I was 18 and evenly immersed in the superficial, nationalist vibes of Britpop and the mostly anti-commercialist platform of American indie rock.
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We want to make music that assumes that the listener is too smart to accept stale, second-hand ideas hidden in non-threatening commercialist packaging and production.
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He was born on 27 March 1957 in Šabac. From 1983 to 1984, he worked in the National Statistical Office, and from 1984 to 1996, he worked as a commercialist in the MPI "Žitoratar" Šabac. From 1996 to 2001 he had his own private business. From 2001 to 2005, he was a Director of the Association "Village Threshold 98".
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Due to poor financial situation, his secondary education is that of a commercialist, despite his wishes to attend a gymnasium in Zagreb. His father died in 1972, after an accident at the workplace. Lesar sponsored his own education with various awards he received as an excellent student. After finishing high school in 1975, he worked at a number of places: a department store, a shoe store and an iron foundry in Čakovec.
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This organization was also created after the first tie in lead categories was recorded in 21st FAMAS Awards in 1973. It was in the Best Actress category, in which both Boots Anson-Roa and Vilma Santos won. In 1977, the Metropolitan Film Festival was changed to its current name, Metro Manila Film Festival. During the commercialist era of movies in the 1980s, more award-giving bodies have sprung up to honor film achievements.
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The Ordine dei Dottori Commercialisti e degli Esperti Contabili (ODCEC) (Italian for "Professional order of tax advisors") is the Italian professional accounting body offering the dottore commercialist and esperto contabile qualifications. In 2008 it has been born from the fusion of the professional orders of dottori commercialisti, ragionieri commercialisti and periti commerciali thanks to the Legislative Decree No 139/2005. It is composed by different not economic pubblic bodies: the Consiglio Nazionale dei Dottori Commercialisti e degli Esperti Contabili (Italian for "National council of tax advisors") and the territorial entities.
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Marc André Edmonds, also known by the graffiti name ALI and as J. Walter Negro, “The Playin’ Brown Rapper” was an American artist and musician. As ALI, he is best known as the founder of 'Soul Artists' and originator of the cult of Zoo York. As "alter-ego" J. Walter Negro (a cynical take-off on the arch- commercialist J. Walter Thompson advertising agency), he is remembered as the lead singer/songwriter of the proto-hip-hop-rap group 'J. Walter Negro and the Loose Jointz', who had some success with their 1981 release "Shoot the Pump".
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Cunt, is the third full-length album by Australian grindcore band Blood Duster. Despite, or because of, its deliberately vulgar and anti-commercialist title, Cunt proved to be the band's most successful release to that point of their career, earning them high amounts of radio play, especially by Triple J, even though its title did make life difficult for the distributors and it did not make it into many shops for the same reason. The title was not the only point of controversy about this album. The original cover, an image of a decapitated Fred Durst, drawn by Wes Benscoter, was dismissed by their label, Relapse Records, for fear of getting sued.
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This included Bobby Chabet's anti-commercialist Conceptualism; Jose Joya's embrace of both Abstract painting and Figurative Drawing; Virginia Flor-Agbayani's romantic Modernism; Rod Paras-Perez's formalism and the great western tradition; and Billy Abueva's native figuration circumscribed either in Modernist brutalism or a curvaceous sensuality. Of these mentors, Joya was the closest to Roy's felt advocacies and crystallized for him the fluid possibilities of fusing and rejoining what the western mind has sundered apart in the name of a hegemonic imperialism and homogenous modernity. This was expanded by Roy's journeys in Japan, Europe and the U.S. to witness the works firsthand of the major innovators of the period from the Seventies to the Eighties: Robert Rauschenberg, Andy Warhol, Sigmar Polke, Eric Fischl, and David Salle. This outward journey also expanded his horizons by not simply limiting the visual experience to the great museums (the Louvre, the Tate, MoMA, the Met, the Guggenheim, Fukuoka) but also to the peripherialized areas of modern (read ethnic) artistic production, such as studios of American- Indians, Asian-Americans, Canadians and graffiti artists in Los Angeles and New York.
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