21-Day Racial Equity Habit Building Challenge
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INFLUENCE Music Marketing Meets Social Influencers COVERFEATURE
06-07 Tools Kombie 08-09 Campaigns YACHT, Radiohead, James Blake 10-14 Behind The Campaign Aurora MAY 18 2016 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 157 UNDER THE INFLUENCE music marketing meets social influencers COVERFEATURE In the old days, there were a handful of gatekeepers – press, TV and radio – and getting music in front of them was hard, UNDER THE INFLUENCE but not impossible. Today, traditional media still holds significant power, but the number of influencers out there has shot up exponentially with the explosion of social media in general and YouTube in particular. While the world’s largest video service might be under fire over its (low) royalty rates, the music industry is well aware that its biggest stars offer a direct route to the exact audiences they want their music to reach. We look at who these influencers are, how they can be worked with and the things that will make them back or blank you. etting your act heard used to be, if not exactly easy, then at least relatively Gstraightforward for the music business: you’d schmooze the radio playlist heads, take journalists out to a gig and pray for some TV coverage, all while splashing out on magazine and billboard advertising. The digital era – and especially social media – have shaken this all up. Yes, traditional media is still important; but to this you can add a sometimes bewildering list of “social influencers”, famous faces on platforms like YouTube, Snapchat and Instagram, plus vloggers, Viners and the music marketing meets rest, all of whom (for now) wield an uncanny power over youthful audiences. -
Critical Discourse Analysis #Blacklivesmatter: Critical Perspectives, February 2, 2016 Dr
Critical Discourse Analysis #BlackLivesMatter: Critical Perspectives, February 2, 2016 Dr. S. Lanehart, Professor and Brackenrige Endowed Chair in Literature and the Humanities What is “Critical / Critique? (Wodak) The notion of `critique' which is inherent in CDA's programme is also understood very differently: some adhere to the Frankfurt school, others to a notion of literary criticism, some to Marx's notions (see above and Reisigl and Wodak, 2001 for an overview). Basically, ‘critical’ is to be understood as having distance to the data, embedding the data in the social, taking a political stance explicitly, and a focus on self-reflection as scholars doing research. What is CDA? (Teun van Dijk) Beyond description or superficial application, critical science in each domain asks further questions, such as those of responsibility, interests, and ideology. Instead of focusing on purely academic or theoretical problems, it starts from prevailing social problems, and thereby chooses the perspective of those who suffer most, and critically analyses those in power, those who are responsible, and those who have the means and the opportunity to solve such problems (van Dijk, 1986: 4). Heterogeneity of methodological and theoretical approaches represented in this field of linguistics would tend to confirm van Dijk's point that CDA and CL `are at most a shared perspective on doing linguistic, semiotic or discourse analysis' (van Dijk, 1993: 131). What is CDA? (Horkheimer) To draw consequences for political action from critical theory is the aspiration of those who have serious intentions, and yet there is no general prescription unless it is the necessity for insight into one's own responsibility. -
Macklemore & Ryan Lewis – White Privilege II Lyrics
Macklemore & Ryan Lewis – White Privilege II Lyrics [Verse 1] Pulled into the parking lot, parked it Zipped up my parka, joined the procession of marchers In my head like, "Is this awkward? Should I even be here marching?" Thinking if they can't, how can I breathe? Thinking that they chant, what do I sing? I want to take a stance cause we are not free And then I thought about it, we are not "we" Am I in the outside looking in, or am I in the inside looking out? Is it my place to give my two cents? Or should I stand on the side and shut my mouth? "No justice, no peace," okay, I'm saying that They're chanting out, "Black Lives Matter," but I don't say it back Is it okay for me to say? I don't know, so I watch and stand In front of a line of police that look the same as me Only separated by a badge, a baton, a can of Mace, a mask A shield, a gun with gloves and hands that gives an alibi In case somebody dies behind a bullet that flies out of the 9 Takes another child's life on sight [Hook] Blood in the streets, no justice, no peace No racist beliefs, no rest 'til we're free There's blood in the streets, no justice, no peace No racist beliefs, no rest 'til we're free Blood in the streets, no justice, no peace No racist beliefs, no rest 'til we're free There's blood in the streets, no justice, no peace No racist beliefs, no rest 'til we're free Blood in the streets, no justice, no peace No racist beliefs, no rest 'til we're free There's blood in the streets, no justice, no peace No racist beliefs, no rest 'til we're free [Verse 2] You've exploited -
MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division -
Nike and the Pigmentation Paradox: African American Representation in Popular Culture from ‘Sambo’ to ‘Air Jordan’
Nike and the Pigmentation Paradox: African American Representation in Popular Culture from ‘Sambo’ to ‘Air Jordan’ by Scott Warren McVittie A Thesis presented to The University of Guelph In partial fulfillment of requirements for the degree of Master of Arts in History Guelph, Ontario, Canada © Scott McVittie, May, 2016 ABSTRACT NIKE AND THE PIGMENTATION PARADOX: AFRICAN AMERICAN REPRESENTATION IN POPULAR CULTURE FROM ‘SAMBO’ TO ‘AIR JORDAN’ Scott McVittie Advisor: University of Guelph Professor Susan Nance Martin Luther King Jr. once remarked: “The economic highway to power has few entry lanes for Negroes.” This thesis investigates this limited-access highway in the context of American culture by analyzing the merger of sports celebrity branding and racial liberalism through a case study of Nike and the Air Jordan brand. As a spokesman for Nike, Michael Jordan was understood as both a symbol of “racial transcendence” and a figure of “racial displacement.” This dual identity spurred an important sociological debate concerning institutional racism in American society by unveiling the paradoxical narrative that governed discourse about black celebrities and, particularly, black athletes. Making use of archival research from the University of Oregon’s Special Collections Department, this study sheds light on the “Nike perspective” in furnishing an athletic meritocracy within a racially integrated community of consumers. Positioning this study within the field of African American cultural history, this thesis also interrogates representations -
Media Advisory
Media Advisory FOR IMMEDIATE RELEASE Media Contact: Sue DeBenedette, Marketing Manager Tel: 520.621.5222 | Mobile: 520.247.5883 [email protected] Follow us on: Twitter: @azpmnews Facebook: facebook.com/azpublicmedia Website: azpm.org Here & Now Radio Program Debuts st Monday, July 1 on NPR 89.l Talk of the Nation, ends its 21-year run Science Friday with Ira Flatow continues on Fridays Tucson, Arizona – June 17, 2013 – On Monday, July 1, 2013 the daily news magazine radio program, Here & Now will debut on NPR 89.1, and will be heard Monday through Thursday from 11 a.m. to 1 p.m. Here & Now will replace Talk of the Nation which ends production at the end of June. Science Friday with Ira Flatow will continue to air on Fridays from 11 a.m. to 1 p.m. Here & Now, a collaborative production between WBUR in Boston and NPR, is designed to “meet listeners where they are,” bringing news that breaks in the mid-day news cycle, after Morning Edition and before All Things Considered. Hosts Robin Young and Jeremy Hobson drive the show, along with contributions from reporters from around the nation and world, bloggers, and packages from the BBC and member stations around the country. For more information, visit azpm.org. Among the many contributors to Here & Now are: Two-Way's Mark Memmott and news bloggers Scott Neuman, Eyder Peralta and Bill Chappell covering breaking news Code Switch's Gene Demby on race-related issues Robert Krulwich,13.7's Adam Frank and Barbara King on science Liz Halloran, Frank James, Alan Greenblatt, and Charlie Mahtesian for politics Monkey See's Linda Holmes covers pop culture Claire O'Neill for photography Talk of the Nation will cease production at the end of June. -
Pop / Rock / Commercial Music Wed, 25 Aug 2021 21:09:33 +0000 Page 1
Pop / Rock / Commercial music www.redmoonrecords.com Artist Title ID Format Label Print Catalog N° Condition Price Note 10000 MANIACS The wishing chair 19160 1xLP Elektra Warner GER 960428-1 EX/EX 10,00 € RE 10CC Look hear? 1413 1xLP Warner USA BSK3442 EX+/VG 7,75 € PRO 10CC Live and let live 6546 2xLP Mercury USA SRM28600 EX/EX 18,00 € GF-CC Phonogram 10CC Good morning judge 8602 1x7" Mercury IT 6008025 VG/VG 2,60 € \Don't squeeze me like… Phonogram 10CC Bloody tourists 8975 1xLP Polydor USA PD-1-6161 EX/EX 7,75 € GF 10CC The original soundtrack 30074 1xLP Mercury Back to EU 0600753129586 M-/M- 15,00 € RE GF 180g black 13 ENGINES A blur to me now 1291 1xCD SBK rec. Capitol USA 7777962072 USED 8,00 € Original sticker attached on the cover 13 ENGINES Perpetual motion 6079 1xCD Atlantic EMI CAN 075678256929 USED 8,00 € machine 1910 FRUITGUM Simon says 2486 1xLP Buddah Helidon YU 6.23167AF EX-/VG+ 10,00 € Verty little woc COMPANY 1910 FRUITGUM Simon says-The best of 3541 1xCD Buddha BMG USA 886972424422 12,90 € COMPANY 1910 Fruitgum co. 2 CELLOS Live at Arena Zagreb 23685 1xDVD Masterworks Sony EU 0888837454193 10,90 € 2 UNLIMITED Edge of heaven (5 vers.) 7995 1xCDs Byte rec. EU 5411585558049 USED 3,00 € 2 UNLIMITED Wanna get up (4 vers.) 12897 1xCDs Byte rec. EU 5411585558001 USED 3,00 € 2K ***K the millennium (3 7873 1xCDs Blast first Mute EU 5016027601460 USED 3,10 € Sample copy tracks) 2PLAY So confused (5 tracks) 15229 1xCDs Sony EU NMI 674801 2 4,00 € Incl."Turn me on" 360 GRADI Ba ba bye (4 tracks) 6151 1xCDs Universal IT 156 762-2 -
Centering the Demands and Vision of the Black Lives Matter Movement in Teacher
TITLE ACTIVE SOLIDARITY: Centering the demands and vision of the Black Lives Matter Movement in Teacher Education AUTHORS Edwin Mayorga1 and Bree Picower2 Edwin Mayorga is an Assistant Professor of Educational Studies and Latin American and Latino Studies at Swarthmore College (PA). He directs the Education in our Barrios project (#BarrioEdProj), a youth participatory action research project in Latino core communities in Philadelphia and New York City, and Critical Education Policy Studies (#CritEdPol) website and undergraduate online journal at Swarthmore. He is co-editor of What’s Race Got to Do with It? How Current School Reform Maintains Racial and Economic Inequality. (Peter Lang; 2015; co-edited with B. Picower) Bree Picower is an Associate Professor at Montclair State University in the College of Education and Human Development. She was awarded the Scholar Activist of 2013 by the Critical Educators for Social Justice SIG of the American Educational Research Association. She is co-editor of Confronting Racism in Teacher Education: Counternarratives of Critical Practice (Routledge; 2017; co-edited with R. Kohli), and What’s Race Got To Do With It? How current school reform maintains racial and economic inequality (Peter Lang; 2015; co-edited with E. Mayorga). She also authored Practice What You Teach: Social Justice Education in the Classroom and the Streets. RUNNING HEAD ACTIVE SOLIDARITY: The Black Lives Matter Movement in Teacher Education 1 CONTACT INFORMATION: Edwin Mayorga Swarthmore College Educational Studies 204 Pearson Hall 500 College Avenue Swarthmore, PA 19081 [email protected] ABSTRACT In the era of Black Lives Matter (#BLM), urban teacher education does not exist in isolation. -
Walthamstow Academy Sixth Form Bulletin. 03 July 2020
Walthamstow Academy Sixth Form Bulletin. 03 July 2020 Bulletin Focus – Black Lives Matter How can I be anti-racist? Anti-racism is actively identifying and speaking out against racism in organizational structures, policies, practices and attitudes, every time you witness it. If something makes you uncomfortable, voice your discomfort and you are being anti-racist. What is white privilege? Theconsciouskid on Instagram summarise what white privilege is really clearly. They describe it as, “White supremacy is a system of structural and societal racism which privileges white people over everyone else, regardless of the presence or absence of racial hatred. White racial advantages occur at both a collective and an individual level.” White privilege is defined by the Oxford England Dictionary as “the inherent advantages possessed by a white person on the basis of their race in a society characterised by racial inequality and injustice”. Actions speak louder than words what is helpful to hear, are phrases like these: • “I’ve found an organisation that helps in these types of instances and I’ve donated money.” • “I’ve brought this topic up to my co-workers and family so we can talk through what’s happened.” • “I’ve researched more on this and I have learned more about the history of this particular race issue.” Black Lives Matter Black lives matter movement. Edited by Folakemi Omoyinmi The black lives matter movement is an international human rights movement, originating in the African American community, that campaigns against violence and systemic racism towards black people. It was founded in 2013 in response to the acquittal of Trayvon Martin’s murderer. -
Convicted Art Forger Explains How It's Done
AUTHENTICATION IN ART Art News Service Convicted Art Forger Explains How It's Done NPR Story MON AUGUST 19, 2013 In New York City, federal prosecutors have charged an art dealer named Glafira Rosales in connection with $80 million worth of forged art. These are not copies — they’re paintings that look like they’re in the style of famous artists. The painter has not been charged in the case. But John Myatt, an artist who also made forgeries of the great masters, was caught and charged. He has been described by Scotland Yard as one of the 20th century’s biggest art frauds. Like the artist in the New York case, Myatt made imitations of masters from Ben Nicholson to Le Corbusier that fooled auction houses such as John Myatt is an artist and a convicted forger. (Castle Galleries) Sotheby’s and museums including the Tate Modern. To make forgeries, Myatt would go to a museum and look at a painting to take it apart technically. “I would create a new painting, not copy the one I had looked at, but using the same methods, the same techniques, based very much on the way my target artist did it,” Myatt told Here & Now. “It didn’t dawn on me for a while that I was a crook, and then when it did, I didn’t like it.” Myatt was charged and imprisoned for his forgeries. When he was released, Myatt said he was “absolutely determined not to paint again.” But as fate would have it, the police officer who led the case again Myatt rang him and asked him to make a family portrait and an imitation Ben Nicholson painting. -
Com Stampa RIR 2019 James Blake
PRESS RELEASE N.19 JAMES BLAKE IL 2 LUGLIO >> L’IMPERDIBILE SHOW DI UNO DEI PIÙ IMPORTANTI E INIMITABILI MUSICISTI, PRODUTTORI E COMPOSITORI AL MONDO << ROCK IN ROMA – TEATRO ROMANO DI OSTIA ANTICA JAMES BLAKE 2 LUGLIO 2019 ROCK IN ROMA – TEATRO ROMANO DI OSTIA ANTICA - ROMA Prezzo biglietti Gradinata non numerata: € 40,00 + 6,00 d.p. Apertura porte: h 19.30 Inizio concerto: h 21.00 Prevendite: Rockinroma.com, Ticketone, Ticketmaster.it, Box Office Lazio JAMES BLAKE, uno dei più importanti musicisti, produttori e compositori al mondo, va ad impreziosire il cartellone del ROCK IN ROMA 2019 con uno show da non perdere, martedì 2 luglio 2019 presso il Teatro Romano di Ostia Antica, nell’ambito dell’“Ostia Antica Festival – Il Mito e il Sogno”. I biglietti saranno disponibili su www.rockinroma.com, www.ticketone.it e www.ticketmaster.it a partire dalle ore 11.00 di mercoledì 17 aprile, e nei punti vendita autorizzati Ticketone e Box Office Lazio dalle ore 11.00 di sabato 20 aprile. Nel 2011 JAMES BLAKE pubblica l’omonimo album di debutto, che gli è valsa una nomination ai Mercury Prize 2011 e una nomination ai BRIT Awards nella categoria “Critic’s Choice”, seguita da una nomination nel 2012 come “Miglior Artista Maschile Britannico”. Nel 2013 esce il secondo album “Overgrown”, che vanta una collaborazione con il produttore Brian Eno. L’album gli è valsa la vittoria ai Mercury Prize e una nomination ai Grammy Awards nella categoria “Best New Artist”. JAMES BLASKE annuncia nel 2016 il terzo album “The Colour in Anything”, subito alla Top40 della Billboard200 e ai vertici della U.S. -
North Country Public Radio
north country public radio U N D E R W R I T I N G R A T E S Program Schedule PRIME=$25.00/announcement STANDARD=$17.00/announcement WEEKDAY MORNINGS 5:00 BBC WORLD UPDATE a global perspective on news 6:00 MORNING EDITION Todd Moe hosts news and information from NPR and NCPR 8:00 THE EIGHT O’CLOCK HOUR with Martha Foley and Todd Moe: NCPR’s news, arts interviews and features 9:00 THE TAKEAWAY news and information from NPR ON POINT conversations about news, big ideas, and the arts 12:00 FRESH AIR with Terry Gross MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY 1:00 HERE AND NOW with Robin Young & Jeremy Hobson 2:00 SCIENCE FRIDAY with Ira Flatow eclectic mix 3:00 MUSIC THE BLUE NOTE RADIO BOB’S STRING FEVER THE BEAT AUTHORITY with Jackie Sauter with Ellen Rocco RHYTHM & BLUES with Barb Heller with David Sommerstein 5:00 ALL THINGS CONSIDERED news and information from NPR 7:00 THE WORLD international news magazine from the BBC and PRI SNAP JUDGMENT with Glynn Washington 8:00 FRESH AIR with Terry Gross 9:00 A WAY WITH WORDS TO THE BEST OF STUDIO 360 ON BEING THE LATIN ALTERNATIVE with Grant Barrett & OUR KNOWLEDGE arts and culture with Krista Martha Barnette interviews and issues magazine Tippettt 10:00 10:00 AFROPOP WORLDWIDE MUSIC THROUGH THE NIGHT classical music until 5 a.m. 11:00 JAZZ AFTER HOURS SATURDAY SUNDAY 12:00 JAZZ AFTER HOURS 12:00 JAZZ AFTER HOURS 6:00 INNOVATION HUB with Kara Miller 6:00 TO THE BEST OF OUR KNOWLEDGE 7:00 TRAVEL WITH RICK STEVES with Anne Strainchamps 8:00 WEEKEND EDITION 8:00 WEEKEND EDITION news and information from NPR news and information from NPR 10:00 WAIT, WAIT ..