DON'T THINK (pt. 2): Paste whatever is on your clipboard right now into the window and hit SUBMIT!

ess like a zeppelin soaring over jaunty, sassy arrangements.

i mean do YOU know anyone who never displays any emotion whatsoever and speaks in nothing but tart little bon mots?

WOn't Boba Fett still be a kid though?
-- Huk-L (handsomishbo...), September 23rd, 2004.

[QUOTE]

Doug E Fresh & The Get Fresh Crew

‘Holidays In the Sun’ by the Sex Pistols contains a lyric with no unified point of origin. The first stanza runs:

I don’t want a holiday in the sun
I wanna go to the new Belsen
I wanna see some history
Cos now I gotta reasonable economy.

An attempt to hear this as the statement of an individual subject could interpret the first three lines as a discussion of a choice of holidays or other journeys, with ‘new Belsen’ remaining mysterious. The fourth line, however, makes this ‘naturalistic’ interpretation less tenable. States, not individuals, have ‘reasonable economies’. If this is an individual, his idiolect is being signified as exceptionally eccentric. ‘Ideolect’ is Barthes’ term for the ‘plurality and co-existence of lexicons [discourses – DL] in one and the same person, the number and identity of these lexicons forming in some sort a person’s ideolect’.
But there is an alternative response to the lyrics of this first verse, one based on recognizing links between words and their connotations across rather than within the linear narrative. That is, words are connected by their membership of the same discourse in the world of communication beyond this particular song. Thus, the presence of ‘Belsen’ and ‘history’ suggests Nazism and the Second World War, while the addition of ‘reasonable economy’ sets up faint echoes of terms like the ‘German economic miracle’ (a media cliché of the 1960s and beyond to describe the rebuilding of West German prosperity). In this perspective, the lyric becomes something like a collage put together from the discourse of newspaper, advertising, pulp fiction, sensationalized history.
Further verses and the chorus offer more material to support this response: ‘Berlin Wall’, ‘Communist Call’, ‘World War Three’ all make an appearance. To hear the lyric as the product of a unified psychological subject it becomes increasingly necessary to regard the lyric’s ‘disconnected’ narrative form as itself a symptom of a state of psychological disturbance. Verse 3 begins: ‘Claustrophobia, too much paranoia/There’s too many closets, when will we fall. . . .’
The final vocal passage of the record, delivered in a recitative manner, provides a third dimension to the mode of the énoncé:

I can go over the Wall
This third rate B movie stuff
Cheap dialogue, cheap essential scenery

I’m gonna go over the Berlin Wall
Before they come under the Berlin Wall
I don’t understand this bit at all (three times)
Please don’t be waiting for me.

While line 1 can be read as part of a skeletal narrative scenario, as a sign of emotional intensity or as an example of Cold War obsessions with the Berlin Wall (including an ironic reversal of the conventional wisdom that people from East Berlin are those determined to climb the Wall), the next lines introduce a new point of reference. What is the ‘third rate B movie stuff’? – is this the (barely) unified psychological individual commenting on his own paranoia? Is it the producer of the ‘collage’ pronouncing on his raw material? Or is it a ‘performer’, a ‘Johnny Rotten’ making a comment about the words he has to sing, a comment which is returned to in the penultimate line: ‘I don’t understand this bit at all’?
There is no ‘correct’ way to hear the lyric. Where it differs from the bulk of lyrics is that the ‘I’ of the enonce is not forced to be unitary. A phrase like ‘reasonable economy’ can thus float towards the complex of meanings suggested by the other political reference points dotted throughout the lyric. While Johnny Rotten’s voice, the enonciation, still offers the pleasure of identification with a unified position, a different kind of pleasure – that which enjoys the transgression of the codes through which conventional meanings are constructed – is available for listeners to the lyric.

(That's a quote from Dave Laing BTW.)

jetfire

https://registration.mercurynews.com/reg/rpfe.do?k=uxmamtUsUd

game of storytelling in which the order of tellers is chosen at random

XtendedOfficeSM

Results 1 - 10 of about 1,800 for fnarr. (0.41 seconds)

Branson

meeting Mat Chaplin 11.30 4/10/04

Hej hej lilla Deathprod-box. Snart är du i min mage!

Hanna, exactly what are you going to eat?

ORDER BY PatientID, start_dttm desc

15 4-D-ring white binders with front and spine pocket 65mm capacity = £4.65
each
15 colour cover inserts for binder on 160gsm = A3 @ £2.09 x 15 = £31.35
15 colour spine inserts for binder on 160gsm = A3 @ £2.09 x 8 = £16.72
15 sets multicolours tabbed dividers numbered 1-10 (coloured tabs on
white board)= £5.00 per set
15 x 500pp A4 b/w (approx)= 225 @ 3p = £67.50
15 x 30 A4 colour (approx)= 15 x 30 = 450 @ 69p = £310.50

TABLE 6 - FORECAST STATE OF SEA


Code Figure

Description

Height in Meters

0

Calm (glassy)

0

1

Calm (rippled)

0 - 0.1

2

Smooth (wavelets)

0.1 - 0.5

3

Slight

0.5 - 1.25

4

Moderate

1.25 - 2.5

5

Rough

2.5 - 4

6

Very Rough

4 - 6

7

High

6 - 9

8

Very High

9 - 14

9

Phenomenal

over 14

Until the latter part of the twentieth century, Roman Catholic nuns in American elementary schools (and possibly elsewhere) would punish children for using their left hand to write, typically by slapping their left hand with a ruler if they attempted to pick up a pen with it. Left-handedness was interpreted as a sign of Satanic influence, and thus prohibited.

How to Leave the World that Worships Should

Let faxes butter-curl on dusty shelves.
Let junkmail build its castles in the hush
of other people's halls. Let deadlines burst
and flash like glorious fireworks somwhere else.
As hours go softely by, let others curse
the roads where distant drivers queue like sheep.
Let e-mails fly like panicked, tiny birds.
Let phones, unanswered, ring themselves to sleep.

Above, the sky unrolls its telegram,
immense and wordless, simply understood:
you've made your mark like birdtracks in the sand -
now make the air in your lungs your livelihood.
See how each wave arrives at last to heave
itself upon the beach and vanish. Breathe.

Ros Barber

spring 2005

Jet Fighter Three O'Clock Sixteen Tambourines/Baroque Hoedown 1983
Good Girls Don't The Knack Retrospective 1979
Shoplifters Of The World Unite The Smiths Louder Than Bombs 1987
Crystal Days Echo & The Bunnymen Ocean Rain 1984
Everybody Have Fun Tonight Wang Chung Mosaic 1986
Beat It Michael Jackson Thriller 1982
When Doves Cry Prince And The Revolution Purple Rain 1984
What's A Girl To Do Cristina Sleep It Off 1984
Head Over Heels Go-Go's Head Over Heels 1984
Temptation New Order Substance 1987 (Disc 1) 1987
I Think We're Alone Now Tiffany Tiffany 1987
Relax Frankie Goes to Hollywood Welcome to the Pleasuredome 1984
Pale Shelter Tears For Fears The Hurting 1983
Boys Don't Cry The Cure Staring at the Sea: The Singles 1986
Just Like Honey The Jesus & Mary Chain Psychocandy 1986
Walk Like an Egyptian The Bangles Different Light 1986
Sweet Child O' Mine Guns N' Roses Appetite for Destruction 1987
Total Eclipse Of The Heart Bonnie Tyler Faster than the Speed of Night 1983

when I get older.

Duck Tales and Darkwing Duck

Great Depression

contracts..

on the plane to LAX

Go Home Productions remix of Gang Of Four's 'To Hell With Poverty'
is to see official release.

After creating a demo edit for playing out at gigs earlier in the year and
receiving a thumbs up and some prime time airplay from XFM DJ and Remix
guru Eddy Temple-Morris, GO4 guitarist Andy Gill (who heard Eddy's show)
put their recently re-recorded version my way, for an official remix.

The band have been excited enough with the GHP mix to release it as the
b-side of their next single (an imminent 7-inch re-release of 'To Hell With Poverty') and it will also be on the new Gang Of Four album due at the end
of August on V2

The new Gang Of Four album (provisionally titled 'The Embarrassment Of Paleface') will be a 2 CD release.
The first being newly re-recorded selections from their first 3 albums and the second CD is a collection of new remixes
by artists who have been influenced over the years by GO4.
Alongside the Go Home Productions mix, there will be remixes by No Doubt / Beck / Moby / Massive Attack /
The Futureheads / Bloc Party / Hot Hot Heat / Yeah Yeah Yeahs / Ladytron / Dandy Warhols and more tbc.

to take elocution lessons is to buy in to an already established set of rules about something that is

Bibliography

Augé, Marc. Non-Places: Introduction to an Anthropology of Supermodernity. Trans. John Howe. London
and New York: Verso, 1995.
Bentham, Jeremy. Panopticon: or, The inspection-house. Dublin: Thomas Byrne, 1791.
Foucault, Michel. Discipline and Punish and The Order of Things, excerpted in Julie Rivkin and Michael
Ryan, eds. Literary Theory: An Anthology. Oxford: Blackwell, 1998.
Pascoe, David. Airspaces. London: Reaktion Books, 2001.

Online sources

http://www.geocities.com/Baja/5692/
http://www.cuug.ab.ca:8001/~busew/dia.html

[From http://www.cuug.ab.ca:8001/~busew/dia.html]
A few [Denver International] airport Facts:
SIZE: 53 square miles, largest U.S. public works project.
AIRLINES: Nineteen airlines, with United Airlines accounting for about 65% of the traffic.
FLIGHTS: About 1,300 flights and 88,000 passengers a day.
EFFICIENCY: World's only airport designed to accommodate three streams of aircraft simultaneously in bad weather.
CONTROL TOWER: The tallest in the U.S. at 327 feet, giving controllers unequaled views of aircraft and weather.
GROUND GUIDANCE: A lighting system built into runways and taxiways guides pilots to their concourse gates, helping to eliminate pilot confusion on the ground.
EMPLOYEES: About 23,000 airport workers, from pilots to sky caps.
SECURITY: More than 750 closed-circuit TV cameras monitor airport premises.
TRAIN SYSTEM: $84 million underground rail between terminal and three concourses.

Terminal Highlights:
NAME: Elroy Jeppesen after aviation pioneer whose navigational maps and charts are standard in aircraft.
SIZE: Three stories, 1.5 million square feet, 126-foot central atrium.
TENT: $37 million, 15-acre tent roof held up by 34 masts, supported on 10 miles of steel cable, 30,000 clamps.
ART: Includes 28 ceramic balustrades, bronze statue of Jeppesen, "Spirit of the People" exhibit.

[confidential stuff about the HG Wells estate]

Let the women play in more feminine clothes like they do in volleyball

"WE
> > GENUINELY SET OURSELVES UP IN OPPOSITION TO THE CONCEPT OF GUILTY
> > PLEASURES AND HAVE DONE FOR MUCH LONGER THAN SEAN ROWLEY HAS BEEN
> > RUNNING HIS STUPID FRANCHISE OF THAT NAME"

Mozilla/5.0 (Windows; U; Windows NT 5.0; en-GB; rv:1.7.8) Gecko/20050511 Firefox/1.0.4

Macreadie

We used optical genotyping with fluorescent probes. (ASK BILL xxxxxxxx HOW TO DESCRIBE LAB WORK?????)

LAB PROCEDURE
Isolate genomic DNA
Dilute to appropriate concentration
Amplify target sequence
Primer Extension
Optical genotyping, allelic discrimination by fluorescence

odyssey