boston Tea Party" LP (catalogue Velvet 1, UK, 1985) but the album Side One is the tape B-Side (and Side Two becomes the A-Side). Tracklist (not given on sleeve insert): A-Side B-Side Heroin What Goes On (the rest) Move Right In I Can't Stand It I'm Set Free Candy Says Run Run Run Beginning to See the Light Waiting for the Man White Light/White Heat What Goes On (part) Pale Blue Eyes After Hours Equivalent: Tape 3, VU LIVE - BOSTON TEA PARTY (JAN. 10, 1969) (but it's a loose equivalent). Sound: Bad to Average. Side B is too fast, like the album, with clicks and tape whirrs on "Candy Says" and is basically unlistenable. Side A is average at best. Notes: What a gem this would have been, but it's either a bad joke or a deliberate fraud. The sleeve insert is badly copied and hand-cut with blunt scissors, the text says "IT'S" when it should be "ITS", there is no Cale or Maclise and sloppy copying splits WGO over two sides needlessly with the first part lasting just a few seconds. -
The Snow Miser Song 6Ix Toys - Tomorrow's Children (Feat
(Sandy) Alex G - Brite Boy 1910 Fruitgum Company - Indian Giver 2 Live Jews - Shake Your Tuchas 45 Grave - The Snow Miser Song 6ix Toys - Tomorrow's Children (feat. MC Kwasi) 99 Posse;Alborosie;Mama Marjas - Curre curre guagliò still running A Brief View of the Hudson - Wisconsin Window Smasher A Certain Ratio - Lucinda A Place To Bury Strangers - Straight A Tribe Called Quest - After Hours Édith Piaf - Paris Ab-Soul;Danny Brown;Jhene Aiko - Terrorist Threats (feat. Danny Brown & Jhene Aiko) Abbey Lincoln - Lonely House - Remastered Abbey Lincoln - Mr. Tambourine Man Abner Jay - Woke Up This Morning ACID MOTHERS TEMPLE - Are We Experimental? Adolescents - Democracy Adrian Sherwood - No Dog Jazz Afro Latin Vintage Orchestra - Ayodegi Afrob;Telly Tellz;Asmarina Abraha - 808 Walza Afroman - I Wish You Would Roll A New Blunt Afternoons in Stereo - Kalakuta Republik Afu-Ra - Whirlwind Thru Cities Against Me! - Transgender Dysphoria Blues Aim;Qnc - The Force Al Jarreau - Boogie Down Alabama Shakes - Joe - Live From Austin City Limits Albert King - Laundromat Blues Alberta Cross - Old Man Chicago Alex Chilton - Boplexity Alex Chilton;Ben Vaughn;Alan Vega - Fat City Alexia;Aquilani A. - Uh La La La AlgoRythmik - Everybody Gets Funky Alice Russell - Humankind All Good Funk Alliance - In the Rain Allen Toussaint - Yes We Can Can Alvin Cash;The Registers - Doin' the Ali Shuffle Amadou & Mariam - Mon amour, ma chérie Ananda Shankar - Jumpin' Jack Flash Andrew Gold - Thank You For Being A Friend Andrew McMahon in the Wilderness - Brooklyn, You're -
{PDF EPUB} the Velvet Underground - 45Th Anniversary Super Deluxe Edition by David Fricke MQS Albums Download
Read Ebook {PDF EPUB} The Velvet Underground - 45th Anniversary Super Deluxe Edition by David Fricke MQS Albums Download. Mastering Quality Sound,Hi-Res Audio Download, 高解析音樂, 高音質の音楽. The Velvet Underground – The Velvet Underground (45th Anniversary Super Deluxe) (1969/2014) [FLAC 24bit/96kHz] The Velvet Underground – The Velvet Underground (45th Anniversary Super Deluxe) (1969/2014) FLAC (tracks) 24 bit/96 kHz | Time – 05:20:48 minutes | 6,16 GB | Genre: Rock Studio Masters, Official Digital Download | Front Cover | © Polydor. The Velvet Underground’s classic self-titled third album, released in March 1969, by MGM, was a departure from the band’s first two albums in more ways than one. Gone was co-founding member John Cale, and in his place was a 21-year-old with Long Island roots named Doug Yule, who stepped right in. The record was also a stylistic leap, as Lou Reed describes it in Rolling Stone editor David Fricke’s liner notes, “I thought we had to demonstrate the other side of us. Fricke calls it “a stunning turnaround… 10 tracks of mostly warm, explicit sympathy and optimism, expressed with melodic clarity, set in gleaming double-guitar jangle and near-whispered balladry. Or as the late rock critic Lester Bangs put it, “How do you define a group like this, who moved from ‘Heroin’ to ‘Jesus’ in two short years?” How indeed do you describe an album which includes such classics as “Candy Says,” Reed’s ode to Warhol superstar Candy Darling; the aching love song “Pale Blue Eyes,” allegedly inspired by a girlfriend at Syracuse University who got away, with lead vocals by Yule; the inspiring “Beginning to See The Light”; the spoken-word narrative and musique concrete of “The Murder Mystery,” and the beautiful Maureen Tucker-sung “After Hours”? Celebrating its enduring longevity, Polydor/Universal Music Enterprises (UMe) has released The Velvet Underground – 45th Anniversary Super Deluxe Edition. -
Velvet Underground
IN MEMORIAM AND A FAREWELL TO LOU REED (1942-2013) The editorial collective of Situations deeply mourns the recent loss of Lou Reed. His heroic struggle with cancer was well known and even though he lost the fi ght earlier than we all wished, his capacity for change provides an inspiration for all of us. The political implications of his artistic production were vintage radical imagination; beyond the open sexuality and sexual politics on many of his songs, he also demonstrated great understanding of the ecological crisis and gun control in lesser known songs such as “The Last Great American Whale.” Reed’s corpus hopefully will be critically engaged by serious research in the generations to come. It is in the spirit of serious research that the Situations collective is privileged to remember Lou Reed in a retroactive fashion by reprinting Ellen Willis’ seminal essay (1978) on the Velvet Underground written in the heat of a struggle against nihilism that is reminiscent of Dionysian and cheerful excess, perhaps the subversive import of ‘the body electric,’ and its resurrection and redemption. Although a period piece, Ellen’s essay may well serve us a very powerful antidote to today’s cyberspace culture. The essay which follows here as a memorial to the spirit and struggle of Lou Reed and what his work meant to the generation of the Sixties and early Seventies will be found again in a forthcoming book, The Essential Ellen Willis, edited by Nona Willis Aronowitz (University of Minnesota Press, Spring 2014). The editorial collective wishes to thank Nona for permission to reprint this essay in this issue, Vol. -
A Historical and Literary Re-Contextualization of the Musical Role of Velvet Underground
Sabaragamuwa University Journal Volume 11 Number 1; December 2012, pp 33-73 ISSN 1391-3166 A Nihilistic Delirium to Catharsis the Fantasy for a Better World: A Historical and Literary Re-contextualization of the Musical Role of Velvet Underground Mahesh Hapugoda Department of Languages, Faculty of Social Sciences and Languages, Sabaragamuwa University of Sri Lanka, P.O. Box - 02, Belihul-Oya. [email protected] Abstract Velvet Underground (referred as Velvets from here on in this essay) is one of the most authentic, influential but least talked rock bands in the history of rock music, whose contribution is greatly forgotten in presence of the high popularity of the commercial form of rock. Started in 1966, the Velvets successfully articulated the avant-garde movement in 1950s and the European eliticism to create an independent, nihilistic and subversive form of rock which was later known as punk. Their style was the most self-expressive and pessimistic rock structure to go in between the hippie psychedelia influenced by existentialism and German expressionism; the two most influential ideological reactions which dominated the intellectual and literary tradition for decades in the post-war Europe. Without identifying with both hegemonic strands, the Velvets pertinently invented their own independent way to express the most profound and authentic feelings of their generation. They were later celebrated for their intellectual and artistic use of rock with great amount of experiments along side avant-gardism. In their poignantly arranged, de-aesthetic songs, though inspired by the use of heroin, have shown an imagination for the need of a better world. This paper will research how their self-expressive, nihilistic and notorious dreams which actually meant to get rid of the era’s desperation can be literary re-articulated to vision a futuristic better world. -
SAVED by ROCK 'N' ROLL: LOU REED, HIS FANS and the BECOMING of the (MARGINAL) SELF Thaddeus Muller Lou Was More Than A
SAVED BY ROCK ‘N’ ROLL: LOU REED, HIS FANS AND THE BECOMING OF THE (MARGINAL) SELF Thaddeus Muller Lou was more than a pop icon; more than a rock and roll star. - Jim1 from Philadelphia ABSTRACT My focus in this article is on the meaning that rock music has for fans of Lou Reed. I use the comments following his death as my primary data. These data were posted on the New York Times website in the comments section following the report “Outsider Whose Dark, Lyrical Vision Helped Shape Rock ’n’ Roll.” From these data I develop what I call “the marginal self” in reference to how rock music helps self-identified marginalized persons to deal with their social exclusion and alienation. Drawing on Kobarba’s (2012) analytic categories of the self, I will show how these data give insight into a wide range of existential meanings related to the music of Lou Reed. For many who wrote these comments their reading of Lou Reed has been an essential transformative part of their life in similar ways to baby boomers as outlined in Kotarba’s (2012) Baby Boomers Rock ‘n’ Roll Fans: The Music Never Ends. I first show how Kotarba’s (2012) core concepts of the musical self provide insight into how fans of Lou Reed develop a sense of self through Reed’s music. I then turn to a discussion of the marginalized self as a development of Kotarba’s (2012) categories of “authenticity work” and “becoming of the self.” Suggestions for future research are noted. Keywords: Lou Reed, Rock ‘n’ Roll, The Self; INTRODUCTION October 27 2013 was a cold wet day in the Netherlands. -
Songs by Artist
Songs By Artist Artist Song Title Disc # Artist Song Title Disc # (children's Songs) I've Been Working On The 04786 (christmas) Pointer Santa Claus Is Coming To 08087 Railroad Sisters, The Town London Bridge Is Falling 05793 (christmas) Presley, Blue Christmas 01032 Down Elvis Mary Had A Little Lamb 06220 (christmas) Reggae Man O Christmas Tree (o 11928 Polly Wolly Doodle 07454 Tannenbaum) (christmas) Sia Everyday Is Christmas 11784 She'll Be Comin' Round The 08344 Mountain (christmas) Strait, Christmas Cookies 11754 Skip To My Lou 08545 George (duet) 50 Cent & Nate 21 Questions 00036 This Old Man 09599 Dogg Three Blind Mice 09631 (duet) Adams, Bryan & When You're Gone 10534 Twinkle Twinkle Little Star 09938 Melanie C. (christian) Swing Low, Sweet Chariot 09228 (duet) Adams, Bryan & All For Love 00228 (christmas) Deck The Halls 02052 Sting & Rod Stewart (duet) Alex & Sierra Scarecrow 08155 Greensleeves 03464 (duet) All Star Tribute What's Goin' On 10428 I Saw Mommy Kissing 04438 Santa Claus (duet) Anka, Paul & Pennies From Heaven 07334 Jingle Bells 05154 Michael Buble (duet) Aqua Barbie Girl 00727 Joy To The World 05169 (duet) Atlantic Starr Always 00342 Little Drummer Boy 05711 I'll Remember You 04667 Rudolph The Red-nosed 07990 Reindeer Secret Lovers 08191 Santa Claus Is Coming To 08088 (duet) Balvin, J. & Safari 08057 Town Pharrell Williams & Bia Sleigh Ride 08564 & Sky Twelve Days Of Christmas, 09934 (duet) Barenaked Ladies If I Had $1,000,000 04597 The (duet) Base, Rob & D.j. It Takes Two 05028 We Wish You A Merry 10324 E-z Rock Christmas (duet) Beyonce & Freedom 03007 (christmas) (duets) Year Snow Miser Song 11989 Kendrick Lamar Without A Santa Claus (duet) Beyonce & Luther Closer I Get To You, The 01633 (christmas) (musical) We Need A Little Christmas 10314 Vandross Mame (duet) Black, Clint & Bad Goodbye, A 00674 (christmas) Andrew Christmas Island 11755 Wynonna Sisters, The (duet) Blige, Mary J. -
The Seminal Velvet Underground by Jim Derogatis
The Seminal Velvet Underground By Jim DeRogatis I. Introduction “I have always believed that rock ’n’ roll comes down to myth. There are no ‘facts.’” — Lester Bangs, 1981 “I remember when the Velvet Underground came out, and very few people were interested in them at all. And for a certainty I knew that they were going to become one of the most interesting groups, and that there would be a time when it wouldn’t be the Beatles up there and then all these other groups down there, it would be a question of attempting to assess the relative values of the Beatles and the Velvet Underground as equals.” — Brian Eno, Punk magazine, 1976 “Where does this album fit in?... I think it’s great rock ’n’ roll. I think Alexander the Great, Lord Byron, Jack the Ripper, F. Scott Fitzgerald, Albert Einstein, James Dean, and other rock ’n’ roll stars would agree with me.” — Elliott Murphy, liner notes to 1969: The Velvet Underground Live with Lou Reed (1974) Such is the enduring influence of Lou Reed, John Cale, Sterling Morrison, and Maureen Tucker that it essentially has become a part of their collective name—they are the Seminal Velvet Underground, thank you very much—though in addition to standing as one of rock’s hoariest clichés, that phrase also slights Tucker’s role as one of rock’s instrumental gender pioneers. Fine points like that hardly matter though in the mad competition to hyperbolize the band’s genius. Witness another, even more resonant quote from that erudite musical philosopher Eno, though this one could be apocryphal (I’ve seen variations of it repeated dozens of times, but I’ve never found the original in any of his voluminous writings or interviews): “Only five thousand people ever bought a Velvet Underground album, but every single one of them started a band.” Mull that over for a second and you’ll realize that it’s pure hyperbole: All of those people can’t possibly have formed bands, because many of them clearly became rock critics! Not to mention the fact that by now, we’ve endured many more than five thousand shameless Velvets clones and unapologetic V.U.