Party Boys : Identity, Community, and the Circuit
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Female Condom Generic Specification, Prequalification
Female Condom: Generic Specification, Prequalification and Guidelines for Procurement, 2012 The following organizations support the use of the WHO/UNFPA Female Condom Generic Specification: The Global Fund to Fight AIDS, Tuberculosis and Malaria FHI360 International Planned Parenthood Federation/CONtraceptive and SRH Marketing LTD (IPPF/ICON) I + Solutions Marie Stopes International (MSI) John Snow, Inc. (JSI) Joint United Nations Programme on HIV/AIDS (UNAIDS) PATH Partners in Population and Development (PPD) Population Action International Population Services International (PSI) Reproductive Health Supplies Coalition (RHSC) United Nations Population Fund (UNFPA) World Health Organization, Department of Reproductive Health and Research (WHO/RHR) Female Condom: Generic Specification, Prequalification and Guidelines for Procurement, 2012 WHO/UNFPA Female Condom Generic Specification, Prequalification and Guidelines for Procurement, 2012 © World Health Organization, United Nations Population Fund and FHI360, 2012 All rights reserved. Publications of the World Health Organization can be obtained from WHO Press, World Health Organization, 20 Avenue Appia, 1211 Geneva 27, Switzerland (tel.: +41 22 791 3264; fax: +41 22 791 4857; e-mail: [email protected]). Requests for permission to reproduce or translate WHO publications— whether for sale or for non commercial distribution—should be addressed to WHO Press, at the above address (fax: +41 22 791 4806; e-mail: [email protected]). The designations employed and the presentation of the material in this publication do not imply the expression of any opinion whatsoever on the part of the World Health Organization and UNFPA concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundar- ies. -
French Underground Raves of the Nineties. Aesthetic Politics of Affect and Autonomy Jean-Christophe Sevin
French underground raves of the nineties. Aesthetic politics of affect and autonomy Jean-Christophe Sevin To cite this version: Jean-Christophe Sevin. French underground raves of the nineties. Aesthetic politics of affect and autonomy. Political Aesthetics: Culture, Critique and the Everyday, Arundhati Virmani, pp.71-86, 2016, 978-0-415-72884-3. halshs-01954321 HAL Id: halshs-01954321 https://halshs.archives-ouvertes.fr/halshs-01954321 Submitted on 13 Dec 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. French underground raves of the 1990s. Aesthetic politics of affect and autonomy Jean-Christophe Sevin FRENCH UNDERGROUND RAVES OF THE 1990S. AESTHETIC POLITICS OF AFFECT AND AUTONOMY In Arundhati Virmani (ed.), Political Aesthetics: Culture, Critique and the Everyday, London, Routledge, 2016, p.71-86. The emergence of techno music – commonly used in France as electronic dance music – in the early 1990s is inseparable from rave parties as a form of spatiotemporal deployment. It signifies that the live diffusion via a sound system powerful enough to diffuse not only its volume but also its sound frequencies spectrum, including infrabass, is an integral part of the techno experience. In other words listening on domestic equipment is not a sufficient condition to experience this music. -
The Twenty Greatest Music Concerts I've Ever Seen
THE TWENTY GREATEST MUSIC CONCERTS I'VE EVER SEEN Whew, I'm done. Let me remind everyone how this worked. I would go through my Ipod in that weird Ipod alphabetical order and when I would come upon an artist that I have seen live, I would replay that concert in my head. (BTW, since this segment started I no longer even have an ipod. All my music is on my laptop and phone now.) The number you see at the end of the concert description is the number of times I have seen that artist live. If it was multiple times, I would do my best to describe the one concert that I considered to be their best. If no number appears, it means I only saw that artist once. Mind you, I have seen many artists live that I do not have a song by on my Ipod. That artist is not represented here. So although the final number of concerts I have seen came to 828 concerts (wow, 828!), the number is actually higher. And there are "bar" bands and artists (like LeCompt and Sam Butera, for example) where I have seen them perform hundreds of sets, but I counted those as "one," although I have seen Lecompt in "concert" also. Any show you see with the four stars (****) means they came damn close to being one of the Top Twenty, but they fell just short. So here's the Twenty. Enjoy and thanks so much for all of your input. And don't sue me if I have a date wrong here and there. -
Phylogenetic Reconstruction of the Cultural Evolution of Electronic Music Via Dynamic Community Detection (1975–1999)
Phylogenetic reconstruction of the cultural evolution of electronic music via dynamic community detection (1975{1999) Mason Youngblooda,b,1, Karim Baraghithc, and Patrick E. Savaged a Department of Psychology, The Graduate Center, City University of New York, New York, NY, USA bDepartment of Biology, Queens College, City University of New York, Flushing, NY, USA cDepartment of Philosophy, DCLPS, Heinrich-Heine University, D¨usseldorf,NRW, Germany dFaculty of Environment and Information Studies, Keio University SFC, Fujisawa, Japan [email protected] Abstract Cultural phylogenies, or \trees" of culture, are typically built using methods from biology that use similarities and differences in artifacts to infer the historical relationships between the populations that produced them. While these methods have yielded important insights, particularly in linguistics, researchers continue to debate the extent to which cultural phylogenies are tree-like or reticulated due to high levels of horizontal transmission. In this study, we propose a novel method for phylogenetic reconstruction using dynamic community detection that explicitly accounts for transmission between lineages. We used data from 1,498,483 collaborative relationships between electronic music artists to construct a cultural phylogeny based on observed population structure. The results suggest that, although the phylogeny is fun- damentally tree-like, horizontal transmission is common and populations never become fully isolated from one another. In addition, we found evidence that electronic music diversity has increased between 1975 and 1999. The method used in this study is available as a new R package called DynCommPhylo. Future studies should apply this method to other cultural systems such as academic publishing and film, as well as biological systems where high resolution reproductive data is available, to assess how levels of reticulation in evolution vary across domains. -
Green the Green Book
Book # 1 THE GREEN BOOK Universal Zulu Nation Infinity Lessons Archive 1973 - 2000 FOR THE MASSES Compiled By : King Mark Luv & Malika Saphire Table of Contents Myths and Misconceptions ..................................................................................................................................................... 2 Laws and Regulations of the Universal Zulu Nation Part 1 (1 – 20) ........................................................................................ 4 Laws and Regulations of the Universal Zulu Nation Part 2 (21 – 46) ...................................................................................... 5 INFINITY LESSON ONE ............................................................................................................................................................. 6 ABOUT ZULU NATION ......................................................................................................................................................... 6 Message to the People........................................................................................................................................................ 7 INFINITY LESSON TWO ............................................................................................................................................................ 8 THE HISTORY OF AFRIKA BAMBAATAA ............................................................................................................................... 8 INFINITY LESSON THREE ....................................................................................................................................................... -
Why Hip Hop Began in the Bronx- Lecture for C-Span
Fordham University DigitalResearch@Fordham Occasional Essays Bronx African American History Project 10-28-2019 Why Hip Hop Began in the Bronx- Lecture for C-Span Mark Naison Follow this and additional works at: https://fordham.bepress.com/baahp_essays Part of the African American Studies Commons, American Popular Culture Commons, Cultural History Commons, and the Ethnomusicology Commons Why Hip Hop Began in the Bronx- My Lecture for C-Span What I am about to describe to you is one of the most improbable and inspiring stories you will ever hear. It is about how young people in a section of New York widely regarded as a site of unspeakable violence and tragedy created an art form that would sweep the world. It is a story filled with ironies, unexplored connections and lessons for today. And I am proud to share it not only with my wonderful Rock and Roll to Hip Hop class but with C-Span’s global audience through its lectures in American history series. Before going into the substance of my lecture, which explores some features of Bronx history which many people might not be familiar with, I want to explain what definition of Hip Hop that I will be using in this talk. Some people think of Hip Hop exclusively as “rap music,” an art form taken to it’s highest form by people like Tupac Shakur, Missy Elliot, JZ, Nas, Kendrick Lamar, Wu Tang Clan and other masters of that verbal and musical art, but I am thinking of it as a multilayered arts movement of which rapping is only one component. -
Individual Responsibility Concerning HIV
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Fall 2006 Individual Responsibility Concerning HIV Transmission Among MSM: A Comparative Study of the Effectiveness of NGO Intervention Policies and Their rP actical Applications Within the United Kingdom, Australia, and the Netherlands Martha Kienbaum SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Mass Communication Commons, and the Public Health Education and Promotion Commons Recommended Citation Kienbaum, Martha, "Individual Responsibility Concerning HIV Transmission Among MSM: A Comparative Study of the Effectiveness of NGO Intervention Policies and Their rP actical Applications Within the United Kingdom, Australia, and the Netherlands" (2006). Independent Study Project (ISP) Collection. 290. https://digitalcollections.sit.edu/isp_collection/290 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. Individual Responsibility Concerning HIV Transmission Among MSM: A comparative study of the effectiveness of NGO intervention policies and their practical applications within the United Kingdom, Australia, and the Netherlands “We need to break the silence, banish the stigma and discrimination and ensure total inclusiveness within the struggle against AIDS.” Nelson Mandela Martha Kienbaum Fall 2006 School for International Training Amsterdam Project Advisor: Tobias Dörfler Academic Advisor: Ginni Fleck 1 Abstract This study investigates the complexities involved in utilizing the terms of individual responsibility for the construction of HIV prevention campaigns that target men who have sex with men. -
Neotrance and the Psychedelic Festival DC
Neotrance and the Psychedelic Festival GRAHAM ST JOHN UNIVERSITY OF REGINA, UNIVERSITY OF QUEENSLAND Abstract !is article explores the religio-spiritual characteristics of psytrance (psychedelic trance), attending speci"cally to the characteristics of what I call neotrance apparent within the contemporary trance event, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ultimate concerns” within the festival framework. An exploration of the psychedelic festival offers insights on ecstatic (self- transcendent), performative (self-expressive) and re!exive (conscious alternative) trajectories within psytrance music culture. I address this dynamic with reference to Portugal’s Boom Festival. Keywords psytrance, neotrance, psychedelic festival, trance states, religion, new spirituality, liminality, neotribe Figure 1: Main Floor, Boom Festival 2008, Portugal – Photo by jakob kolar www.jacomedia.net As electronic dance music cultures (EDMCs) flourish in the global present, their relig- ious and/or spiritual character have become common subjects of exploration for scholars of religion, music and culture.1 This article addresses the religio-spiritual Dancecult: Journal of Electronic Dance Music Culture 1(1) 2009, 35-64 + Dancecult ISSN 1947-5403 ©2009 Dancecult http://www.dancecult.net/ DC Journal of Electronic Dance Music Culture – DOI 10.12801/1947-5403.2009.01.01.03 + D DC –C 36 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 1 characteristics of psytrance (psychedelic trance), attending specifically to the charac- teristics of the contemporary trance event which I call neotrance, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ul- timate concerns” within the framework of the “visionary” music festival. -
MEDIA-INFO in Brief
EN MEDIA-INFO In Brief The The Street Parade has been an established cultural event for 27 years. (28th Edition) Street Parade Every year, it brings the world's best DJs, producers and musicians in the field of electronic music to Zurich. The most colourful house and techno parade in the world fascinates hundreds of thou- in brief: sands of dance fans from every continent year after year. Figures, Around 30 Love Mobiles – brightly decorated trucks carrying vast music systems, deco, DJs and Times, party people – drive at walking pace through the crowds around the lakeside in Zurich. In addi- tion to these 30 travelling stages, eight stages along the route round off the varied range of elec- Facts. tronic music available with top DJs, live acts and multimedia entertainments. As an innovative lifestyle event, the Street Parade presents innovations in the field of electronic music, fashion and digital art and has gained an international reputation as a contemporary music festival. Yet it is still a demonstration of the values of love, peace, freedom and tolerance, plus elec- tronic music. The Street Parade is an important generating force which not only triggers an en- thusiasm for this culture each year; it also provides a vital new impetus that encourages diversity in both the world of music and in the clubs. When & Where Saturday, August 10, 2019, kicking off at 1.00 pm at the Stages. Afterwards, the first Love Mobile starts at the «Utoquai»at 2.00 pm, proceeding along Lake Zurich via Bellevue, Quaibrücke and Bürkliplatz to Hafendamm Enge. -
Nursing Personnel to Deliver STI/RTI Services
Training of Nursing Personnel to Deliver STI/RTI Services Participant’s Handout May 2011 Sayan Chatterjee Secretary & Director General Department of AIDS Control, NACO, Ministry of Health and Family Welfare, Government of India MESSAGE The prevention, control and management of STI/RTI is a well recognized cost effective strategy for controlling the spread of HIV/AIDS in the country as well as to reduce reproductive morbidity among sexually active population. Individuals with STI/RTI have a significantly higher chance of acquiring and transmitting HIV. Moreover STI/RTI are also known ti cause use infertility and reproductive morbidity. Controlling STI/RTI helps decrease HIV infection rates and provides a window of opportunity for counselling about HIV prevention and reproductive health. An operational framework for convergence between National AIDS Control Programme Phase III and Reproductive and Child health Programme Phase II under National Rural Health Mission has been developed. This will bring about uniformity in implementation os STI/RTI prevention and control through the public health are delivery system Through this, the availability and reach of standardized STI/RTI care at all levels of health facilities will be ensured. The NACP III Strategy and Implementation Plan (2007-2012) makes a strong reference to expanding access to a package of STI management services both in the general population as well as for high risk behavior groups. For nation-wide training of health functionaries on STI/RTI management standardized training modules and training aids/job-aids for various functionaries involved in provision of STI/RTI care have been developed to train doctors ANMs/Nurses, and to technicians on Syndromic Case Management of STI/RTI. -
Danny Tenaglia Rides the White Horse Danny Tenaglia
return of the king Danny Tenaglia rides the white horse Danny Tenaglia a few years ago Danny Tenaglia was the It’s crunch time king of New York, the untouchable “DJ’s DJ.” for Tenaglia Then the city’s club scene fell apart. Now the man who embodies house music in the uS is back with a residency at Space ibiza Words Todd Burns Photos adam Weiss he room iS dark. The moved in, the neighborhood was just music is loud. There’s that. a neighborhood. a place where a disco ball overhead his brothers became friends with local and Danny Tenaglia is bouncers and convinced them to let at the controls. he’s their kid brother in because he was just put on Pink “just dying to see a disco ball”. Tenaglia Floyd's ‘on The run’. pulls out a picture. “This was me in “i saw roger Waters 1976 in at a place called The miami play Dark Side of the moon at Lounge in Williamsburg,” he proudly TCoachella recently. it was awesome!” proclaims. mixmag points out the he gushes. mixmag is standing in front mustache. “it was the 70s, you know. of him, in-between four speakers once and i was trying to look more mature.” housed at Vinyl, the legendary New Now, Tenaglia is bald underneath his York club where Tenaglia started his Be ever-present baseball cap. Today, the received a call from Twilo to play a on the roof. When his kids took over, Yourself party, and we’re listening to cap is white and logoless, accompanied guest spot with Frankie Knuckles. -
Dancecult Bibliography: Books, Articles, Theses, Lectures, and Films About Electronic Dance Music Cultures
City University of New York (CUNY) CUNY Academic Works Publications and Research CUNY Graduate Center 2010 Dancecult Bibliography: Books, Articles, Theses, Lectures, and Films About Electronic Dance Music Cultures Eliot Bates CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_pubs/408 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] archive.today Saved from http://www.dancecult.net/bibliography.php search 3 Sep 2013 05:47:40 UTC webpage capture history All snapshots from host www.dancecult.net Linked from en.wikipedia.org » Talk:Trance (music genre)/Archive 1 Webpage Screenshot share download .zip report error or abuse Electronic dance music cultures bibliography Help expand this bibliography by submitting new references to dancecult! Complete list [sort by document type] [printable] [new entries] Abreu, Carolina. 2005. Raves: encontros e disputas. M.A. Thesis (Anthropology), University of São Paulo. [view online] Albiez, Sean and Pattie, David (eds.). 2010. Kraftwerk: Music Non Stop. New York / London: Continuum. [view online] Albiez, Sean. 2003. "'Strands of the Future: France and the birth of electronica'." Volume! 2003(2), 99-114. Albiez, Sean. 2003. "Sounds of Future Past: from Neu! to Numan." In Pop Sounds: Klangtexturen in der Pop- und Rockmusik, edited by Phleps, Thomas & von Appen, Ralf. Bielefeld: Transcript Verlag, 129-152. Albiez, Sean. 2005. "Post Soul Futurama: African American cultural politics and early Detroit Techno." European Journal of American Culture 24(2), 131-152.