DeVotchKa's career bio is so unlikely that we pitiable reviewers usually have to indulge our inner allusion-making spazzes to give the impression that we're not just recasting the interesting facts from the band's press releases as zingers. I, for one, was going to utter something like, "This band will be perfect to replace Jose Feliciano in the Celebrity Room scene when Guy Maddin remakes Fargo, setting it at the turn of an imaginary century." See, right there, you get the exoticism, the uncouthness, the kitschy passion (or earnest camp?), the hint of menace, and the nostalgia so nonspecific that it seems forward-looking. Woodchipper-bound criminal Carl Showalter even (mis)references the work from which DeVotchKa's name derives, A Clockwork Orange, during that segment, when he tells his prostitute date he's only in town "for a little of the old in-and-out." Seriously, I can't compete: A professorial classical violinist. A sousaphone player from a Civil War recreation band. A punk-turned-mariachi-enthusiast drummer raised by polka musicians. A Gypsy-descendant singer more multi-instrumentalist than the other three band members that I just reductively identified according to their "main" pieces of equipment. DeVotchKa invented the Diablo Cody arc, as they've gone from accompanying burlesque/fetish shows to getting a Grammy nod, despite being unsigned at the time. Sire reportedly couldn't have them because parent company Warner thought them "unmarketable"-- and yet they just no-thanxed an offer from McDonald's to feature their music in the ubiquitous carcass-merchant's, um, marketing.
Synopsis: After a space merchant vessel receives an unknown transmission as a distress call, one of the crew is attacked by a mysterious life form and they soon realize that its life cycle has merely begun.
Synopsis: When the menace known as the Joker wreaks havoc and chaos on the people of Gotham, Batman must accept one of the greatest psychological and physical tests of his ability to fight injustice.
A txt file attached to torrents of tv shows advocating and introducing Libertarian Socialism. It was dedicated to the memory of Alexandros Grigoropoulos a Greek student whose death at the hands of police sparked rioting in 2008. Original ASCII has been preserved as much as possible.
It is not, however, difficult to foresee which of the two parties must, uponall ordinary occasions, have the advantage in the dispute, and force theother into a compliance with their terms. The masters, being fewer in number,can combine much more easily; and the law, besides, authorizes, or at leastdoes not prohibit their combinations, while it prohibits those of the workmen.We have no acts of parliament against combining to lower the price of work;but many against combining to raise it. In all such disputes the masters canhold out much longer. A landlord, a farmer, a master manufacturer, a merchant,though they did not employ a single workman, could generally live a year ortwo upon the stocks which they have already acquired. Many workmen could notsubsist a week, few could subsist a month, and scarce any a year withoutemployment. In the long run the workman may be as necessary to his master ashis master is to him; but the necessity is not so immediate.
This equality does not exist because in modern society where wealth isproduced by the intervention of capital paying wages to labor, the growthof the population outstrips the growth of production, which results in thesupply of labor necessarily surpassing the demand and leading to a relativesinking of the level of wages. Production thus constituted, monopolized,exploited by bourgeois capital, is pushed on the one hand by the mutualcompetition of the capitalists to concentrate evermore in the hands of anever diminishing number of powerful capitalists, or in the hands ofjoint-stock companies which, owing to the merging of their capital, aremore powerful than the biggest isolated capitalists. (And the small andmedium-sized capitalists, not being able to produce at the same price as thebig capitalists, naturally succumb in the deadly struggle.) On the otherhand, all enterprises are forced by the same competition to sell theirproducts at the lowest possible price. It [capitalist monopoly] can attainthis two-fold result only by forcing out an ever-growing number of small ormedium-sized capitalists, speculators, merchants, or industrialists, fromthe world of exploiters into the world of the exploited proletariat, and atthe same time squeezing out ever greater savings from the wages of the sameproletariat.
On the other hand, the mass of the proletariat, growing as a result of thegeneral increase of the population - which, as we know, not even povertycan stop effectively - and through the increasing proletarianization of thepetty-bourgeoisie, ex-owners, capitalists, merchants, and industrialists -growing, as I have said, at a much more rapid rate than the productivecapacities of an economy that is exploited by bourgeois capital - thisgrowing mass of the proletariat is placed in a condition wherein the workersare forced into disastrous competition against one another.
But since supply and demand are equal, why do the workers accept the conditionslaid down by the employer? If the capitalist stands in just as great a need ofemploying the workers as the one hundred workers do of being employed by him,does it not follow that both sides are in an equal position? Do not both meetat the market as two equal merchants - from the juridical point of view atleast - one bringing a commodity called a daily wage, to be exchanged for thedaily labor of the worker on the basis of so many hours per day; and the otherbringing his own labor as his commodity to be exchanged for the wage offeredby the capitalist? Since, in our supposition, the demand is for a hundredworkers and the supply is likewise that of a hundred persons, it may seemthat both sides are in an equal position.
The farmer produces the food of the world. He feeds all of us. But before hecan get his goods to us, he is made to pay tribute to the class that livesby the work of others, the profit-making, capitalist class. The farmer ismulcted out of the greater part of his product just as the worker is. He ismulcted by the land owner and by the mortgage holder; by the steel trust andthe railroad. The banker, the commission merchant, the retailer, and a scoreof other middlemen squeeze their profits out of the farmer before he isallowed to get his food to you.
In fact, it was this determined radical stand which eventually brought aboutthe split in the revolutionary movement of that day, and its division intotwo factions: the one, under Marx and Engels, aiming at political conquest;the other, under Bakunin and the Latin workers, forging ahead alongindustrial and Syndicalist lines. The further development of those two wingsis familiar to every thinking man and woman: the one has graduallycentralized into a huge machine, with the sole purpose of conquering politicalpower within the existing capitalist State; the other is becoming an ever morevital revolutionary factor, dreaded by the enemy as the greatest menace to itsrule.
I found this file after downloading a torrent for Sea Lab 2021. There were dozens of torrents for tv shows uploaded by the user BloodLogic. They were high quality rips with many extras. This is the first Libertarian Socialist text I read and introduced me to the term.
Some commentators consider elements of the song reactionary, such as the opposition to office blocks and skyscrapers, sentiments which Rogan compares to the UK Conservation Society's 1966 founding promise to "[fight] against the menace of decreasing standards". Ray countered interpretations that the song was reactionary in a 1984 interview, instead characterising it as "a warm feeling, like a fantasy world that I can retreat to". Author Barry J. Faulk writes that following Ray's November 1968 explanation that the song was meant to capture the Kinks' penchant for preservation, the song's message was meant to directly contrast with that of contemporary rock songs like the Rolling Stones' 1968 single "Street Fighting Man". Miller writes that though it "lack[s] the righteousness and glamour" of the Rolling Stones' single, "The Village Green Preservation Society" is a "quiet song of defiance".[nb 6] Doyle considers the band's defiant sentiments an "anti-authoritarian preservationism of the little man", pointing to Dave's later explanation of the song's opening harmonies: "It was like, 'We're impenetrable. We might not have a lot, but you can't kill us. You're going to have to shoot us.'"
The layer was home to countless mane petitioners, who were constantly hunted for food or thrust down the pits into the deeper layers, as well as gangs of molydei that hunted demon stragglers. There were also a large number of mortal and outsider merchants and visitors throughout the layer, attracted by the opportunities offered by the layer's countless portals. The largest of these pits was known as the Grand Abyss, which was considered a layer in its own right. Some pits worked as two-way portals, but others were only one-way.
The realm was a bubbling fetid swamp, covered with oozes, molds and slimes that formed strange organic shapes, under a mud-brown sky overcast with green clouds from which torrential rains of filth fell every few hours. Zuggmoy's palace on the plane consisted of dozens of gigantic yellow and brown mushrooms, connected by bridges of shelf-fungi and surrounded by poisonous vapors and acidic puffballs. 2b1af7f3a8