View allAll Photos Tagged Refuse
Refused, live at 013, Tilburg, The Netherlands - 11-10-2012
© 2012 Rene Sebastian; www.renesebastian.nl | All rights reserved. This photo may not be republished, copied, printed or used in any way, on any medium and under any circumstances without written consent.
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*This photo was shot for Jimmy Alter. More info, check www.jimmyalter.nl
CAMBRIDGE, MA - JUNE 1: Swedish hardcore band Refused, led by energetic singer Dennis Lyxzén, gear up again for another tour following their reunion in 2012. Tour support by War On Women. Shot at The Sinclair on Monday, June 1, 2015. All Rights Reserved © Tim Bugbee
Yes, I know the NIE report declares that Iran remains a threat and that they could resume the nuclear weapons program anytime. They also haven't changed their assessment that Iran could have a nuclar weapon by 2010-2015. But that's not the point.
The Israeli establishment refuses to believe that Iran isn't developing nuclear weapons now. According to this article that appeared in the right-wing Jerusalem Post, Israeli prime minister Olmert claims that "nobody disputes" that Iran is doing so. I was under the impression that the 16 US intelligence agencies that issued the NIE report precisely think otherwise.
Diaspora Climate
Exhibition: February 12 to March 5, 2026
Reception: Thursday, February 12 from 5-7PM
Curated by Yan Zhou, 2025–26 Curator-in-Residence
artLAB Gallery
Sara Angelucci
Teresa Chan
Ma Yongfeng
Rehab Nazzal
Public Programs and Events:
Ink Marbling Workshop
Led by Teresa Chan
VA 206 / JLVAC, February 12, 12-2PM
Murmuration
Live Sound Performance
Teresa Chan and Jan Lai
February 12, 5:45–6:15 PM
artLAB Gallery
Screening and Discussion: Rehab Nazal's documentary film Vibrations from Gaza
Participants: Rehab Nazal, Kirsty Robertson, Sheri Nault, Ma Yongfeng and Yan Zhou
February 23 from 1:15-3PM
In-person: VAC 249
Online: Zoom
Curatorial Statement
Diaspora Climate brings together diverse climates, cultures, languages, histories, memories, feelings, perspectives, and connections through personal experiences and artistic expressions, linking an affinity with both natural environments and cultural dispositions. Human beings are as sensitive to displacement and transplantation as plants and animals. Diaspora Climate signals the ethical and emotional bonds diasporic people hold with the climatic pressures affecting them both “here” and “there”, including struggles, suffering, and the shared fate of the world and planet Earth.
The exhibition features work by four artists: Sara Angelucci (Toronto), Teresa Chan (Toronto), Ma Yongfeng (Berlin), and Rehab Nazzal (occupied West Bank, Palestine). Their works respond to relationships with particular places, cultures, histories, climates, and environments, while also addressing ongoing afflictions of social and environmental violence, driven by brutal global capitalism, colonialism, and arbitrary state apparatuses. These forces bring wars, relentless exploitation, and the dispossession of living space and life for both nature and people, intensifying the Climate Crisis. The voices and gestures that artists share through their works are ripples of Global Diaspora Solidarity.
The Japanese word fudo (Chinese and Japanese Kanji: ??) is translated as “climate,” yet its meaning extends beyond meteorological conditions. It signifies the inseparable and mutually formative relationship among seasons, climate, nature, and modes of human life and sensibility in a particular place, culture, and its history. A related Chinese saying, ????????, expresses a similar idea: that the soil and waters of a given land nurture the distinctive dispositions of its people. In this sense, fudo (????) is comparable to the ancient Greek concept of chorographia, which refers to the description or mapping of a specific region or country, emphasizing local features, history, natural history, and culture, in contrast to geography, which sought to describe the world as a whole. Chorographia suggests that the topography, natural environment, and social and political structures of a particular area are interconnected.[1] fudo (????) is still embodied in East Asian perceptions of the world and in their aesthetic–climatic sensibilities, whereas in the modern Western world, a scientific divide tends to separate and dominate human relationships with nature.
When the modern Japanese philosopher Tetsuro Watsuji (1889–1960) brought the traditional East Asian concept of fudo (??) into dialogue with Western scientific notions of “climate” and “environment,” he understood climate not merely as a natural phenomenon. Rather, he argued that human existence, history, and climate are inseparable. In a climatic register, humans apprehend themselves and shape both individual and collective sensibilities. Therefore, social, cultural, and political transformation depends upon the transformation of climatic culture; as it changes, the customs and habits of a people change accordingly (????). Furthermore, Watsuji suggests that diaspora, those who have left and become distanced from their homeland, and the “other,” who does not fully belong to a given climatic culture, may grasp a climate and fudo (??) in a uniquely profound and nuanced way, one that is often more reflective and thought-provoking.[2]
Diaspora holds an acute and incisive political position from which to question and reinterpret the relationship between climate and culture. It activates each individual as a micro-center, responsible for addressing issues of climate change and for pursuing climate and social justice.
Diaspora refuses to be fixed to a single position. Carried on in migration and drifting, diaspora lives simultaneously inside and outside of “home” and “homelessness,” being here (displaced and adopted) and there (exiled and distanced). As writer Yoko Tawada, who writes in both Japanese and German, argues, diaspora refuses to be integrated into a dominant language and culture and denied parts of themselves, such as accent and one’s history and cultural memory. Meanwhile, diaspora also flies from the cocoon of the mother tongue and journeys into adventurous encounters with other tongues, creating new communities rather than being bound to predetermined communities or fixed identities (2025).[3]
We cannot talk about climate change or social and environmental justice without confronting the ongoing genocide and ecocide in Palestine, the environmental disaster following the Russian invasion of Ukraine, and the erasure of Indigenous communities and forests in the Amazon and elsewhere—all exemplify the devastating consequences of global environmental and social injustices.[4] In particular, I believe, we cannot talk about anything, any change, and any future, if we avoid looking at and talking about Palestine: what has been happening to its people and land under an increasingly brutal Apartheid system of genocide, ecocide, siege and elimination of eco-human life and culture, imposed by a fully techno-weaponized modern state.
Once a terrible world is born through the deprivation, exploitation, and killing of one group of people by another—as in Nazism, colonialism, Apartheid, or dictatorship—its psyche, ideology, and whole mechanism continue to evolve and contaminate the world. It therefore becomes the obligation of everyone, and particularly of critical and creative minds, to resist it and to fight for justice and the rights of every being, human and non-human, with unwavering attention and sustained effort.
We should rethink our dear and precious life and world from the position of “bare life,” which designates the victims of the violence of sovereign power who are deprived of their rights to live as full human beings in every sense.[5] The deprived, abused, and threatened cherish the precious life more deeply; they preserve and shine the light of dignity of life more radiantly; and they hold tight to the faith in justice more adamantly. They are more human, and more humanly, than the abusers and those who support, tolerate, or comply with them. They fight for life with all their means; they fight for life with life itself. They fight for humanity. The “qualified life,” secured by killing others and by imposing segregation and deprivation, is not true life. Instead, it is soulless slavery that abandons humanity and being human together with other human and nonhuman beings.
Yan Zhou
January 2026
Notes
[1] The ancient Greek term chorographia (or chorography) derives from khoros, meaning place or region, and graphia, meaning writing or drawing. The term appears in the work Geography by the ancient Greek geographer Strabo and later reemerged during the Renaissance, notably in Athanasius Kircher’s Mundus subterraneus. Interest in this form of study continued into the late eighteenth century, before the emergence of modern scientific disciplines. Strabo. Geography. Loeb Classical Library. Accessed via Internet Archive.
archive.org/details/Strabo08Geography17AndIndex Kircher, Athanasius. 1662. Mundus subterraneus. Amstelodami: Apud Joannem Janssonium à Waesberge & filios.
Buonanno, Rossella. 2014. The Stars of Galileo Galilei and the Universal Knowledge of Athanasius Kircher. Cham: Springer International Publishing.
[2] Watsuji, Tetsuro. 1961. A Climate: A Philosophical Study. Translated by Geoffrey Bownas. Tokyo: Printing Bureau, Japanese Government. Accessed via Internet Archive. archive.org/details/climatephilosoph0000wats_g9l6
Watsuji, Tetsuro. 2022. Intro / Climate & Culture. Introduced by Nathan Hohipuha. YouTube video, December 17, 2022. www.youtube.com/watch?v=AIxBjWtu-fU&t=13s
[3] Tawada, Yoko. 2025. Exophony: Voyages Outside the Mother Tongue. Translated by Lisa Hofmann-Kuroda. New York: New Directions Publishing Corporation.
[4] Dinc, Pinar, and Necmettin Türk. 2025. “Roots of Destruction: Exploring the Genocide-Ecocide Nexus through the Destruction of Olive Trees in Occupied Palestine and Rojava.” The International Journal of Human Rights, August, 1–25. doi.org/10.1080/13642987.2025.2541756. IMEU (Institute for Middle East Understanding). 2022. “Fact Sheet: Israel’s Environmental Apartheid in Palestine.” November 3, 2022. imeu.org/resources/resources/fact-sheet-israels-environme....
Joseph, Lesley. 2025. “This Is What Ecocide Looks Like: Reflections on Israel’s War on the Environment in Gaza.” Journal of Palestine Studies 54 (2): 82–87. doi.org/10.1080/0377919X.2025.2520728
Forensic Architecture. n.d. “Environmental Violence.” Accessed January 10, 2026. forensic-architecture.org/category/environmental-violence
[5] Agamben, Giorgio. 1998. Homo Sacer: Sovereign Power and Bare Life. Stanford, Calif: Stanford University Press.
artLAB Gallery Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2026; Department of Visual Arts; Western University
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use this photo without written permission and consent.
-----------------------------
La formazione svedese torna a suonare dopo un silenzio durato ben 14 anni, dopo quel ‘The Shape Of Punk To Come’ divenuto nel corso del tempo vero e proprio manifesto hardcore di rivoluzione e lotta intellettuale.
Dennis Lyxzén - voce
David Sandström - batteria, chitarra, melodica
Kristofer Steen - basso, chitarra, batteria
Jon Brännström - chitarra, voce, campionatore
Henry Fuseli
Oedipus Cursing His Son Polynices, 1786
West Building, Main Floor — Gallery 61
The bodies of four people are locked together through dramatic gestures and poses against a dark background in this nearly square painting. The two men have pale, peachy skin and the two women have ash-white skin, and together they almost fill the composition. A man with a white beard and hair wears a short-sleeved brown garment and sits to the right of center. His body faces our left and both of his arms reach straight out at shoulder height. His head juts forward and his bulging eyes appear white. He points at a younger man kneeling in front of him with his left hand. Near the left edge of the canvas, the younger man’s body also faces our left as he kneels on his left knee. His body leans forward over his right knee, which is bent so that foot is flat on the ground. His head is thrown back and his right hand, on our left, crosses his body and is raised as if to shield his face. His other arm extends so the raised flat of his hand is close to the old man’s face. The young man has dark hair and wears a tight-fitting, short-sleeved, golden yellow tunic. One woman with long blond hair rests her hands and leans her forehead onto the old man’s knee in the lower right corner. The second woman stands behind the pair of men with her arms spread wide so one hand reaches over the shoulder of the old man, and her other hand nearly touches the younger man’s head. She has long, curly brown hair, and she looks at the older man with her lips parted. Both women wear white and pale gray garments. There is the suggestion of blue sky beyond some trees along the left edge of the composition but the rest of the background is deep in shadow.
Fuseli, a native of Switzerland, began his career in England as a history painter. He developed an expressionistic style composed of a unique blend of influences—German romanticism, the monumental vision of Michelangelo, and the physical and psychological exaggerations of the 16th–century Italian mannerists.
Fuseli's own pessimism and fascination with the extremes of human passion are evident. He heightened the intensity of this scene from Sophocles' Oedipus at Colonus by placing Oedipus and his children in a dark, shallow space. The tragedy of the father's curse is played out through the gestures of the four figures. Polynices, who had expelled his blind father from Thebes and left him to live as a beggar, has come to ask his father's support in overthrowing his brother. Oedipus, enraged at his son's request, stretches out his accusing arms and levies his dreadful curse, by which each son would die at the hands of the other. Ismene, weak and despairing, kneels with her head on her father's knee. Antigone, whose strength and determination have kept her father alive, is highlighted above the terrible drama as she reaches out to protect her brother with one hand and restrain Oedipus with the other. Her gesture, however heroic, is futile.
More information on this painting can be found in the Gallery publication British Paintings of the Sixteenth through Nineteenth Centuries, which is available as a free PDF www.nga.gov/content/dam/ngaweb/research/publications/pdfs...
Fuseli was born in Zurich on 6 February 1741, the second son of the five children of Johann Caspar Füseli and Elisabeth Waser. Although educated as a theologian and ordained as a Zwinglian minister in 1761, Fuseli pursued a wide range of humanist studies, developing an enthusiasm for classical philology under the influence of Johann Jakob Breitinger, and becoming proficient in English, French, and Italian. He was introduced by Johann Jakob Bodmer, the mentor whom he most revered, to Homer, the Nibelungenlied, Dante, Shakespeare, and Milton, later the principal sources of his art. His associations with the Sturm und Drang movement were close. Forced, with Lavater, to leave Zurich in 1763 after publishing a pamphlet critical of the administration, he traveled in Germany, England, and France, embarking on a literary career.
Encouraged by Reynolds in 1768 to become a painter, Fuseli traveled to Italy in 1770 in the company of John Armstrong. He sought inspiration from classical sculpture, Michelangelo, and mannerist art, and, befriended by the Swedish sculptor Johan Tobias Sergel, became the leading spirit of a group of innovative young artists. Returning to London in 1780, Fuseli established his reputation with The Nightmare. Involved from the outset in 1786 with John Boydell's scheme for employing the most talented artists of the day on a Shakespeare Gallery, he devoted most of his time to paintings of Shakespearean themes until the opening of the gallery in 1789. In emulation of this project, he executed during the 1790s forty-seven paintings for a Milton Gallery in which the work was entirely his. Although many of these works were bought by his principal patron, Thomas Coutts, the exhibitions in 1799 and 1800 were not a public success.
Fuseli was elected an Associate of the Royal Academy of Arts in 1788, a full Academician in 1790, and Professor of Painting in 1799; he was obliged to relinquish the latter post after his election as Keeper in 1804, the year in which Benjamin Robert Haydon became his pupil, but the statutes were altered to allow him to resume it in 1810.
Fuseli's relationships with and attitude to women were highly important for his art. His most passionate love was for Anna Landolt, a niece of Lavater, whom he met in Zurich in 1778; but her father refused his suit. He married in 1788 Sophia Rawlins, an attractive young model obsessed with hair and fashion, who was socially and intellectually his inferior; there were no children, but she appears to have satisfied her husband's fetishistic and other desires. Mary Wollstonecraft's passion for him in 1792 was firmly put down by Mrs. Fuseli. Fuseli died suddenly on 16 April 1825, at the home on Putney Hill of Coutt's daughter, Lady Guilford, and was buried in Saint Paul's Cathedral, London.
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
..
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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Refused performing in Roskilde Festival 2012
Thanks to www.rockerilla.com/
© Roberto Esposti/2012 All rights reserved
Demonstrators participate in the Refuse Facism #J15 march through New York City, Saturday, July 15, 2017.
Refused
Les Eurockéennes - Belfort - 2012
Olivier Hoffschir
--
Plus d'info sur mes photos sur mon site : www.olivier-off.com
et ma fan page : www.facebook.com/OlivierOff
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use this photo without written permission and consent.
-----------------------------
La formazione svedese torna a suonare dopo un silenzio durato ben 14 anni, dopo quel ‘The Shape Of Punk To Come’ divenuto nel corso del tempo vero e proprio manifesto hardcore di rivoluzione e lotta intellettuale.
Dennis Lyxzén - voce
David Sandström - batteria, chitarra, melodica
Kristofer Steen - basso, chitarra, batteria
Jon Brännström - chitarra, voce, campionatore
CAMBRIDGE, MA - JUNE 1: Swedish hardcore band Refused, led by energetic singer Dennis Lyxzén, gear up again for another tour following their reunion in 2012. Tour support by War On Women. Shot at The Sinclair on Monday, June 1, 2015. All Rights Reserved © Tim Bugbee
Refused at The Tivoli Brisbane 20JAN17
Photo ©2017 Stephen Booth
All Rights Reserved
CAMBRIDGE, MA - JUNE 1: Swedish hardcore band Refused, led by energetic singer Dennis Lyxzén, gear up again for another tour following their reunion in 2012. Tour support by War On Women. Shot at The Sinclair on Monday, June 1, 2015. All Rights Reserved © Tim Bugbee
Refuse Fascism NO FASCIST TAKEOVER OF DC! Gathering Rally Before March at Dupont Circle, NW, Washington DC on Saturday afternoon, 16 August 2025 by Elvert Barnes Photography
Visit REFUSE FASCISM website at refusefascism.org/events/scenes-from-august-16-march-to-t...
SUMMER 2025 TRUMP'S TAKEOVER OF WASHINGTON DC Project
Elvert Barnes Protests Photography 2025 at elvertxbarnes.com/protests
Elvert Barnes August 2025 at exbphoto.com/2025
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use this photo without written permission and consent.
-----------------------------
La formazione svedese torna a suonare dopo un silenzio durato ben 14 anni, dopo quel ‘The Shape Of Punk To Come’ divenuto nel corso del tempo vero e proprio manifesto hardcore di rivoluzione e lotta intellettuale.
Dennis Lyxzén - voce
David Sandström - batteria, chitarra, melodica
Kristofer Steen - basso, chitarra, batteria
Jon Brännström - chitarra, voce, campionatore