WIG OUT! Dance this mess around with the all-time, good-time party band The B-52s in a wild and unforgettable live performance. This hour-long set, recorded at the inaugural US Festival in 1982, had the crowd dancing from start to finish, and was considered to be one of the best of the entire festival. This rare concert shows off the joyous energy and unique spirit that has been a hallmark of their music and live performances for over 40 years.
This Is What Democracy Sounds LikeFriday, October 7, 2011 Our Dreams Are Our Weapons: From the Kasbah/Tunis to Tahrir Square/Cairo and Back (Network)At first this bifurcated selection of eight liberation songs fromTunisia and six from Egypt sounds noble and no more. Although the 14tracks vary considerably, all are on the respectable side except forone Tunisian rap, which was recorded well before the revolt got therapper imprisoned. But soon the Tunisian sequence hits home: upliftingneotrad opener to songpoem with crowd chatter to haunting rap tomarchlike hymn right through a rock anthem that swept all the way toTahrir Square. Unfortunately, after a Nubian opener the Egyptians'contributions don't connect as deep. The two oud-and-percussionfeatures by two Coptic brothers are too many, and the saved-for-last\"The Challenge,\" by Tunisian oud-and-zither brothers with their ownalbum on this very label, strives a little too solemnly to, as thenotes put it, \"build a bridge between Orient and Occident.\" A matterof taste, of course--tragic sacrifices and momentous changes meritsome solemnity. But I'd love to hear just one beat from the rappers Iknow damn well were taking their A game to the Cairostreets. B PLUS
Auburn got its go-ahead run in the third inning as Cooper led off the frame with a walk and then reached around to third on a wild pitch and a ground out to the pitcher. With still only one out and Estell at the plate, Cooper was able to score on Hoover's second wild pitch of the inning. The heads-up base running was the final run scored in the game and it was still only the third inning.
This chapter explores the spectacles of gladiators, bare-knuckle boxing, and the early theater. Wild, violent bodies were banned in Rome and America: the gladiator excluded from civic participation and protections; boxing matches banned through much of the nineteenth century. Both bodies were marked by wounds, but even more by a brashness and ruggedness that was contrary to standards of elite decorum. These bodies were the object of elite condemnation as uncivilized, uneducated, and unrefined. And these bodies were the object of the gaze, put on display to perform to the expectations of the audience. The problem is that boundaries of exclusion prove to be permeable. And these boundaries prove to be permeable because the lawless, uncivilized bodies replay the role of violence in constituting a founding identity. The conquest of wild, lawless nature in the name of civilization required a type of body, one that could act with similar violent wildness. To the chagrin of certain elites, the taboo body comes to be valorized, grafted and grafting itself onto the rugged origins embedded in the founding ideal. 59ce067264