SOUTHERN PEACE T SHIRTS - T SHIRTS

Southern peace t shirts - Make your own t shirt for kids

Southern Peace T Shirts


southern peace t shirts
    t shirts
  • (t-shirt) jersey: a close-fitting pullover shirt
  • (T Shirt (album)) T Shirt is a 1976 album by Loudon Wainwright III. Unlike his earlier records, this (and the subsequent 'Final Exam') saw Wainwright adopt a full blown rock band (Slowtrain) - though there are acoustic songs on T-Shirt, including a talking blues.
  • A short-sleeved casual top, generally made of cotton, having the shape of a T when spread out flat
  • A T-shirt (T shirt or tee) is a shirt which is pulled on over the head to cover most of a person's torso. A T-shirt is usually buttonless and collarless, with a round neck and short sleeves.
    peace
  • Freedom from or the cessation of war or violence
  • Freedom from disturbance; quiet and tranquility
  • Mental calm; serenity
  • harmonious relations; freedom from disputes; "the roommates lived in peace together"
  • the absence of mental stress or anxiety
  • the state prevailing during the absence of war
southern peace t shirts - Festival Express
Festival Express
Festival Express
Festival Express is a rousing record of a little-known, but monumental, moment in rock n' roll history, starring such music legends as Janis Joplin, The Band, and the Grateful Dead. Set in 1970, Festival Express was a multi-band, multi-day extravaganza that captured the spirit and imagination of a generation and a nation. What made it unique was that it was portable; for five days, the bands and performers lived, slept, rehearsed and did countless unmentionable things aboard a customized train that traveled from Toronto, to Calgary, to Winnipeg, with each stop culminating in a mega-concert. The entire experience, both off-stage and on, was filmed but the extensive footage remained locked away -- until now. A momentous achievement in rock film archeology, Festival Express combines this long-lost material with contemporary interviews nearly 35 years after it was first filmed.
DVD Features:
DVD ROM Features
Theatrical Trailer

The vintage concert footage alone makes Festival Express a memorable and worthwhile endeavor, offering scintillating performances by Janis Joplin, the Band (their rollicking version of "Slippin' and Slidin'" is particularly mind-blowing), the Grateful Dead, Buddy Guy, and others (remember Mashmakhan?). In 1970, during the heyday of the rock festival, promoter Ken Walker decided to organize a traveling musical revue, bringing the mountain to Mohammed, as it were. In five days' time, the festival played in three Canadian cities with the entire conglomeration traveling, playing, and getting smashed together the whole way. Nearly as rewarding as the live performances are the candid scenes of the train ride itself, an endless jam session and party during which musicians of all shapes and sizes let their hair down--musically and otherwise. The contemporary interviews with Walker and some of the surviving musicians aren't particularly noteworthy, except as a way to prove that it all actually happened. Walker comes off as a hero in the film: he treated the musicians like royalty and insisted that the train roll on even though he was losing his shirt. (His financial failure is a large reason why this material stayed in the vaults for so long.) Perhaps the most remarkable scene is an off-the-cuff, LSD-fueled train jam featuring Joplin, the Band's Rick Danko, and the Dead's Jerry Garcia playing the old chestnut "Ain't No More Cane." Danko is so obliterated that even Janis has to ask him if he's OK--when Janis is worried about your state of mind, you must be pretty messed up. --Marc Greilsamer

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NOTES FROM CHRISTMAS ISLAND. CHAPTER 4
NOTES FROM CHRISTMAS ISLAND. CHAPTER 4
Image: Coastal view of Christmas Island Below is the fourth in a series of five monthly reports I sent back to friends in 2007. Should you be interested, recommend that they be read in order, to get the best out of them. Notes from Christmas Island Chapter 4 OCTOBER 2007 The circumnavigating French yachties, said, in outrageous accents that the Blowholes here on Christmas Island were the best they had seen. That was a big call as they have been around the world, by yacht, a couple of times and seen many islands and much coast. The Blowholes and associated rock formations constitute a good ten to twenty percent of the island’s coastline. Should you recall a reference in Chapter 2 to the shape of the island being somewhat canine then the Blowholes region is the dog’s guts. Facing south between the Blowholes and Antarctica there is nothing but the unrelenting force of the Indian Ocean and below that the fury and tempestuousness of the Southern Ocean. The ocean hammers the limestone structure of the island all day and night just as it has for twenty million years. The attrition of the rock through the wear and tear of wave pressure, time and salt is savagely evident. All soil and softer rock has been abraded away exposing the base limestone pinnacles at ground level. And has worn those very pinnacles into sharp and severe weapons ready to smite the reckless and those of poor equilibrium. I knew a gentleman many years ago who fell from these rocks to the ground while walking and so severely broke his leg he had to be flown the 2600km to Perth for treatment. Below at sea level the ocean etches cavities and fissures into the bedrock creating blowholes that boom and surge while reformatting ocean flows into spires of water and salt mist. The drop from bedrock to the ocean is probably six metres and is a fall not worth taking. Once you are in the water on this Southern edge the only business for a witness is to take notes of what happened and then hand them to the Coroner. The combination of the ocean and these nasty rocks make for an efficient people shredding machine. Once in the water there is no way up, way too far to make safe landfall if swimming and too long a time for a boat to come around for rescue. While an avoidable, pointless, uncivilised and ferocious death is inevitable the rolling deep dark blue ocean juxtaposed against the turquoise of breaking waves and the pureness of the white surf surge would make for a picturesque and poignant although ultimately tragic final scene. But safely standing on the boardwalk ten metres back from the edge it’s a fine place to view the fury, grandeur and calmness of the natural world. The above having been eloquently said, or so it seemed when I wrote it, I have seen people fishing at the edge. One big unexpected wave and the only things left would be tears and paperwork. The blowholes are a major tourist attraction and a regular stop on our tours. Excluding the solitary, winding, red crab strewn, ridiculously steep, prolonged in length, rainforest lined, 4WD requiring unsealed road down from the higher terraces access would otherwise be by foot or mountain bike and is tough work. I have had a crack at going back up across the three terraces and their constituent inclines from the coast to the upper plateau by both mountain bike and recently running them during Hash House Harrier runs. After both of them I knew I had been alive. Upon completion I longed for water, chocolate, level ground and rest. Of course the tours are run in comfort and fairly stylishly since the arrival of the new 4WD earlier this year. For the discerning tourist it is all spectacle and air conditioning. The 4WD is the only dedicated, tour only, vehicle on island and an important part of our tourism industry. An industry in it’s infancy but one with a significant upside. Peace, Tranquillity and Room to Breathe around the world can be a difficult to find commodity and when found sometimes expensive to temporarily acquire. Around Christmas Island, PT&RtB are pretty easy to unearth. That said, our tranquillity was broken only last week as Fire and Police sirens cracked the air after some old tyres caught fire at the refuse site. As smoke caused the evacuation of the Recreation Centre and Swimming Pool and adjacent facilities the sirens of the emergency response vehicles stopped everyone in their tracks. Jody and I also witnessed a bizarre occurrence, for Christmas Island, a few weeks ago. Saturday night after the movies the Australian Federal Police were doing licence checks and undertaking a bit of scrutiny of vehicles for roadworthiness at the bottom of the hill on the roundabout. Given the high cost of getting new vehicles to the island many cars are run beyond their normal expected life. So doing an hour or two of roadworthiness checking can be productive. Then there was this guy. He came down the hill, saw the Fed’s. I am assuming that he a
Jenny Holzer's Truisms (1977-1979)
Jenny Holzer's Truisms (1977-1979)
This is my favorite photo of the evening. Since the late 1970s, when her aphoristic Truisms and her Inflammatory Essays were first posted anonymously around New York, Jenny Holzer's work has sought to reformulate many of the givens of traditional art, especially in the context of public spaces. Writing is the basis of Holzer's practice. Although most of Holzer's content is original, on occasion, she works with historic or archival sources (for example, in her several commissioned permanent memorial works). To date she has written thirteen series: Truisms (1977-79), Inflammatory Essays (1979-82), Living (1980-82), Survival (1983-85), Under a Rock (1986), Laments (1989) Mother and Child (1990), War (1992), Lustmord (1993-95), Erlauf (1995), Arno (1996), Blue (1998), and OH (2001). Holzer employs her texts singly or in combination in her permanent works, installations and xenon projections. Media employed in Holzer's practice vary. Writing is programmed into electronic signs; printed on posters and t-shirts; carved in sandstone benches, marble floors and granite sarcophagi; cast as bronze plaques; or etched on silver. Further, her statements have appeared on billboards, movie marquees, automobiles, in news magazines, and on websites, as well as being projected onto facades, walls, water and mountainsides by laser or with xenon. Holzer's work has been shown in exhibitions and projects worldwide, including Times Square, New York (1982), Dia Art Foundation, New York (1989), Solomon R. Guggenheim Museum, New York (1989), 44th Venice Biennale (1990), Art Tower, Mito, Japan (1994), Centre National d'Art et de la Culture Georges Pompidou, Paris (1996), Museum of Modern Art, New York (1997), Instituto Cultural Itau, Sao Paolo, Brazil (1998), Whitney Museum of American Art, New York (1999), Oslo Museum of Contemporary Art, Norway (2000), and Neue Nationalgalerie Berlin, Germany (2001). In addition, she has executed permanent installations for institutions such as MAK, Vienna (1993), Toyota Municipal Museum of Art, Japan (1995), Hamburger Kunsthalle, Germany (1996), Guggenheim Museum Bilbao, Spain (1997), and Bundestag, Berlin (1999), as well as created memorials including, Black Garden, Nordhorn, Germany, (1994), Peace Monument, Erlauf, Austria (1995), Goerdeler Memorial, City of Leipzig (1999), and BLACKLIST, University of Southern California, Los Angeles (1999). Holzer was born on July 29, 1950, in Gallipolis, Ohio. After attending high school in Ohio and Florida, she enrolled in Duke University's liberal arts program in 1968 and later attended the University of Chicago from 1970 to 1971. In 1972, Holzer completed her undergraduate work at Ohio University, Athens, with a bachelor's degree in fine arts. In 1975, she entered the master of fine arts program at the Rhode Island School of Design. During her MFA studies, completed in 1977, Holzer moved to New York City to participate in the Whitney Museum's Independent Study Program, and began her first series of public art texts. Holzer received the Leone d'Oro grand prize for best pavilion at the 44th Venice Biennale in 1990, the Skowhegan Medal for Installation from the Skowhegan School of Painting and Sculpture, in 1994, the Crystal Award from the World Economic Forum, in 1996 and a Berlin Prize Fellowship from the American Academy in Berlin, 2000. Ohio University awarded her an honorary Doctorate of Arts in 1994 and Williams College awarded her an honorary Doctorate of Arts in 2000. Jenny Holzer lives and works in Hoosick, New York.

southern peace t shirts
southern peace t shirts
Fred and Friends Peace of Cake
Everybody knows if we made more cake and less war the world would be a happier place. But it takes more than cake, so Fred is contributing a portion of the proceeds from this product to nonprofit organizations dedicated to peaceful resolution of conflict, justice for all, and respect for human rights. We can make a difference, one slice at a time. Peace of Cake is pure food-grade silicone, handsomely packaged in a recycled window box complete with Fred's heirloom recipe for Tye-Dye Flannel Cake. Design by Paul Hendrikx.

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