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Body Language Swing Students

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Nolan Morgan
Nolan Morgan

War The World Is A Ghetto Full Length Album Version Takel WORK

It's the first Harry Chapin collection to come out on vinyl for the independent record store community in the "modern" reissue era--and it's got all the hits in their rare single versions! Issued with the full cooperation of the Harry Chapin Estate, Story of a Life--The Complete Hit Singles includes liner notes and photos. Limited to 2000 copies worldwide, pressed on yellow "Taxi" vinyl!1. Taxi2. Sunday Morning Sunshine3. Better Place to Be4. WOLD5. Cat's in the Cradle6. I Wanna Learn a Love Song7. Sequel; Story of a Life

War The World Is A Ghetto Full Length Album Version Takel WORK

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Havoc and Bright Lights marked a rebirth for Alanis Morissette, the first album she recorded as a newlywed mother. Delivered a full eight years later, Such Pretty Forks in the Road is the second act of the story, an album about learning how to find contentment at middle age. Morissette wrestles anxieties, origin stories, addictions, parenthood, and partnership throughout the record, searching for reasons and a diagnosis, achieving a sense of peace with having her sense of calm being disturbed on occasion. Appropriately for an album that's decidedly focused on an inward journey, Such Pretty Forks in the Road simmers, never boils. Hooks force themselves into the center stage on "Reasons I Drink" -- the rare tune here that could be called catchy -- but otherwise melody takes a back seat to mood. This doesn't necessarily mean Morissette's words are pushed into the spotlight. Such Pretty Forks in the Road is lacquered in immaculate gloss, a sound that accentuates the interior journey of the songs without quite inviting exploration. A close listen reveals all the troubles rolling around Morissette's mind, but the nice thing about Such Pretty Forks in the Road is how its smooth, placid surface makes the record feel like an album-length guided serenity meditation.Side A1. Smiling2. Ablaze3. Reasons I Drink4. Diagnosis5. Missing The Miracle6. Losing The Plot

Frieda Bursztyn Radasky learned There Lies Treblinka in 1943 while working in the kitchen at a coal depot in the Praga district of Warsaw, outside the ghetto area. The kitchen workers, mostly young women, witnessed countless Jews being deported from the ghetto. Many deportees believed the Nazi propaganda that the trains were headed to work camps, where survival was possible. Radasky and her coworkers knew the trains led to death camps. There Lies Treblinka was their way of acknowledging the horrible truth.According to Radasky, There Lies Treblinka was written over a period of time with each worker contributing to the lyrics. The song survives in a number of variant forms; Radasky recorded her version around 1990 during an oral history session with her daughter, whose voice can occasionally be heard on the recording.

Our full name is the International Criminal Police Organization and we are an inter-governmental organization. We have 195 member countries, and we help police in all of them to work together to make the world a safer place.

Among the visual artists, Lawrence's historical series emphasized the racial struggle that dominated African American history, while Romare Bearden's early illustrative work often focused on racial politics. The struggle against lynching in the mid-1920s stimulated anti-lynching poetry, as well as Walter White's carefully researched study of the subject, Rope and Faggot. In the early 1930s, the Scottsboro incident stimulated considerable protest writing, as well as a 1934 anthology, Negro, which addressed race in an international context. Most of the literary efforts of the Harlem Renaissance avoided overt protest or propaganda, focusing instead on the psychological and social impact of race. Among the best of these studies were Nella Larsen's two novels, Quicksand in 1928 and, a year later, Passing. Both explored characters of mixed racial heritage who struggled to define their racial identity in a world of prejudice and racism. Langston Hughes addressed similar themes in his poem "Cross," and in his 1931 play, Mulatto, as did Jessie Fauset in her 1929 novel, Plum Bun. That same year Wallace Thurman made color discrimination within the urban black community the focus of his novel, The Blacker the Berry.

In justice to the nations and the men associated in this prosecution, I must remind you of certain difficulties which may leave their mark on this case. Never before in legal history has an effort been made to bring within the scope of a single litigation the developments of a decade, covering a whole continent, and involving a score of nations, countless individuals, and innumerable events. Despite the magnitude of the task, the world has demanded immediate action. This demand has had to be met, though perhaps at the cost of finished craftsmanship. To my country, established courts, following familiar procedures, applying well-thumbed precedents, and dealing with the legal consequences of local and limited events seldom commence a trial within a year of the event in litigation. Yet less than 8 months ago today the courtroom in which you sit was an enemy fortress in the hands of German SS troops. Less than 8 months ago nearly all our witnesses and documents were in enemy hands. The law had not been codified, no procedures had been established, no tribunal was in existence, no usable courthouse stood here, none of the hundreds of tons of official German documents had been examined, no prosecuting staff had been assembled, nearly all of the present defendants were at large, and the four prosecuting powers had not yet joined in common cause to try them. I should be the last to deny that the case may well suffer from incomplete researches and quite likely will not be the example of professional work which any of the prosecuting nations would normally wish to sponsor. It is, however, a completely adequate case to the judgment we shall ask you to render, and its full development we shall be obliged to leave to historians.

The working people of Germany, like the working people of other nations, had little to gain personally by war. While labor is usually brought around to the support of the nation at war, labor by and large is a pacific, though by no means a pacifist force in the world. The working people of Germany had not forgotten in 1933 how heavy the yoke of the war lord can be. It was the workingmen who had joined the sailors and soldiers in the revolt of 1918 to end the first World War. The Nazis had neither forgiven nor forgotten. The Nazi program required that this part of the German population not only be stripped of power to resist diversion of its scanty comforts to armament, but also be wheedled or whipped into new and unheard of sacrifices as a part of the Nazi war preparation. Labor must be cowed, and that meant its organizations and means of cohesion and defense must be destroyed. The purpose to regiment labor for the Nazi Party was avowed by Ley in a speech to workers on May 2, 1933 as follows:

Black Flag have put out so many releases over the years outside of proper studio albums, so to keep this a little more under control, I've opted to exclude live albums and compilation albums, but I did include the band's studio EPs. As was often the case with punk and hardcore, some of Black Flag's most essential releases were EPs, especially the ones that came out before they ever released a full-length album. Those early EPs (along with 1982's Everything Went Black compilation) are the go-to records to hear them fronted by Keith Morris (who went on to form Circle Jerks and OFF!), Ron Reyes (who also sang on their 2013 reunion album What The...), and Dez Cadena (who moved to rhythm guitar for their debut album), before Henry Rollins became their longtime vocalist.

Loose Nut followed 1984's Slip It In, was recorded with the same Henry Rollins/Greg Ginn/Kira Roessler/Bill Stevenson lineup, and like that album, it's among Black Flag's cleanest work. Also like that album, it contains a song that dated back to the storied pre-My War 1982 demos, the Chuck Dukowski-penned "Modern Man." You can see why "Modern Man" didn't make the more classic My War -- it has the same doom metal and punk influences of that album but it doesn't fuse them together as brilliantly as the songs that did make it on My War -- but it's still a fine example of mid-'80s Black Flag. The metal influence is strong all over Loose Nut, with some of the band's heaviest riffs showing up on "Annihilate This Week," "I'm the One," "Sinking," and "Now She's Black." It explores the avant-garde punk style Greg Ginn was increasingly interested in during this era on "This Is Good," and Loose Nut's title track is among the band's most addictively poppy songs. (The Offspring's whole first album kinda sounds like 11 different versions of "Loose Nut.") Loose Nut goes down easier than some of Black Flag's more experimental mid-'80s releases, but it's also less memorable than most of them. They'd shake things up again a few months later on their last pre-breakup album In My Head, but Loose Nut is the sound of a great band on autopilot.

After being forced to go over two years without releasing new music, Black Flag released three full-length albums in 1984, all of them essential. Following the more more metallic direction on the game-changing My War, new bassist Kira Roessler joined and Black Flag made by far their most experimental album yet, Family Man. Greg Ginn wrote the majority of Black Flag's material early on, but Henry Rollins -- who at this point was established as the face of Black Flag and was becoming as known for his stage banter as his singing -- started writing more on My War and by Family Man he was fully ready to embrace his inner poet. These days, he's busier with spoken word than he is with music, but Family Man was the first time he introduced that side of him to the world. The first half of the album is just Rollins doing spoken word/slam poetry, with no music at all. And even then, he was convincing. Family Man's title track is as memorable and quotable as many of Black Flag's fan-fave songs.


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