IMIGHT Most Requested), Was the Judgment Night Monious Vocals and Sweeping Lyrical Passages
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TRECENTO FRAGMENTS M Ichael Scott Cuthbert to the Department Of
T R E C E N T O F R A G M E N T S A N D P O L Y P H O N Y B E Y O N D T H E C O D E X a thesis presented by M ichael Scott Cuthbert t the Depart!ent " M#si$ in partia% "#%"i%%!ent " the re&#ire!ents " r the de'ree " D $t r " Phi% s phy in the s#b(e$t " M#si$ H ar)ard * ni)ersity Ca!brid'e+ Massa$h#setts A#'#st ,--. / ,--.+ Mi$hae% S$ tt C#thbert A%% ri'hts reser)ed0 Pr "0 Th !as F rrest 1 e%%y+ advisor Mi$hae% S$ tt C#thbert Tre$ent Fra'!ents and P %yph ny Bey nd the C de2 Abstract This thesis see3s t #nderstand h 4 !#si$ s #nded and "#n$ti ned in the 5ta%ian tre6 $ent based n an e2a!inati n " a%% the s#r)i)in' s #r$es+ rather than n%y the ! st $ !6 p%ete0 A !a( rity " s#r)i)in' s #r$es " 5ta%ian p %yph ni$ !#si$ "r ! the peri d 788-9 7:,- are "ra'!ents; ! st+ the re!nants " % st !an#s$ripts0 Despite their n#!eri$a% d !i6 nan$e+ !#si$ s$h %arship has )ie4 ed these s #r$es as se$ ndary <and "ten ne'%e$ted the! a%t 'ether= " $#sin' instead n the "e4 %ar'e+ retr spe$ti)e+ and pred !inant%y se$#%ar $ di6 $es 4 hi$h !ain%y ri'inated in the F% rentine rbit0 C nne$ti ns a! n' !an#s$ripts ha)e been in$ !p%ete%y e2p% red in the %iterat#re+ and the !issi n is a$#te 4 here re%ati nships a! n' "ra'!ents and a! n' ther s!a%% $ %%e$ti ns " p %yph ny are $ n$erned0 These s!a%% $ %%e$ti ns )ary in their $ nstr#$ti n and $ ntents>s !e are n t rea%%y "ra'!ents at a%%+ b#t sin'%e p %yph ni$ 4 r3s in %it#r'i$a% and ther !an#s$ripts0 5ndi)id#6 a%%y and thr #'h their )ery n#!bers+ they present a 4 ider )ie4 " 5ta%ian !#si$a% %i"e in the " #rteenth $ent#ry than $ #%d be 'ained "r ! e)en the ! st $are"#% s$r#tiny " the inta$t !an#s$ripts0 E2a!inin' the "ra'!ents e!b %dens #s t as3 &#esti ns ab #t musical style, popularity, scribal practice, and manuscript transmission: questions best answered through a study of many different sources rather than the intense scrutiny of a few large sources. -
Rock Weekend
Achim Schäffer Rock Weekend Leseprobe Billy Joel: Uptown Girl Meine Kindheitswelt in Waghäusel war klein und übersichtlich. So alle 2-3 Jahre bekam unsere Familie weiteren Zuwachs, ehe wir ab 1977 komplett waren. Vier Geschwister, drei Jungen, ein Mädchen. Ab 1978 leisteten wir uns einen jährlichen Sommerurlaub in Ungarn. Ungarn. Die Heimat meiner Großeltern. Die Vorfahren sind vermutlich um 1785 nach Ungarn ausgewandert. Donauschwaben. Die zwischen Donau und Neckar, auf der Schwäbischen Alb liegenden Dörfer litten damals unter Verheerungen der andauernden Kriegszüge. Auch das Anerbrecht (Ahnenerbe) – welches ein Kind als Alleinerben vorsieht – trug dazu bei, dass für viele Dorfbewohner die Auswanderung als einziger Ausweg übrigblieb. Die verlockenden Angebote des Ansiedlungspatents: Völlige Glaubensfreiheit, Haus, Feld und die dazugehörenden Wirtschaftsgeräte wie Zuchttiere. Für Handwerker 50 Gulden zur Einrichtung ihrer Werkstatt und vor allem die 10- jährige Steuer- und Abgabenfreiheit stimmten die letzten Zweifelnden positiv. Und so siedelten sie sich im Dorf Kirwa (Mariahalom), ca. 40 Kilometer nordöstlich vor Budapest an und arbeiteten. Sie betrieben überwiegend Landwirtschaft und bildeten kleine deutsche Enklaven im Österreich-Ungarischen Reich. Arm, aber nicht unglücklich. Altdeutsche Traditionen und Gewohnheiten überlebten wie die Sprache, wie die Menschen. Im 2. Weltkrieg kämpfte mein Opa für Ungarn in Russland. Sicherlich wichtig! Das kostete ihn ein kugelgroßes Loch im Zeh, aber noch schmerzhafter: Der Krieg kostete ihn seine Heimat. Wer deutsche Wurzeln hatte, sollte den neuen politischen Warschauer Pakt verlassen. Vertreibung. Flucht. Also musste die Familie Schäffer im April 1946 mit ihren bald drei kleinen Kindern – mein Vater ist 1947 geboren – von vorne beginnen. In Deutschland. In einem Land, einer Umgebung, unter Menschen, denen 12 Jahre lang einindoktriniert worden war, dass alles Fremde schlecht ist. -
Razorcake Issue #09
PO Box 42129, Los Angeles, CA 90042 www.razorcake.com #9 know I’m supposed to be jaded. I’ve been hanging around girl found out that the show we’d booked in her town was in a punk rock for so long. I’ve seen so many shows. I’ve bar and she and her friends couldn’t get in, she set up a IIwatched so many bands and fads and zines and people second, all-ages show for us in her town. In fact, everywhere come and go. I’m now at that point in my life where a lot of I went, people were taking matters into their own hands. They kids at all-ages shows really are half my age. By all rights, were setting up independent bookstores and info shops and art it’s time for me to start acting like a grumpy old man, declare galleries and zine libraries and makeshift venues. Every town punk rock dead, and start whining about how bands today are I went to inspired me a little more. just second-rate knock-offs of the bands that I grew up loving. hen, I thought about all these books about punk rock Hell, I should be writing stories about “back in the day” for that have been coming out lately, and about all the jaded Spin by now. But, somehow, the requisite feelings of being TTold guys talking about how things were more vital back jaded are eluding me. In fact, I’m downright optimistic. in the day. But I remember a lot of those days and that “How can this be?” you ask. -
Spinnerette Ghetto Love Ep Free Download Spinnerette’S Ghetto Love
spinnerette ghetto love ep free download Spinnerette’s Ghetto Love. Johnny forwarded me an email last week. He wrote, “finally, something decent to cover.” The email came from Spinnerette , and it announced a new EP they were independently releasing, entitled Ghetto Love . We’ve been following Spinnerette on Antiquiet, starting with a retro review of the last Distillers album, through an appearance with Queens Of The Stone Age and Spinnerette’s first shows in October. I share the complaint behind Johnny’s statement- while all the hipsters are finding so much music to love these days, it all sounds like shit to us. We’ve had to resort to pot shots at fucking Fall Out Boy for fuck’s sake. But there’s this little EP, and another one from Cat Power that’s worth checking out. Ghetto Love is only four songs- Ghetto Love, Valium Knights, Distorting A Code, and Bury My Heart , all of which have been heard online and/or live. But the first two tracks are pretty hot. Bury My Heart is alright, while Distorting A Code is our least favorite. Check out the video for Ghetto Love: If you dig that, the complete EP can be heard and/or purchased here from Topspin (why it isn’t on iTunes, we do not know), bundled along with the Ghetto Love video. UPDATE: We forgot to mention- at their last show, Brody promised the full length album would arrive in February ’09. The photo at the top of the page was taken at Spinnerette’s show at Spaceland on October 29th. -
Roots Radical – Place, Power and Practice in Punk Entrepreneurship Sarah Louise Drakopoulou Dodd
Roots radical – Place, power and practice in punk entrepreneurship Sarah Louise Drakopoulou Dodd The significance continues to grow of scholarship that embraces critical and contextualized entrepreneurship, seeking rich explorations of diverse entrepreneurship contexts. Following these influences, this study explores the potentialized context of punk entrepreneurship. The Punk Rock band Rancid has a 20-year history of successfully creating independent musical and related creative enterprises from the margins of the music industry. The study draws on artefacts, interviews and videos created by and around Rancid to identify and analyse this example of marginal, alternative entrepreneurship. A three-part analytic frame was applied to analysing these artefacts. Place is critical to Rancid’s enterprise, grounding the band socially, culturally, geographically and politically. Practice also plays an important role with Rancid’s activities encompassing labour, making music, movement and human interactions. The third, and most prevalent, dimension of alterity is that of power which includes data related to dominance, subordination, exclusion, control and liberation. Rancid’s entrepreneurial story is depicted as cycles, not just a linear journey, but following more complicated paths – from periphery to centre, and back again; returning to roots, whilst trying to move forwards too; grounded in tradition but also radically focused on dramatic change. Paradox, hybridized practices, and the significance of marginal place as a rich resource also emerged from the study. Keywords: entrepreneurship; social construction; punk rock; paradox; marginality; periphery Special thanks are due to all the punks and skins who have engaged with my reading of the Rancid story, and given me so much support and feedback along the way, especially Rancid’s drummer, Branden Steineckert, Jesse from Machete Manufacturing, Kostis, Tassos (Rancid Punx Athens Crew) and Panayiotis. -
Never Mind the Bollocks: the Punk Rock Politics of Global Communication
Review of International Studies (2008), 34, 193–210 Copyright British International Studies Association doi:10.1017/S0260210508007869 Never mind the bollocks: the punk rock politics of global communication KEVIN C. DUNN* Abstract. Largely ignored by scholars of world politics, the global punk rock scene provides a fruitful basis for exploring the multiple circuits of exchange and circulation of goods, people, and messages that moves beyond the limitations of IR. Punk can also offer new ways of thinking about international relations and communication from the lived experiences of people’s daily lives. At its core, this essay has two arguments. First, punk offers the possibility for counter-hegemonic expression within systems of global communication. Punk has simul- taneously worked within and against the hegemony of capitalist telecommunication networks, navigating an increasingly interconnected and mediated world. Second, punk is a subversive message in its own right. Focusing on punk’s Do-It-Yourself (DIY) ethos and the resource it offers for resisting the multiple forms of alienation in modern society, the story I construct here is one of agency and empowerment often overlooked by traditional IR. Introduction I am increasingly concerned about the ways that International Relations (IR) as a discipline seems unable to communicate to everyday citizens about issues of tremendous importance. I am repeatedly struck by our inability to speak to the people whose lives are affected daily by the issues we are supposed to be studying. More importantly, I am struck by how irrelevant we and our work can seem to the world’s population. In 2003, I grappled quite openly and vocally with this alienation. -
Bad Rhetoric: Towards a Punk Rock Pedagogy Michael Utley Clemson University, [email protected]
Clemson University TigerPrints All Theses Theses 8-2012 Bad Rhetoric: Towards A Punk Rock Pedagogy Michael Utley Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Rhetoric and Composition Commons Recommended Citation Utley, Michael, "Bad Rhetoric: Towards A Punk Rock Pedagogy" (2012). All Theses. 1465. https://tigerprints.clemson.edu/all_theses/1465 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. BAD RHETORIC: TOWARDS A PUNK ROCK PEDAGOGY A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts Professional Communication by Michael M. Utley August 2012 Accepted by: Dr. Jan Rune Holmevik, Committee Chair Dr. Cynthia Haynes Dr. Scot Barnett TABLE OF CONTENTS Page Introduction ..........................................................................................................................4 Theory ................................................................................................................................32 The Bad Brains: Rhetoric, Rage & Rastafarianism in Early 1980s Hardcore Punk ..........67 Rise Above: Black Flag and the Foundation of Punk Rock’s DIY Ethos .........................93 Conclusion .......................................................................................................................109 -
Through the Iris TH Wasteland SC Because the Night MM PS SC
10 Years 18 Days Through The Iris TH Saving Abel CB Wasteland SC 1910 Fruitgum Co. 10,000 Maniacs 1,2,3 Redlight SC Because The Night MM PS Simon Says DK SF SC 1975 Candy Everybody Wants DK Chocolate SF Like The Weather MM City MR More Than This MM PH Robbers SF SC 1975, The These Are The Days PI Chocolate MR Trouble Me SC 2 Chainz And Drake 100 Proof Aged In Soul No Lie (Clean) SB Somebody's Been Sleeping SC 2 Evisa 10CC Oh La La La SF Don't Turn Me Away G0 2 Live Crew Dreadlock Holiday KD SF ZM Do Wah Diddy SC Feel The Love G0 Me So Horny SC Food For Thought G0 We Want Some Pussy SC Good Morning Judge G0 2 Pac And Eminem I'm Mandy SF One Day At A Time PH I'm Not In Love DK EK 2 Pac And Eric Will MM SC Do For Love MM SF 2 Play, Thomas Jules And Jucxi D Life Is A Minestrone G0 Careless Whisper MR One Two Five G0 2 Unlimited People In Love G0 No Limits SF Rubber Bullets SF 20 Fingers Silly Love G0 Short Dick Man SC TU Things We Do For Love SC 21St Century Girls Things We Do For Love, The SF ZM 21St Century Girls SF Woman In Love G0 2Pac 112 California Love MM SF Come See Me SC California Love (Original Version) SC Cupid DI Changes SC Dance With Me CB SC Dear Mama DK SF It's Over Now DI SC How Do You Want It MM Only You SC I Get Around AX Peaches And Cream PH SC So Many Tears SB SG Thugz Mansion PH SC Right Here For You PH Until The End Of Time SC U Already Know SC Until The End Of Time (Radio Version) SC 112 And Ludacris 2PAC And Notorious B.I.G. -
Queens of the Stone Age Are: Joshua Homme, Troy Van Leeuwen, Dean Fertita, Michael Shuman
Queens of the Stone Age are: Joshua Homme, Troy Van Leeuwen, Dean Fertita, Michael Shuman …Like Clockwork Release date June 4th, 2013 (US) LABEL • …Like Clockwork is the first QOTSA release with new label partner, Matador Records – which is part of the Beggars Group, the largest independent label group in the world. PRODUCTION • …Like Clockwork was recorded at Joshua Homme’s Pink Duck Studios in Burbank, CA • All Songs produced by Joshua Homme and QOTSA except …Like Clockwork, produced by Joshua Homme and James Lavelle • Engineered by Mark Rankin, with additional engineering by Alain Johannes and Justin Smith • All songs mixed by Mark Rankin, except “Fairweather Friends” mixed by Joe Barresi • All lyrics by Joshua Homme • Mastered by Gavin Lurssen of Lurssen Mastering, Los Angeles, CA ADDITIONAL PERFORMERS • DRUMMERS Joey Castillo, Dave Grohl, Jon Theodore o After Joey left the band, Dave came in to play on the remaining songs. § Joey Castillo performs on “Keep Your Eyes Peeled” - “ I Sat by the Ocean” - “The Vampyre of Time and Memory”- “Kalposia” § Dave Grohl performs on “My God Is The Sun” - “If I Had a Tail” - “Smooth Sailing” “Fairweather Friends” - “I Appear Missing” § Jon Theodore is the new touring drummer of QOTSA, and performs on “…Like Clockwork” • Jake Shears (Scissor Sisters) appears on “Keep Your Eyes Peeled” o Homme has previously worked with the front man by appearing as the spokesperson in an infomercial for the Scissor Sisters 2012 release “Magic Hour” http://youtu.be/aw60b-wk9MA • Mark Lanegan, Nick Oliveri and Alex -
Bad Religion New Maps of Hell Mp3, Flac, Wma
Bad Religion New Maps Of Hell mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: New Maps Of Hell Country: Japan Released: 2007 Style: Punk MP3 version RAR size: 1624 mb FLAC version RAR size: 1787 mb WMA version RAR size: 1896 mb Rating: 4.3 Votes: 467 Other Formats: RA FLAC MP2 APE MP3 ADX AHX Tracklist Hide Credits 1 52 Seconds 0:58 2 Heroes & Martyrs 1:25 3 Germs Of Perfection 1:27 4 New Dark Ages 2:47 Requiem For Dissent 5 2:08 Backing Vocals – Vanna 6 Before You Die 2:34 7 Honest Goodbye 2:51 8 Dearly Beloved 2:19 9 Grains Of Wrath 3:00 10 Murder 1:18 11 Scrutiny 2:36 12 Prodigal Son 3:07 13 The Grand Delusion 2:10 14 Lost Pilgrim 2:28 15 Submission Complete 3:40 16 Fields Of Mars 3:37 17 Sorrow (Acoustic Version) 3:16 18 God Song (Acoustic Version) 2:17 Companies, etc. Manufactured By – Sony Music Japan International Inc. Phonographic Copyright (p) – Epitaph Copyright (c) – Epitaph Credits Art Direction, Design – Nick Pritchard Backing Vocals [Oozin' Aahs] – Brett*, Greg G.*, Jay* Bass – Jay Bentley Co-producer – The Evil Twins Drums – Brooks Wackerman Engineer [Assistant] – Andrew Alekel Guitar – Brett Gurewitz, Brian Baker, Greg Hetson Photography By – Bryan Sheffield Producer, Mixed By, Engineer – Evil Joe Barresi* Technician [Drum Tech] – Mike Fasano Vocals – Greg Graffin Written-By – Brett Gurewitz, Greg Graffin Notes Numbered Promo Sticker on Inlay. Recorded at Grandmaster Records, Ltd. Hollywood, CA. Additional recording done at The Evil Pink Room. Mixed at Bay 7 North Hollywood, CA. -
The Clash and Mass Media Messages from the Only Band That Matters
THE CLASH AND MASS MEDIA MESSAGES FROM THE ONLY BAND THAT MATTERS Sean Xavier Ahern A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2012 Committee: Jeremy Wallach, Advisor Kristen Rudisill © 2012 Sean Xavier Ahern All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This thesis analyzes the music of the British punk rock band The Clash through the use of media imagery in popular music in an effort to inform listeners of contemporary news items. I propose to look at the punk rock band The Clash not solely as a first wave English punk rock band but rather as a “news-giving” group as presented during their interview on the Tom Snyder show in 1981. I argue that the band’s use of communication metaphors and imagery in their songs and album art helped to communicate with their audience in a way that their contemporaries were unable to. Broken down into four chapters, I look at each of the major releases by the band in chronological order as they progressed from a London punk band to a globally known popular rock act. Viewing The Clash as a “news giving” punk rock band that inundated their lyrics, music videos and live performances with communication images, The Clash used their position as a popular act to inform their audience, asking them to question their surroundings and “know your rights.” iv For Pat and Zach Ahern Go Easy, Step Lightly, Stay Free. v ACKNOWLEDGMENTS This thesis would not have been possible without the help of many, many people. -
American Punk: the Relations Between Punk Rock, Hardcore, and American Culture
American Punk: The Relations between Punk Rock, Hardcore, and American Culture Gerfried Ambrosch ABSTRACT Punk culture has its roots on both sides of the Atlantic. Despite continuous cross-fertiliza- tion, the British and the American punk traditions exhibit distinct features. There are notable aesthetic and lyrical differences, for instance. The causes for these dissimilarities stem from the different cultural, social, and economic preconditions that gave rise to punk in these places in the mid-1970s. In the U. K., punk was mainly a movement of frustrated working-class youths who occupied London’s high-rise blocks and whose families’ livelihoods were threatened by a declin- ing economy and rising unemployment. Conversely, in America, punk emerged as a middle-class phenomenon and a reaction to feelings of social and cultural alienation in the context of suburban life. Even city slickers such as the Ramones, New York’s counterpart to London’s Sex Pistols and the United States’ first ‘official’ well-known punk rock group, made reference to the mythology of suburbia (not just as a place but as a state of mind, and an ideal, as well), advancing a subver- sive critique of American culture as a whole. Engaging critically with mainstream U.S. culture, American punk’s constitutive other, punk developed an alternative sense of Americanness. Since the mid-1970s, punk has produced a plethora of bands and sub-scenes all around the world. This phenomenon began almost simultaneously on both sides of the Atlantic—in London and in New York, to be precise—and has since spread to the most remote corners of the world.