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Doctor Who 4 Ep 17.GREENS
Doctor Who 4 Episode 17 By Russell T Davies Shooting Script GREENS 18th April 2009 Prep starts: 23rd Feb Shooting starts: 30th March Tale Writer's The Doctor Who 4 Episode 17 SHOOTING SCRIPT 20/03/09 page 1 1 FX SHOT - PLANET EARTH 1 FX: THE EARTH, suspended in space, in all its beauty. Over this, the NARRATOR. An old, wise man. NARRATOR It is said that in the final days of Planet Earth, everyone had bad dreams. MIX TO: 2 EXT. SHOPPING STREET - NIGHT 1 2 CAMERA craning down a huge, outdoor CHRISTMAS TREE... NARRATOR To the west of the north of that world, the Human Race did gather, in celebration of a pagan rite, to banish the cold and the dark. ...craning down to find a SALVATION ARMY BRASS BAND. God Rest Ye Merry Gentlemen; the most mournful of carols. Moving round to find a few ONLOOKERS Tale(SHOPPERS in b/g). People, just dotted about, pausing. A woman & gran. Three teenagers. A family, mum, dad and little daughter... NARRATOR (CONT'D) Each and every one of those people had dreamt of the terrible things to come. But they forgot, because they must; they forgot their nightmares, of fire and war and insanity. Writer's They forgot... ...then finding WILFRED MOTT. NARRATOR (CONT'D) TheExcept for one. Wilf's troubled, uneasy, and on his CLOSE UP - INTERCUT, fast, violent - CU of a FACE, bleached, against black - manic laughter - a familiar face, it's - Wilf blinks. Shakes it off. Turns away... CUT TO WIDER. Wilf wandering along. Lost in thought. -
The Educative Experience of Punk Learners
University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 6-1-2014 "Punk Has Always Been My School": The Educative Experience of Punk Learners Rebekah A. Cordova University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Curriculum and Instruction Commons Recommended Citation Cordova, Rebekah A., ""Punk Has Always Been My School": The Educative Experience of Punk Learners" (2014). Electronic Theses and Dissertations. 142. https://digitalcommons.du.edu/etd/142 This Dissertation is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. “Punk Has Always Been My School”: The Educative Experience of Punk Learners __________ A Dissertation Presented to the Faculty of the Morgridge College of Education University of Denver __________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy __________ by Rebekah A. Cordova June 2014 Advisor: Dr. Bruce Uhrmacher i ©Copyright by Rebekah A. Cordova 2014 All Rights Reserved ii Author: Rebekah A. Cordova Title: “Punk has always been my school”: The educative experience of punk learners Advisor: Dr. Bruce Uhrmacher Degree Date: June 2014 ABSTRACT Punk music, ideology, and community have been a piece of United States culture since the early-1970s. Although varied scholarship on Punk exists in a variety of disciplines, the educative aspect of Punk engagement, specifically the Do-It-Yourself (DIY) ethos, has yet to be fully explored by the Education discipline. -
“Punk Rock Is My Religion”
“Punk Rock Is My Religion” An Exploration of Straight Edge punk as a Surrogate of Religion. Francis Elizabeth Stewart 1622049 Submitted in fulfilment of the doctoral dissertation requirements of the School of Language, Culture and Religion at the University of Stirling. 2011 Supervisors: Dr Andrew Hass Dr Alison Jasper 1 Acknowledgements A debt of acknowledgement is owned to a number of individuals and companies within both of the two fields of study – academia and the hardcore punk and Straight Edge scenes. Supervisory acknowledgement: Dr Andrew Hass, Dr Alison Jasper. In addition staff and others who read chapters, pieces of work and papers, and commented, discussed or made suggestions: Dr Timothy Fitzgerald, Dr Michael Marten, Dr Ward Blanton and Dr Janet Wordley. Financial acknowledgement: Dr William Marshall and the SLCR, The Panacea Society, AHRC, BSA and SOCREL. J & C Wordley, I & K Stewart, J & E Stewart. Research acknowledgement: Emily Buningham @ ‘England’s Dreaming’ archive, Liverpool John Moore University. Philip Leach @ Media archive for central England. AHRC funded ‘Using Moving Archives in Academic Research’ course 2008 – 2009. The 924 Gilman Street Project in Berkeley CA. Interview acknowledgement: Lauren Stewart, Chloe Erdmann, Nathan Cohen, Shane Becker, Philip Johnston, Alan Stewart, N8xxx, and xEricx for all your help in finding willing participants and arranging interviews. A huge acknowledgement of gratitude to all who took part in interviews, giving of their time, ideas and self so willingly, it will not be forgotten. Acknowledgement and thanks are also given to Judy and Loanne for their welcome in a new country, providing me with a home and showing me around the Bay Area. -
Gender Role Construction in the Beatles' Lyrics
“SHE LOVES YOU, YEAH, YEAH, YEAH!”: GENDER ROLE CONSTRUCTION IN THE BEATLES’ LYRICS Diplomarbeit zur Erlangung des akademischen Grades eines Magister der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von Mario Kienzl am Institut für: Anglistik Begutachter: Ao.Univ.-Prof. Mag. Dr.phil. Hugo Keiper Graz, April 2009 Danke Mama. Danke Papa. Danke Connie. Danke Werner. Danke Jenna. Danke Hugo. 2 TABLE OF CONTENTS 1. Introduction .......................................................................................................................... 4 2. The Beatles: 1962 – 1970...................................................................................................... 6 3. The Beatles’ Rock and Roll Roots .................................................................................... 18 4. Love Me Do: A Roller Coaster of Adolescence and Love............................................... 26 5. Please Please Me: The Beatles Get the Girl ..................................................................... 31 6. The Beatles enter the Domestic Sphere............................................................................ 39 7. The Beatles Step Out.......................................................................................................... 52 8. Beatles on the Rocks........................................................................................................... 57 9. Do not Touch the Beatles.................................................................................................. -
Dreamcatcher-Rev-Sept-2016.Pdf
dreamcatcher about dreamcatcher There are two stories of how the dreamcatcher came to be. The Lokota tribe believes the dreamcatcher captures the good dreams and lets the bad dreams pass through the centre. In this way you will always carry good dreams with you. The Cherokee believe that the dreamcatcher ensnares bad dreams in its web which are burned up in the morning sun. Good dreams pass through the centre to the sleeper. For pragmatic reasons I have used the Cherokee legend in this play. This story is in the play’s opening. I am extremely grateful to Native American historian Bearded Wolf for the dreamcatcher legends, and for the extraordinarily beautiful ‘Silver Bear’ message of friendship that you will hear (slightly amended) at the end of this play as ‘the words of the Dreamcatcher’. I am also hugely indebted to Jenifer Toksvig for her great assistance in moulding this show – and I still think “Shake, Ripple & Roll” is the best children’s musical for years! Dreamcatcher was written specifically to meet the needs of our theatre school, Best Theatre Arts, where we make a promise that every child will be fully involved in the show, and simply couldn’t find anything at the time we felt did the job. It is episodic (for ease of rehearsals), has a CD of the backing music available (we always have trouble getting bands together) and has sections which give children of any age between 6 and 15 (or so) a chance in the limelight. The play was first performed in its original form by students of Best Theatre Arts on 26 March 2002 at The Sandpit Theatre in St Albans. -
Bootleg: the Secret History of the Other Recording Industry
BOOTLEG The Secret History of the Other Recording Industry CLINTON HEYLIN St. Martin's Press New York m To sweet D. Welcome to the machine BOOTLEG. Copyright © 1994 by Clinton Heylin. All rights reserved. Printed in the United States of America. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews. For information, address St. Martin's Press, 175 Fifth Avenue, New York, N.Y. 10010. ISBN 0-312-13031-7 First published in Great Britain by the Penguin Group First Edition: June 1995 10 987654321 Contents Prologue i Introduction: A Boot by Any Other Name ... 5 Artifacts 1 Prehistory: From the Bard to the Blues 15 2 The Custodians of Vocal History 27 3 The First Great White Wonders 41 4 All Rights Reserved, All Wrongs Reversed 71 5 The Smokin' Pig 91 6 Going Underground 105 7 Vicki's Vinyl 129 8 White Cover Folks! 143 9 Anarchy in the UK 163 10 East/West 179 11 Real Cuts at Last 209 12 Complete Control 229 Audiophiles 13 Eraserhead Can Rub You Out 251 14 It Was More Than Twenty Years Ago . 265 15 Some Ultra Rare Sweet Apple Trax 277 16 They Said it Couldn't be Done 291 17 It Was Less Than Twenty Years Ago . 309 18 The Third Generation 319 19 The First Rays of the New Rising Sun 333 20 The Status Quo Re-established 343 21 The House That Apple Built 363 22 Bringing it All Back Home 371 Aesthetics 23 One Man's Boxed-Set (Is Another Man's Bootleg) 381 24 Roll Your Tapes, Bootleggers 391 25 Copycats Ripped Off My Songs 403 Glossary 415 The Top 100 Bootlegs 417 Bibliography 420 Notes 424 Index 429 Acknowledgements 442 Prologue In the summer of 1969, in a small cluster of independent LA record stores, there appeared a white-labelled two-disc set housed in a plain cardboard sleeve, with just three letters hand-stamped on the cover - GWW. -
Wild Things: Diamonds in the Rough
Rough Diamonds by Andy Hurst and Ross Helford Lightning Entertainment 310-255-1200 ext. 211 Second Draft: February 13, 2004 Registered WGA West: November/2003 INT. MUSEUM - DAY A perfect rainbow is trapped inside two flawless DIAMONDS, glinting in the morning sun. Mounted on crushed velvet, the identical diamonds are on a glass covered pedal stool in the middle of a vast, marble MUSEUM HALL. The stunning beauty of the stones is matched only by the breathtaking beauty of the young woman who's admiring them. MARIE CLIFFORD's creamy seventeen year old skin is dappled in the cornucopia of colors emanating from the diamonds... She reaches out tentatively towards the glass case. Not to touch the diamonds, but to run her fingers over a picture that's mounted in the case below the priceless jewels. It's of a MOTHER cradling her BABY DAUGHTER... MARIE Today's the day, Mom... CURATOR (O.S.) You here again, Marie? Marie spins round, sees the bespectacled CURATOR, 60's, standing behind her. MARIE Just leaving. Marie carefully adjusts the sign atop the glass case... 'THE MOTHER DAUGHTER DIAMONDS...' EXT. MUSEUM - DAY Marie fires up her powerful BMW, parked right outside the austere Museum building. The powerful stereo blasts, sending the birds fluttering skywards... CREDITS appear over... ARIEL FOOTAGE of a narrow highway, Marie's BMW streaking through the endless tract of Florida wetlands. In the water, GATORS, warm themselves in the early morning sun... MOVING over the vast tracts of swampland, flocks of tropical BIRDS stretch their majestic wings, locals speed across the stagnant waters in their deafening AIRBOATS.. -
“Fire of Unknown Origin”: Patti Smith, Androgyny, and the New York Underground
“FIRE OF UNKNOWN ORIGIN”: PATTI SMITH, ANDROGYNY, AND THE NEW YORK UNDERGROUND by Brittany Greening Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia March 2018 © Copyright by Brittany Greening, 2018 TABLE OF CONTENTS ABSTRACT……………………………………………………………….………iii LIST OF ABBREVIATIONS USED……………………………………………...iv ACKNOWLEDGEMENTS………………………………………………………...v CHAPTER 1: INTRODUCTION…………………………………………………..1 CHAPTER 2: PATTI SMITH’S WRITTEN WORKS…………………………….8 2.1 “PISS FACTORY” AND PATTI SMITH’S BEAT INFLUENCE……………………………………………………………9 2.2 PATTI SMITH REVIEWS THE VELVET UNDERGROUND’S 1969 LIVE FOR CREEM..…………………………………………………………23 2.3 PATTI SMITH, JUST KIDS, AND THE CONSTRUCTION OF ANDROGYNY………………………………………………………...33 CHAPTER 3: RECORDINGS OF EARLY SONG REWORKINGS……………40 3.1 “HEY JOE” AND FEMALE LIBERATION………………………………41 3.2 “GLORIA: IN EXCELSIS DEO” REWORKS THE ROCK ‘N’ ROLL TRADITION……………………………………….………………….54 CHAPTER 4: PATTI SMITH ON VIDEO……………………………………….65 4.1 LENNART WRETLIND INTERVIEWS PATTI SMITH………...……...…65 4.2 THE PATTI SMITH GROUP ON OLD GREY WHISTLE TEST…………….73 CHAPTER 5: CONCLUSION……………………………………………………91 BIBLIOGRAPHY………………………………………………………………...96 ii ABSTRACT Patti Smith’s androgynous gender performance is often cited as one of her defining performance characteristics. This thesis aims to determine whether Smith’s androgyny might be conceptualized as a subversive tactic to either the masculinist ethos of rock ‘n’ roll, or the limitations of prescribed femininity in general society. To draw a conclusion, it analyzes primary sources of the written, musical, and video variety from the first three years of Smith’s career as a rock ‘n’ roll performer. This thesis traces the influences in her musical and performance characteristics to determine to what extent they inform her performance of androgyny. -
Godzilla Reborn Copyright 1998 Barry S
Godzilla Reborn Copyright 1998 Barry S. Goldberg Godzilla Reborn by Barry S. Goldberg The name AGodzilla@ is copyright 8 1996 Toho Co., Ltd. Everything else herein is copyright 8 1998 Barry S. Goldberg, Esq. This novel is a work of fiction. Names, characters, places and incidents are the product of the author=s deranged imagination or are used fictitiously. Any resemblance to actual events or locales or persons, living or dead, is entirely coincidental. Well, except for a few friends who said I could name characters after them . Godzilla Reborn Copyright 1998 Barry S. Goldberg Table of Contents Chapter One -- Remembrance of Things Past ...............................................................................1 Chapter Two -- A Meeting with the Secretary General.................................................................6 Chapter Three -- The Real Purpose .............................................................................................14 Chapter Four -- Theories and Prototypes.....................................................................................22 Chapter Five -- Rock Hunting .....................................................................................................27 Chapter Six -- A Rock Named ARalph@ .......................................................................................32 Chapter Seven -- Runaway Ralph................................................................................................39 Chapter Eight -- Into the Rock.....................................................................................................44 -
September 1990
VOLUME 14, NUMBER 9 BUDGIE FEATURES Siouxsie & the Banshees drummer Budgie had a field day with the band's latest spin-off project, the Creatures' Boomerang album. In this interview, Budgie explains how WlNARD one drummer and one singer can create a strong pop record based HARPER on rhythms from the drumset, marimbas, and other tools of percussion. Who says bop is dead? Winard •by Adam Budofsky Harper has all but proven other- 28 DAVE wise, as his band, the Harper Brothers, has risen to the top of the jazz charts with their unique WECKL take on contemporary bop. Here Winard discusses his love for the When one of the top drummers form, plus his work with Betty PRODUCERS on the planet has his first solo Carter, Carmen McRae, album out, and is touring behind Abdullah Ibrahim, and ON DRUMMERS Chick Corea's hottest record in other jazz greats. years, you can bet he's got a few •by Bill Milkowski 24 What do today's top producers things to talk about. In this inter- expect from drummers in the stu- view, Weckl certainly does dis- dio? In this exclusive feature, MD cuss the above, plus a few of the posed this and other important other situations he's questions to four of the music encountered since the business's most-respected produc- last time we chatted, ers: heavy metal's Tom Werman, • by Rick Mattingly 18 pop music maven Russ Titelman, country music's Josh Leo, and jazz expert Jeff Weber. •by Robyn Flans 32 MD TRIVIA CONTEST Win a complete Yamaha Power recording Custom drumkit! 124 Cover Photo: Lissa Wales COLUMNS Education 42 ELECTRONIC INSIGHTS Understanding Sound Systems: Part 4 68 BASICS In The Practice Room BY SPIROS A. -
Grudova Dollsalphabet 978156
CAMILLA CAMILLA Dolls, sewing machines, tinned foods, mirrors, malfunctioning bodies—by constantly reinventing ways to engage with her obsessions and motifs, Camilla Grudova has built a universe that's highly imaginative, incredibly original, and absolutely discomfiting. The stories in The Doll's Alphabet are by turns childlike and naive, grotesque and very dark, the marriage of GRUDOVA Margaret Atwood and Angela Carter. “That I cannot say what all these stories are about is a testament to their worth. They have been haunting me for days now. They have their own, highly distinct flavour, and the inevitability of uncomfortable dreams.” —THE GUARDIAN “If fairytales could dream, this nightmarish collection is what you might end the up with. Grudova very efficiently spins us into her weird web.” CAMILLA —TIMES LITERARY SUPPLEMENT GRUDOVA “This doll’s eye view is a total delight and surveys a world awash with shadowy DOLL’S ALPHABET wit and exquisite collisions of beauty and the grotesque.” —HELEN OYEYEMI, author of Boy, Snow, Bird THE “Down to its most particular details, The Doll’s Alphabet creates an individual world—a landscape I have never encountered before, which now feels like it has been waiting to be captured, and waiting to captivate, all along.” —SHEILA HETI, author of How Should a Person Be? DOLL’S “Marvelous. Grudova understands that the best writing has to pull off the ALPHABET hardest aesthetic trick—it has to be both memorable and fleeting.” —DEBORAH LEVY, author of Hot Milk “Imagine a world in which the Brothers Grimm were two exquisite, black-eyed twin sisters in torn stockings and hand-stitched velvet dresses. -
Punk As Public, Punks As Texts: Some of This Is True
PUNK AS PUBLIC, PUNKS AS TEXTS: SOME OF THIS IS TRUE A Thesis Submitted to the Committee on Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Faculty of Arts and Science TRENT UNIVERSITY Peterborough, Ontario, Canada © Copyright by Janette Platana 2014 English (Public Texts) M.A. Graduate Program September 2014 ABSTRACT Punk as Public, Punks as Texts: Some Of This Is True Janette Platana This thesis is an attempt to explore the role that musical texts played in the development of a public by writing a work of fiction and then applying to it a critical exegesis. Part One, the literary text Some Of This Is True, (re-)creates and remembers punk in its iteration in Regina, Saskatchewan, in the late 1970s. Part two, the critical exegesis, examines how the theories of public formation outlined in Michael Warner’s Publics and Counterpublics can partially explain the creation and behaviour of publics, but not entirely. Similarly Mikhail Bahktin’s theory of carnival helps explain punk, but not entirely. Some gaps can be filled partly with theory borrowed from art history that reveals useful links between punk and Continental art movements; Michel Foucault’s concept of heterotopia fills other gaps. Literature fills the rest. Keywords: Publics, Counterpublics, Punk, Carnival, Heterotopia, Creative Writing, Punk Girls, Punk Women ii ACKNOWLEDGEMENTS Firstly, I would like to acknowledge the assistance of Professor Hugh Hodges for his humour and goodwill, erudition and creativity, which first allowed and then helped form this two-fold artistic and academic project in such a way that neither component was sacrificed to the other.