Behemoth Billboards Proposed for South Philly; Whale of a Wall-Wrap Would Be Largest in Nation

Total Page:16

File Type:pdf, Size:1020Kb

Behemoth Billboards Proposed for South Philly; Whale of a Wall-Wrap Would Be Largest in Nation A General Interest Miscellaneous Newspaper The Periodic Journal of Urban Particulars NOSTRE MANES TOO BIG TO READ SUNT INFANTES. ON THE SUBWAY. ∂ ∂ IT’S ALL HERE & BEHOLDEN TO IT’S ALL TRUE. NO ONE. VOLUME ONE, ISSUE NO FIFTEEN SPRING 2004 $1.00 IN PHILA. $2.00 ELSEWHERE BEHEMOTH BILLBOARDS PROPOSED FOR SOUTH PHILLY; WHALE OF A WALL-WRAP WOULD BE LARGEST IN NATION THE PUBLISHING REPORT Old Hollow Husk of Bushels Past May Become Feast For The Eyes hiladelphia’s three new independent publications all have promis- ing content, miniscule budgets and online origins. But besides Mammoth Signs By I-95 P THE TIDEWATER GRAIN CO. ELEVATOR: being produced in the same city, the online art journal Work, the online Would Mesmerize fashion and culture magazine Philth, and the socially committed WISHFUL THINKING’S CONCRETE TOMB B.Informed have almost nothing else in common, which is probably as Million Eyes A Week it should be, as all are driven by their staff ’s desire to present material Can Bush Stop Leaks? that isn’t available anywhere else. BY JESSICA CHIU Work was launched by co-editors Tony Smyrksi and Melissa Farley riving north along Interstate wake of the French Revolution, crip- THE COLOSSUS OF ROADS The President Wets in March. “I hate going to stores and looking at magazines and seeing D95 into Philadelphia, you’ll pling Europe’s capacity for agricul- all the same stuff,” Farley said. “Whether it’s art magazines or enter- see the remains of the Tidewater tural production and trade. The His Daily Briefs tainment magazines, it’s the same artists and the same people. It’s just Grain Co. elevator sitting on the mid-Atlantic states raced to meet Schuylkill Signpost’s 5 Adverts whatever’s trendy at the time and who you know. We want to give peo- city’s southernmost tip, a giant the exploding European demand, To Be Seen From Two Bridges: ple the opportunity to show their work in a painless, harmless way.” block of cylindrical concrete silos and Philadelphia—along with rival Girard Point & George C. Platt SOVEREIGN SOIL SOILED Work’s first two issues are full of fine art submissions from places as packed together like a pipe organ. Baltimore—suddenly became an far-flung as Germany and San Francisco. Recurring tropes include sig- Upon its construction nearly a cen- international center of the grain Condi, Cheney, Rummy nage (both commercial and personal), housing, portraiture, and tury ago, the Pennsylvania Railroad trade. 25 TIMES PERMITTED SIZE moments of decay, where the man-made and natural worlds begin to Company boasted that the In 1815, Philadelphia was twenty Play at War and Lose; Disney Shareholders Meet at 12th & Arch; mix and blur. The two issues have a light touch that’s more curatorial Tidewater would stand “high above years into its international grain Owners Would Fix Up Aging Pier Pass the Pacifiers than editorial, beginning with open-ended titles (“You’re Either In or Who Will Manage Mickey’s Money? the flat lands which surround it … boom when Napoleon was defeated You’re Out,” “Manners Are Free and Soap is Cheap.”) and proceeding the first sign of Philadelphia’s at Waterloo, and international With $15 Million in Revenue; straight to the art. No big preface, no clumsy or fancy frame. A new issue industry which presents itself to demand for American grain sub- ALL MEN CRADLED EQUAL DISNEY VS. EISNER FOR $27B IN CHEDDAR Pledge 110 Jobs in Five Years of the screenzine comes out on the first of each month at www.work- voyagers coming up the Delaware.” sided almost immediately. The vic- mag.net, and they’re strict about the deadline. “It was a couple of hours Today it towers two hundred and torious European monarchies were BY HENRY WILLIAM BROWNEJOHNS BY LOREN HUNT turn to PUBLISHING, page 5 forty-seven feet into the air, with on the brink of a century-long PIER THREE, Phila.—Too big America tells itself things, to CENTER CITY, Phila.—Inside morning and drive two hundred and the golden hue of a thing grown peace, and they erected protective to easily demolish and too old to please itself and to satisfy a civic the halls of the Pennsylvania forty miles to an annual sharehold- quietly impotent. A former fortress tariffs—such as England’s restric- cheaply renovate, the Tidewater vanity; as a nation, it surpasses all Convention Center, the micro- er’s meeting to confront the CEO. of industrial might, it haunts the tive Corn Laws, which prohibited Grain Co. elevator has one last the others for its remarkable nim- phone is slowly moving up the aisle, But this is not a story about most city’s edge, its grandeur frozen the import of all grain, except in asset: high concrete walls that greet bleness as a mass-conscience. Every passed from Disney shareholder to people. It is a story about people around it. Once a technological times of famine—to support every visitor who enters the city thought and gesture you make as an Disney shareholder, finally reaching who own stock in the Walt Disney marvel and a symbol of domestic farmers. By 1820, the from the south. Forty years after the American citizen is figured into the Scene Queens Come Into Their Own a 22 year-old in jeans. Calmly, Company, the thousands who gath- Philadelphia’s dominance as a port, grain trade in Philadelphia and last bushel of grain left its walls, the whole circuit of the American New Jacks Make The Straight Flush loudly, she addresses Michael ered one balmy March week in the elevator was built at the mouth Baltimore was in rapid decline. Tidewater may soon announce mass-mind, and in this way, we are Eisner, chairman and CEO of the Philadelphia to restore their com- of the Schuylkill, within yards of Both cities looked to the expanding Philadelphia’s national preemi- joined together as an enormous, Walt Disney Company. pany’s “soul” and bring back its the main channel of the Delaware, American West for new markets, nence in new industry—billboards. ungainly, admirable, and deeply COAL & COKE FUELED FAME’S FLAMES “My name is Jen Dziekan from “magic.” where it could receive barges and investing in turnpikes and railroads The building’s owner, Preston flawed individual. This is why Longmeadow, Massachusetts, and I It was the cast members at the rail cars by the hundred. Today it heading westward, hoping to reme- Ship & Rail, wants to crown the America is so subject to faddishness own four shares of Disney stock. I Holyoke Mall Disney Store who stands inland, within weak reach of dy flagging demand. But these last- Tidewater’s mammoth concrete and reactionism. As deluded as you bought it not for the five cents you first turned Dziekan on to the an economy at work. Two stray tug- ditch efforts were also thwarted, grain silos with five illuminated may be in your own personal self- give back to me, the thirty-three notion that the company of which boats, the Tenacious and the this time by the 1825 completion of “wall wrap” billboards, a total of perception, so too, is the nation you cents you give back to me, or the she owned four tiny pieces might be Athena, are docked at its pier, the Erie Canal. The canal, the first 38,786 square feet of advertising, are a part of. We are perpetually one dollar that I might get back in headed in the wrong direction. For which is slowly coming apart and successful route between the according to the company’s zoning whispering praise into the mirror. the future. I bought it for a piece of years she had been visiting the sinking into the water. Eastern ports and the farms of the application. That’s four times the We harbor a panoply of nonsensical the magic. store, in earlier days to buy Little The elevator may be my favorite Midwest, established New York size of the largest billboard in impressions of ourselves: that we “I bought it because I love going to Mermaid dolls and picture frames structure in Philadelphia. For years, state’s control of the grain trade for Times Square, and more than half are especially good; that we are the park. I love going to the stores, and Mickey Mouse hats and key- I’ve stolen glimpses of it driving the remainder of the century; by the the size of a football field. Taken especially industrious; that we are and I love feeling that magic. Have chains, and in more recent months into and out of the city. Its present Civil War, Buffalo would emerge as alone, the 14,446 square foot sign especially rational; and, of particu- you been to a theme park lately?” simply to chat with the cast mem- abandonment and position at the the world capital of grain shipment, proposed for the Tidewater’s south- lar import, that we are winners. Most people buy stock because bers, which is what the Walt Disney helm of the city have always made moving 50 million bushels annually. ern face would be the largest bill- Thirty years after we were routed they think it will go up. If their Company calls its employees. She the building seem mythic. By the 1850s, with the competi- board in the United States. Added out of Southeast Asia, the diligent stock has gone up fifty percent over wished she could offer support, but Abandoned buildings like the tion for grain leadership all but over, together, the Tidewater’s five signs history texts have yet to make a the last year, as Dziekan’s has, they the merchandise had gotten too Tidewater are a testament to city the privately held Pennsylvania would be larger than the largest tally in our Loss column.
Recommended publications
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
    [Show full text]
  • Copyright 2013 Shawn Patrick Gilmore
    Copyright 2013 Shawn Patrick Gilmore THE INVENTION OF THE GRAPHIC NOVEL: UNDERGROUND COMIX AND CORPORATE AESTHETICS BY SHAWN PATRICK GILMORE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Cary Nelson Associate Professor James Hansen Associate Professor Stephanie Foote ii Abstract This dissertation explores what I term the invention of the graphic novel, or more specifically, the process by which stories told in comics (or graphic narratives) form became longer, more complex, concerned with deeper themes and symbolism, and formally more coherent, ultimately requiring a new publication format, which came to be known as the graphic novel. This format was invented in fits and starts throughout the twentieth century, and I argue throughout this dissertation that only by examining the nuances of the publishing history of twentieth-century comics can we fully understand the process by which the graphic novel emerged. In particular, I show that previous studies of the history of comics tend to focus on one of two broad genealogies: 1) corporate, commercially-oriented, typically superhero-focused comic books, produced by teams of artists; 2) individually-produced, counter-cultural, typically autobiographical underground comix and their subsequent progeny. In this dissertation, I bring these two genealogies together, demonstrating that we can only truly understand the evolution of comics toward the graphic novel format by considering the movement of artists between these two camps and the works that they produced along the way.
    [Show full text]
  • Read Book Acme Novelty Library #20 1St Edition Kindle
    ACME NOVELTY LIBRARY #20 1ST EDITION PDF, EPUB, EBOOK Chris Ware | 9781770460201 | | | | | Acme Novelty Library #20 1st edition PDF Book More information about this seller Contact this seller 2. I recognized myself in him, my friends, and felt terrible heartbreak. If there's a common complaint directed at Ware as a storyteller, it's that his stories tend to be unremittingly depressing, bleak tales of pathetic characters living unsatisfying lives. I'm sorry. Additional details. Includes all of the cartoons from the author's ACME novelty library, issues 7 and 15, and previously uncollected material arranged as a fictitous annual report. To view it, click here. Published November 9th by Drawn and Quarterly first published October 12th I get the feeling that Ware himself doesn't have much affection for Lint, and yet he isn't unfair to him. The story was depressing. Read more Lint graduated from UNL in with a B. Cover of Acme Novelty Library No. No trivia or quizzes yet. Shelves: merkins , graphic-novels. Enlarge cover. Book Format. His specialty is observing the entire life of a solitary loser or asshole in minute detail. The book mostly deals with the adult version of Jimmy Corrigan, an awkward and shy man, who is unable to make social contact, and who consequently is incredibly lonely and depressed. Readers also enjoyed. Acme Novelty Library #20 1st edition Writer I read Jimmy Corrigan, the Smartest Kid on Earth a number of years ago and remember really enjoying it. It's hard for me to tell whether Ware's attitude toward Lint is one of contempt or grudging sympathy; I suspect the former, but, still, Ware does the hard work of delving into Lint's psyche and finding toeholds of human interest.
    [Show full text]
  • Entertainment Guide Important Stuff You Need to Know
    Celebrating 60 years of MCN at MCN Live, Skegness, 17th-20th April 2015 ENTERTAINMENT GUIDE IMPORTANT STUFF YOU NEED TO KNOW PLEASE ADHERE TO THE 10MPH SPEED LIMIT. HELMETS MUST BE WORN AT ALL TIMES WHEN RIDING YOUR MOTORCYCLE ON SITE. ROAD TRAFFIC LEGISLATIONS APPLY TO THE BUTLIN’S RESORT. Butlin’s have relaxed their policy regarding bikes in the accommodation villages for the weekend (no cars, sorry). Please do not abuse this privilege and ensure you use the perimeter roads. Under no circumstances ride through the middle of the centre or over grassed areas. There is a motorcycle free zone in place between the pavilion and the outside activities area. For your own safety and those around you, we ask under no circumstances are you to ride your motorcycle in this area. Regrettably, failure to comply with this may result in your bike being impounded until you leave the resort. MCN and Butlin’s cannot be held responsible for any incidents or accidents that occur as a result of participation in any of the activities. Please ensure that you are aware of the positioning of onsite photographers & film crews at all times. We will not accept responsibility if, contrary to your wishes, you appear in publicity pictures or video. During your stay strobe lighting and lasers may be used in venues. Entertainment in venues may be of an adult nature and not suitable for children. Parental supervision is advised. Wristbands must be worn for entry into evening venues. Replacement bands will be charged at £75 and can be obtained from Guest Services.
    [Show full text]
  • Mark Marek. New Wave Comics
    Mark Marek. New Wave Comics. New York: Manhattan Design, 1983. 56pp. Slim quarto [28 cm] Illustrated wraps. The wraps are lightly rubbed and creased, and there are a couple of minor stains on the verso of the front wrap, along the bottom edge [47753]. $30 Special limited edition. Signed. Marek is an animator and producer responsible for Cartoon Network’s MAD and Nickelodeon’s KaBlam! among others. This is one of his earliest works. Gary Panter. Jimbo: A Raw One-Shot. New York: Raw Books and Graphics, 1982. 38pp. Folio [36.5 cm]. Large comic attached at rear to cardboard binding with paper cover label. Toning throughout, else a pristine copy. Fine. Hardcover [49189]. $1,000 Inside of front cardboard cover completely filled with original pen-and-ink drawings by Panter, with his signature in lower corner. New-wave comic artist Gary Panter won three Emmy Awards for his set designs for Pee-wee's Playhouse. Jimbo, a burly punk and existential adventurer, is his best-known comic protagonist. © Ken Sanders Rare Books 2017 Joe Coleman. Cosmic Retribution. Seattle/Portland: Fantagraphics/Feral House, 1992. 135pp. Quarto [28.5 cm] In boards. Book and dust jacket in near fine condition with only faint shelf wear. [51526]. $100 Signed by Coleman on laid-in publisher's limitation slip and numbered 159 of 250 copies. First edition. Color reproductions of Joe Coleman's intricate artwork which focuses on serial killers and other notorious figures. Charles Manson provides the positive review featured on the cover. Strongly influenced by comic art, his work has also been compared to Hieronymus Bosch’s.
    [Show full text]
  • Congressional Record United States Th of America PROCEEDINGS and DEBATES of the 111 CONGRESS, SECOND SESSION
    E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 111 CONGRESS, SECOND SESSION Vol. 156 WASHINGTON, THURSDAY, MAY 6, 2010 No. 67 Senate The Senate met at 9:30 a.m. and was APPOINTMENT OF ACTING and related national security issues called to order by the Honorable PAT- PRESIDENT PRO TEMPORE from 4:30 to 5:30 p.m. today. We will re- RICK J. LEAHY, a Senator from the The PRESIDING OFFICER. The main in session during that time. State of Vermont. clerk will please read a communication We expect to arrive at a time for vot- to the Senate from the President pro ing on the Shelby amendment. If not, PRAYER tempore (Mr. BYRD). there will be a motion to table that The bill clerk read the following let- amendment. We have a lot of amend- The PRESIDING OFFICER. Our vis- ter: ments to get through, and we are going iting Chaplain today is Father Claude to work into the night. We have work U.S. SENATE, Pomerleau from the University of PRESIDENT PRO TEMPORE, we need to do tomorrow. So everyone Portland, OR. Father Pomerleau will Washington, DC, May 6, 2010. should be aware, we have a lot of issues lead us in prayer. To the Senate: we have to resolve on this most impor- The guest Chaplain offered the fol- Under the provisions of rule I, paragraph 3, tant legislation. lowing prayer: of the Standing Rules of the Senate, I hereby The PRESIDING OFFICER (Mrs.
    [Show full text]
  • July 7-13, 2016
    JULY 7-13, 2016 FACEBOOK.COM/WHATZUPFORTWAYNE WWW.WHATZUP.COM FACEBOOK.COM/WHATZUPFORTWAYNE 2 ----------------------------------------------------------------------------------- www.whatzup.com -------------------------------------------------------------------July 7, 2016 whatzup Proudly presents in Fort Wayne, Indiana Volume 20, Number 47 ON ad enough “bombs bursting in air” to last awhile? If you live in our neck SALE of the woods – beautiful Shriner Lake – probably not. It’ll be months before FRIDAY your fireworks jones has been satisfied. Fortunately, we all get to experi- JULY 8 ! enceH yet another pyrotechnic thrill at the conclusion of Three Rivers Festival on the 18th. In the meantime, the 48th annual festival offers all kinds of other thrills that should suffice to tide you over. Fortunately, you can read all about them here, in Fort Wayne’s one and only arts and entertainment publication. We’ve got not one, but two feature Free Movies stories from Michele DeVinney covering the major stuff. If you want more detail, there’s Tickets The Nut Job Wed June 15 9:00 pm On-line By Phone Surly, a curmudgeon, independent squirrel is banished from his the TRF program guide distributed with this issue, or go to whatzup.com for a complete Free Movies www.foellingertheatre.org (260) 427-6000 park and forced to survive in the city. Lucky for him, he stumbles The Nut Job Wed June 15 9:00 pm on the one thing that may be able to save his life, and the rest of IN 46805 Wayne, Fort Blvd. 705 E. State Tickets park community, as they gear up for winter. PG schedule of each day’s events.
    [Show full text]
  • Západočeská Univerzita V Plzni Fakulta Filozofická Bakalářská Práce
    Západočeská univerzita v Plzni Fakulta filozofická Bakalářská práce Art Spiegelman – “Of Mice and Men” Monika Majtaníková Plzeň 2014 Západočeská univerzita v Plzni Fakulta filozofická Katedra anglického jazyka a literatury Studijní program Filologie Studijní obor Cizí jazyky pro komerční praxi Kombinace angličtina – němčina Bakalářská práce Art Spiegelman – “Of Mice and Men” Monika Majtaníková Vedoucí práce: Mgr. et Mgr. Jana Kašparová Katedra anglického jazyka a literatury Fakulta filozofická Západočeské univerzity v Plzni Plzeň 2014 Prohlašuji, že jsem práci zpracoval(a) samostatně a použil(a) jen uvedených pramenů a literatury. Plzeň, duben 2014 ………………………….......... Acknowledgement I would like to express my honest acknowledgement to my supervisor, Mgr. et Mgr. Jana Kašparová, for her professional guidance, useful advice, patience and continual support. Table of Contents 1 Introduction .................................................................................................... 1 2 Art Spiegelman ............................................................................................... 2 2.1 Early life .................................................................................................. 2 2.2 Education ................................................................................................. 3 2.3 Beginning of his writing career ............................................................... 4 2.4 Personal and contemporary life ............................................................... 9 2.5 Interesting
    [Show full text]
  • An Aesthetic History of Comics Instructor: Dan Nadel
    NACAE National Association of Comics Art Educators An Aesthetic History of Comics Instructor: Dan Nadel This is a class about comics as a medium for expression. It focuses on the aesthetics of comics on and beyond the page. Comics are usually taught in terms of its dominant genres (superhero) and characters (Superman, etc.). This class will cover that history minimally, in favor of a strong focus on comics as a mode of expression (discussing drawing/mark making, storytelling mechanics) and as a graphic/commercial culture that defined many pop cultural icons/idioms and in turn influenced fine artists. This course will attempt to place comics firmly within the context of visual culture in general while continually arguing for the relevance and power of the printed image. Semester-long readings: Tom De Haven: Derby Dugan’s Depression Funnies, Dugan Goes Underground Kim Deitch: Boulevard of Broken Dreams McSweeney’s 13 Steven Milhauser: Little Kingdoms Patrick McDonnell, et al, Krazy Kat: The Comic Art of George Herriman Dan Raeburn: The Imp 4 This document is free for non-commercial educational use. See http://www.teachingcomics.org/copy.php for complete copyright information. NACAE National Association of Comics Art Educators UNIT 1: INTRODUCTION Week 1: Overview Historical and thematic overview of the course. Initial discussion: Reasons, interests, favorites, requests. Reading: Art Spiegelman, “Comix: An Idiosyncratic Historical and Aesthetic Overview,” 1988, in Comix, Essays, Graphics and Scraps. Chris Ware, Introduction to McSweeney’s 13. Handout with comics and odds and ends from DN Viewing: The University of Brighton’s Comics resource: http://www.adh.bton.ac.uk/schoolofdesign/MA.COURSE/LComics.html UNIT 2: HISTORIES I Week 2: Artful beginnings Modern comics begin in the mid 19th century with the Swiss fine artist Rudolf Topffer, who created nonfiction and satiric graphic novels, and continues with Wilhelm Busch and numerous German artists who expanded the comics vocabulary.
    [Show full text]
  • Aerosmith: La Banda Indestructible
    It's only rock & roll | Pep Saña | Actualitzat el 13/04/2016 a les 18:39 Aerosmith: La banda indestructible Malgrat la seva durabilitat i popularitat durant més de quatre dècades, Aerosmith mai han rebut el respecte que mereixen per part dels crítics. Als anys 70, sempre van ser considerats imitadors de segona dels Rolling Stones. A causa de la semblança física i escènica entre Steven Tyler i Mick Jagger i entre Joe Perry i Keith Richards, Aerosmith van ser inicialment etiquetats de voler-se promocionar com els Rolling Stones americans. Però mentre que The Rolling Stones estaven decididament orientats cap a un so essencialment lligat al rock'n'roll, Aerosmith, amb el volum més alt, es movien entre un hard melodic i un boogie ?metalero?. La veritable semblança entre els dos grups, nomes eren els morros de Tyler i de Jagger. Però la indestructible banda de Boston sempre ha tingut la seva originalitat, gràcies a la veu del seu líder Steven Tyler, les guitarres de Joe Perry i Brad Whitford, i una imponent secció rítmica amb Tom Hamilton al baix i Joey Kramer a la bateria. A diferència de molts dels seus similars, Aerosmith sempre han mantingut una propera connexió amb les seves arrels de blues que encara avui influeixen la seva música fins a la peça més comercial. L'habilitat d'Aerosmith de confondre als seus crítics contínua sent una de les seves millors característiques, cap al final dels anys 80, la banda, ferida per problemes de droga i tensions entre ells, va ser àmpliament considerada com acabada per la indústria musical.
    [Show full text]
  • Eliorist the University of Lethbridge Student Newspaper 4401 University Drive Lethbridge, Fiiberta November 8,1990 Vol
    ya love 'em, ya hate 'em, inside Bad officials are elected by good ya might read 'em anywho comment...page 5 letters...page 6 people who do not vote Three Lines Free entertainment...page 9 page 15 sports...page 12 George Jean Nathan (1882-1958) eliorist The University of Lethbridge Student Newspaper 4401 University Drive Lethbridge, fiIberta November 8,1990 vol. 24 no. 10 329-2334 Multiculturalism and individualism is killing Canada By Tanya Wcbking vidualism at the expense of society turned chaotic due to pluralism in freedom of groups and individuals fragments — and not much more." as a whole, at best we are simply Canada. He says that individuals without laying down cultural ex­ "It will require Canadians to Multicultural ism and individual­ going to coexist and subsist... At and interest groups are trying to pectations. Bibby says Canada felt pursue the best choices available ism arc leading Canada to the brink worst, wc are going to experience better themselves rather than Canada that by giving groups ethnic free­ rather than what's best for them­ of disaster, says University of cvcr-incrcasing social disintegra­ as a whole. dom, Canada would somehow con­ selves or their specific groups. What Lethbridge Professor Reg Bibby, in tion," states Bibby in his book. The'melting pot'idea put forth in solidate together. Rather, Canada virtue doesn't accomplish necessity his newly released book, Mosaic Elsewhere in his book, Bibby the 1960's, says Bibby, is greatly seems to have diversified to such an might." says Bibby. Madness: The Poverty and Po­ states that issues such as sexism, responsible for the situation in extent, that Canada itself is getting Bibby continues by stating that tential of Life in Canada.
    [Show full text]
  • 2News Summer 05 Catalog
    COMICS’ BRONZE AGE AND BEYOND! February 2015 No.78$8.95 ISSUE! 0 1 1 82658 27762 8 Batman’s Weirdest Team-Ups • Orlando’s Weird Adventure Comics • Weird War Tales • Weird Mystery Tales Ditko’s Shade the Changing Man & Stalker • Chaykin’s Iron Wolf • Crumb’s Weirdo • Starlin & Wrightson’s The Weird Volume 1, Number 78 February 2015 Celebrating the Best Comics of the '70s, '80s, Comics’ Bronze Age and Beyond! '90s, and Beyond! EDITOR-IN-CHIEF Michael Eury PUBLISHER John Morrow DESIGNER Rich Fowlks COVER ARTIST Alan Craddock COVER DESIGNER WEIRD logo TM & © DC Comics. Michael Kronenberg PROOFREADER Rob Smentek SPECIAL THANKS Mark Arnold Carol Lay Terry Austin Paul Levitz Peter Bagge Andy Mangels Dewey Cassell Scott Nickel Howard Chaykin Luigi Novi Shaun Clancy Dennis O’Neil Jon B. Cooke Gary Panter Robert Crumb Martin Pasko FLASHBACK: Weird Batman Team-Ups . .2 DC Comics Tom Powers The Caped Crusader’s out-of-the-ordinary co-stars J. M DeMatteis Sasa Rakezic Mark Evanier Bob Rozakis FLASHBACK: Orlando’s Weird Adventures . .10 Mary Fleener Rac Shade The comic-book smorgasbord that was Joe Orlando’s Adventure Comics Drew Friedman Steve Skeates Carl Gafford Jim Starlin BEYOND CAPES: Those Were Weird Times: Weird Mystery Tales . .23 Macedonio Garcia Bryan D. Stroud From Kirby to Destiny to Eve, you never knew who or what you’d find in this DC title Mike Gold Pvt. “Lucky” Taylor Grand Comics Steven Thompson BEYOND CAPES: The Horrors of Combat: Weird War Tales . .31 Database Carol Tyler This bizarre battle book proved that war really was hell Robert Greenberger Jim Vadeboncoeur Bill Griffith Don Vaughan BEYOND CAPES: IronWolf .
    [Show full text]