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												  With LOWELL's Real Cre a 'Blueberrybb Naatural And•N T Flavored ISSUES I I I I , I I · , I I· W*E N Ee*I I with LOWELL'S real cre a 'BlueberryBB NaAtural and•n t Flavored ISSUES I I I I , I I · , I I· _ W*e n ee* By Norman Solomon * This daily satellite-TV feed has a captive audi- * While they're about 25 percent of the U.S. pop- To celebrate the arrival of summer, here's an all- ence of more than 8 million kids in classrooms. ulation, a 1997 survey by the American Society of new episode of "Media Jeopardy!" While it's touted as "a tool to educate and engage Newspaper Editors found that they comprise You probably remember the rules: First, listen young adults in world happenings," the broad- only 11.35 percent of the journalists in the news- carefully to the answer. Then, try to come up with cast service sells commercials that go for nearly rooms of this country's daily papers. the correct question. $200,000 per half-minute -- pitched to advertisers What are racial minorities? as a way of gaining access to "the hardest to reach The first category is "Broadcast News." teen viewers." We're moving into Media Double Jeopardy with What is Channel One? our next category, "Fear and Favor." * On ABC, CBS and NBC, the amount of TV net- work time devoted to this coverage has fallen to * During the 1995-96 election cycle, these corpo- * While this California newspaper was co-spon- half of what it was during the late 1980s. rate parents of major networks gave a total of $3.2 soring a local amateur sporting event with Nike What is internationalnews? million in "soft money" to the national last spring, top editors at the paper killed a staff Democratic and Republican parties.
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												  Page 1I ·-916--Anrrla~Is~·Tr~8~~11~4~~Vol. XVII No.8 The University's Late Night Feature Paper January 29, 1996 { Page 1I ·-916--anrRla~is~·tr~8~~11~4~~ 0STATET EMP lSSIREA I By Chris Sorochin ing, hockey-playing nuts are just similar enough to have previously done so. One CNN commentator us culturally to provide what Noam Chomsky calls on the Russian Duma elections was typically Well, its another New Year and the anniversary the "threat of a good example": they're what we Orwellian: "They've voted to reject democracy." of the January 1 rebellion of the Zapatistas in could be if we got our act together and that realiza- Figure that one out. I always thought democracy Chiapas, Mexico. Unwilling to see their centuries- tion might give folks here some funny ideas. was supposed to reflect the will of the people and old communal agrarian way of life destroyed so Wouldn't it be great if instead of Gingrich and the how they're governed and how their economy agribusiness could move in, and unwilling to rest of the Dickensian knaves shutting down the runs. I guess the "demo" must refer exclusively to become part of the impoverished masses of excess government to inflate their egos, the American the people on Wall St. and their equivalents in labor swelling the shantytowns of Mexico City, people got together and stopped the music, just to London, Tokyo and other financial centers. Mayan peasants supported the uprising, which let'em know we won't be trifled with? No, I don't think anybody wants to see the return began on the day NAFTA went into effect.
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												  For a Lark the Poetry of SongsUNIVERSIDADE DE LISBOA FACULDADE DE LETRAS PROGRAMA EM TEORIA DA LITERATURA FOR A LARK THE POETRY OF SONGS Telmo Rodrigues DOUTORAMENTO EM ESTUDOS DE LITERATURA E DE CULTURA TEORIA DA LITERATURA 2014 Universidade de Lisboa Faculdade de Letras Programa em Teoria da Literatura FOR A LARK THE POETRY OF SONGS Telmo Rodrigues Dissertação orientada por: PROFESSOR DOUTOR ANTÓNIO M. FEIJÓ PROFESSOR DOUTOR MIGUEL TAMEN Doutoramento em Estudos de Literatura e de Cultura Teoria da Literatura 2014 Acknowledgments The work for this thesis was done under a fellowship granted by the Foundation for Science and Technology (FCT): the time granted to think is priceless, and I am indeed thankful for being allowed to benefit from it. During this period I have also benefited from the resources put at my disposal by my host institution, the Nova Institute of Philosophy (IFILNOVA). Professor António Feijó has been teaching me since my first year of undergraduate studies and Professor Miguel Tamen since I started graduate studies: I am still to this day amazed at the luck I have for being given the opportunity to work with both of them, and my gratitude for their efforts and enthusiasm in crafting this thesis is immeasurable. As a student of the Program in Literary Theory I must extend my thanks to Professor João Figueiredo, who is an integral part of the Program and with whom I have learnt many valuable things about art. When writing a thesis, a friend who enjoys editing is a blessing one must always be thankful for; in any case, I would gladly dismiss Helena’s editing skills for the friendship which has shaped this work beyond recognition and, necessarily, beyond any written acknowledgment.
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												  Revolting Cocks Linger Ficken' GoodRevolting Cocks Linger Ficken' Good... And Other Barnyard Oddities mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Rock Album: Linger Ficken' Good... And Other Barnyard Oddities Country: US Released: 1993 Style: Industrial MP3 version RAR size: 1708 mb FLAC version RAR size: 1345 mb WMA version RAR size: 1780 mb Rating: 4.7 Votes: 627 Other Formats: AC3 VQF MOD APE FLAC AHX MP4 Tracklist Hide Credits A1 Gila Copter 5:58 A2 Creep 8:50 A3 Mr. Lucky 4:39 A4 Crackin' Up 6:26 A5 Sergio 6:32 Da Ya Think I'm Sexy? B1 5:34 Written-By – Carmine Appice, Duane Hitchings, Rod Stewart B2 The Rockabye 7:19 B3 Butcher Flower's Woman 4:57 B4 Dirt 5:07 B5 Linger Ficken' Good 9:12 Companies, etc. Mastered At – Future Disc Marketed By – Reprise Records Copyright (c) – Sire Records Company Phonographic Copyright (p) – Sire Records Company Credits Artwork [Cover Art] – Rick Buscher Engineer – Critter*, Paul Manno, Steve Spapperi Engineer [Assistant (Uncredited)] – Bill Garcelon, Mike Tholen Management – Jon Zazula, Marsha Zazula Mastered By – Tom Baker Performer [The Revolting Cocks] – Al Jourgensen, Chris Connelly, Luc Van Acker, Paul Barker, William Rieflin Performer [The Revolting Pussies] – Kim Assaley, Patty Jourgensen Performer [The Revolving Cocks] – Timothy Leary*, Duane Buford, Duane Denisen*, Louis Svitek, Mike Scaccia, Roland Barker Producer – The Revolting Cocks* Written-By – The Revolting Cocks* (tracks: A1 to A5, B2 to B5) Notes Produced for Luxa/Pan Productions Recorded in Chicago, Illinois R.I.P. Jeff Ward Louis Svitek appears courtesy of Megaforce Entertainment Management for Crazed Management, Inc.
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												  Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996 A Dissertation Presented by Jason James Hanley to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philsophy in Music (Music History) Stony Brook University August 2011 Copyright by Jason James Hanley 2011 Stony Brook University The Graduate School Jason James Hanley We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Judith Lochhead – Dissertation Advisor Professor, Department of Music Peter Winkler - Chairperson of Defense Professor, Department of Music Joseph Auner Professor, Department of Music David Brackett Professor, Department of Music McGill University This dissertation is accepted by the Graduate School Lawrence Martin Dean of the Graduate School ii Abstract of the Dissertation Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996 by Jason James Hanley Doctor of Philosophy in Music (Music History) Stony Brook University 2011 The British band Throbbing Gristle first used the term Industrial in the mid-1970s to describe the intense noise of their music while simultaneously tapping into a related set of aesthetics and ideas connected to early twentieth century modernist movements including a strong sense of history and an intense self-consciousness. This model was expanded upon by musicians in England and Germany during the late-1970s who developed the popular music style called Industrial as a fusion of experimental popular music sounds, performance art theatricality, and avant-garde composition.
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												  PRESSEMITTEILUNG 04.02.2020 Suede Im Rahmen DerFKP Scorpio Konzertproduktionen GmbH Große Elbstr. 277 a ∙ 22767 Hamburg Tel. (040) 853 88 888 ∙ www.fkpscorpio.com PRESSEMITTEILUNG 04.02.2020 Suede im Rahmen der Jumbiläumstour zu „Coming Up“ exklusiv in Berlin Die britische Band Suede steht seit den neunziger Jahren für einen großen Aufbruch, einen neuen Stil – und tut das bis heute. Nach ihrer Reunion Anfang der Zehner-Jahre haben Suede nahtlos da weitergemacht, wo sie 2003 aufgehört hatten. Die Musik, den Brit-Pop revolutionieren. Niemals still stehen. Sich selbst ständig fordern. Oder wie die Band es selbst ausdrückt: „Getting the energy of what you used to do without becoming a self-parody is the holy grail“. Dabei blicken Suede ruhig zurück und stellen das in den Mittelpunkt, was prägend war. 1996 erschien mit „Coming Up“ das kommerziell erfolgreichste Album der Karriere und gleichzeitig das erste, das in der heute noch gültigen Besetzung eingespielt wurde: die Gründungsmitglieder, Sänger Brett Anderson und Bassist Mat Osman, und der kurz darauf dazustoßende Schlagzeuger Simon Gilbert bilden bis heute das Gerüst, Gitarrist Richard Oakes hatte Bernard Butler ersetzt, und Keyboarder Neil Coding war gerade frisch dabei. „Coming Up“ erreichte den ersten Platz der britischen Charts, wurde mit Platin ausgezeichnet und als zweite Suede-Platte für den Mercury Prize nominiert. In diesem Jahr feiert das erfolgreiche Album 25-Jähriges. Wenn man sich dieses Werk heute anhört, fragt man sich ein wenig, wo eigentlich der Britpop darin versteckt ist, zu sehr haben Blur und Pulp und natürlich Oasis den Genrebegriff geprägt. Aber wenn man genau hinhört, bemerkt man, warum sie die Engländer das große Vorbild für die anderen waren – und wie wenig sie sich um Einordnungen und Schubladen gekümmert haben.
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												  Brit Pop Mania, Il Fascino Agrodolce Della LeggerezzaBrit pop mania, il fascino agrodolce della leggerezza - Vilmo Modoni, 01.05.2015 Anni Novanta/Dopo i Sixties, le band inglesi tornavano a dominare. Sulla scia del successo delle band dei fratelli Gallagher e del duo Albarn/Coxon, si impose una lunga sfilza di emuli. Solo pochi sono sopravvissuti. Ecco i nomi da ricordare Brit pop, fu vera gloria? Fu davvero un movimento da includere nel novero dei generi musicali storici, accanto a beat, folk, psichedelia, hard rock, punk, grunge ecc.? Oppure può essere catalogato tra le grandi truffe del rocknroll, rappresentando solo una colossale macchinazione mediatica per rilanciare la moribonda industria musicale britannica dopo anni di incontrastata egemonia statunitense? Probabilmente non si giungerà mai a una parola definitiva. Erano giorni, quelli dellesplosione del brit pop a metà anni Novanta, in cui un pimpante ragazzetto poteva avvicinarsi a un giornalista incrociato per caso al festival di Reading, consegnargli un demo e trovarsi mesi dopo a Top of the Pops senza aver inciso una sola nota, unico caso nella storia della trasmissione. Il ragazzo si chiamava Johnny Dean e Menswear il suo gruppo. Durarono un anno scarso, finirono sulle prime pagine del Melody Maker e del New Musical Express come «band meglio vestita del Regno Unito» e rappresentarono il culmine di una faraonica isteria collettiva: tutti ebbero un ritaglio di giornale, 15 minuti di celebrità, un 45 giri definito memorabile. Trainati dal chiacchiericcio Oasis contro Blur, decine di gruppi (Sleeper, Speedy, DexDexTer, My Life Story, Marion, Orlando, solo per citarne alcuni) vivranno una sola estate finendo a ingolfare gli scaffali dei negozi dellusato.
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												  Imsicweek for Everyone in the Business of Music 18 SEPTEMBER 1993 £2.8!imsicweek For Everyone in the Business of Music 18 SEPTEMBER 1993 £2.8! Mercury set for TV The 1994 Mercury Music Pria gural prize. In the London ar ofset this tobetelevised year's awards. folk Télévisiondays in a row. carried It was features broadcast for live three on deremyfearcesaystnetwowinsvmdi-cate what his division has been trying judgesfour favoi wl Senior BBC2 MtionM^ewspapers 0Veret* ^ SeVeral the^eam Tindcp'end^nt ch^^Simon^rith^Iyf of Su^deî way that you just Bookeryear, neiping Prize and put the it on Brits. a par witn tne signedimm; 5S SSSâsssl Managers tackle MMC inquiry dfyTsundayUo fînentuneea submïfon "The movf coïncides with the count- •Without doubt this is the most impor- evidence to the Office Of Pair Trading Music Week goes daily at In The City GQWES AfterNude winningact Suede the donated 1993 Mercurv the £25,000 Music prize Prize money for their to Cancer self-titled Research. first album, Acceptingpoint of the the prize award is not singer the money Brett Andersonat ail, it's the(pictured honour above) of being said, nominated." "The PRS votes vétéran THE NEW SINGLE reformer to board hotly contested for S ► ► WHY POLYGRAM RECKONS SIZE ISNT EVERYTHING, SEE PAGE 3 ► ► ► When they play music in the Netheriands, to which you contrlbuted, you'SB benefit from it. Music is the sum of many différent talents, songwriters, composers, pro- tions is SENA, the Dutch Foundation for the Exploitation of Neigh- ducers, vocalists and instrumentalists ail play their part. And they are ail bouring Rights. But... SENA can only fulfill its task, when we know to cntitled to a fair rémunération when their création is used.
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												  Suede Tickets for 2011 London Residency on Sale Now at Getmein.Com Submitted By: Propellernet Friday, 28 January 2011Suede Tickets for 2011 London Residency on Sale Now at GetMeIn.com Submitted by: Propellernet Friday, 28 January 2011 Fresh from their glorious December show at London’s The O2 Arena, Britpop pioneers Suede continue their comeback with a 3-night residency at the O2 Brixton Academy in London on 19th, 20th and 21st May, with tickets available for fans through Ticketmaster’s GET ME IN! ticket marketplace. Fronted by Brett Anderson with Richard Oakes, Simon Gilbert, Neil Codling and Matt Osman, Suede dedicate each night to one of their influential first 3 albums; 1993’s eponymous titled debut “Suede,” 1994’s majestic “Dog Man Star” and the chart-storming Britpop classic, “Coming Up.” Each night the band will play an album in its entirety, including single b-sides from each era. Suede arrived in 1992 when US Grunge bands dominated the airwaves. The band’s unmistakably British style quickly found new fans and with a little help from the NME, Suede were set for stardom. Their self-titled debut “Suede” was winning blend of classic British songwriting in the vein of The Smiths with influences of Marc Bolan/T Rex and Ziggy-era Bowie. The ambitious follow-up, “Dog Man Star” failed to match sales of the debut but has since been widely regarded as a pop masterpiece. Differences between the band and guitarist and founding member, Bernard Butler led to an acrimonious split. Many believed Butler’s departure would signal the end for Suede, but like Phoenix, Suede re-emerged with new members. Then 16-years old guitar prodigy, Richard Oakes and multi-instrumentalist, Neil Codling helped Suede achieve their biggest hit to date.
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												  Release New Album After Their Reunion MinistryNew Release Information uu March Price Code: CD04 NB 4275-2 CD MINISTRY Release Date Pre-Order Start AmeriKKKant uu 09/03/2018 uu 11/12/2017 uu advertising in many important music magazines DEC/JAN/FEB 2018 uu album reviews, interviews in all important Metal magazines in Europe’s DEC/JAN/FEB 2018 issues uu song placements in European magazine compilations uu spotify playlists in all European territories uu retail marketing campaigns uu instore decoration: flyers, poster A1 Price Code: LP15 uu Facebook, YouTube, Twitter, Google+ organic promotion NB 4275-1 LP uu Facebook ads and promoted posts + Google ads in both the search (black in gatefold) and display networks, bing ads and gmail ads (tbc) uu Banner advertising on more than 60 most important Metal & Rock websites all over Europe uu additional booked ads on Metal Hammer Germany and UK, and in the Fixion network (mainly Blabbermouth) uu Tracklists: uu video and pre-roll ads on You tube uu ad campaigns on iPhones for iTunes and Google Play for Androids CD: uu banners, featured items at the shop, header images and a back- 01. I Know Words ground on nuclearblast.de and nuclearblast.com 02. Twilight Zone 03. Victims Of A Clown uu features and banners in newsletters, as well as special mailings 04. TV5-4 Chan to targeted audiences in support of the release 05. We’re Tired Of It 06. Wargasm 07. Antifa 08. Game Over RELEASE NEW ALBUM 09. AmeriKKKa Line up: Al Jourgensen| vocals l Tony Campos| bass l Thomas Holtgreve| drums Sinhue Quirin| guitars l Monte Pittman| guitars l John Bechdel| keyboard LP: AFTER THEIR REUNION Side A MINISTRY’s Al Jourgensen, the acclaimed pioneer of industrial music, doesn’t muck around, doesn’t sugar-coat, doesn’t pull punches.
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												  Too Loud in ‘Ere1 Too Loud In ‘Ere A Tale of 20 Years of Live Music Jonny Hall, June 2017 (c) Jonny Hall/DJ Terminates Here, 2017. Some rights reserved. This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. 2 Introduction Every live gig I’ve ever been to has given me some kind of story to tell. You could ask me about any of them and I could come up with at least one occurrence that captured the spirit of the night. But not every live show has been truly ‘special’. I’ve seen excellent performances by bands with crowds numbering in their thousands that were simply ‘very good nights out’. No more, no less. No, it’s those gigs that leave you buzzing all the way home that count, the ones where you really felt part of something special and years later, need only think of that occasion to be right back there, in soul if not in body. Sometimes the whole gig doesn’t have to be brilliant, a single ‘magic moment’ is all you need. And it’s those events that have kept me coming back for more. Most people just settle for a few favourites and watch them every time they come round. I’m not like that. I’ve rolled the dice on catching relatively unknown bands plenty of times (especially at festivals). You never know what you might discover. It doesn’t always work. I’ve had my share of dead nights, shitty soundsystems and line-ups that seem to shift every time you look at them.
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												  “I Try Everything at My Disposal: Different Guitars, Amps, Processors““II ttrryy eevveerryytthhiinngg aatt mmyy ddiissppoossaall:: ddiiffffeerreenntt gguuiittaarrss,, aammppss,, pprroocceessssoorrss,, ddiissttoorrttiioonn bbooxxeess.. II ttrryy nneevveerr ttoo ssttiicckk ttoo oonnee bbaassiicc ssoouunndd..”” ––––MMiikkee SSccaacccciia a channel guitar and left-channel guitar,” explains Jourgensen. Jourgensen and Scaccia share a longstanding passion for “They double each other, usually with a different guitar and another raw sound: vintage country music. “Basically,” says amp setting on each side. If there’s a lead, we just pan it up Al, “all I listen to is old country: Ferlin Husky, George Jones, When guitarist Mike Scaccia heard Al Jourgensen’s ground - for space only with bass and drums, Jourgensen and Scaccia the center.” Buck Owens.” Adds Mike, “I listen to Buck Owens, Johnny breaking industrial rock band Ministry in 1986, it was love at must grapple with those instruments as well as dense layers Cash, and old bluegrass on a daily basis, and I’ve always first stun. “They blew me away,” recalls Scaccia. “I’d come of synths, samples, and machine beats. Another surprise: While they occasionally drop their low E been a huge Chet Atkins fan.” from a punk and metal background, and what Al was doing strings to D, Al and Mike rarely lower their entire tunings. “We was like nothing I’d ever heard.” “It’s hard making the guitars sound heavy in the context of so don’t go down to C, where these nü metal guys like to spend Jourgensen has good news and bad news for Ministry fans. much other mayhem,” notes Jourgensen. “It’s a lot of work their time,” says Al.