Mcdaniel Syllabus Dance in Pop Culture Spring 2019
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Internet Killed the B-Boy Star: a Study of B-Boying Through the Lens Of
Internet Killed the B-boy Star: A Study of B-boying Through the Lens of Contemporary Media Dehui Kong Senior Seminar in Dance Fall 2010 Thesis director: Professor L. Garafola © Dehui Kong 1 B-Boy Infinitives To suck until our lips turned blue the last drops of cool juice from a crumpled cup sopped with spit the first Italian Ice of summer To chase popsicle stick skiffs along the curb skimming stormwater from Woodbridge Ave to Old Post Road To be To B-boy To be boys who snuck into a garden to pluck a baseball from mud and shit To hop that old man's fence before he bust through his front door with a lame-bull limp charge and a fist the size of half a spade To be To B-boy To lace shell-toe Adidas To say Word to Kurtis Blow To laugh the afternoons someone's mama was so black when she stepped out the car B-boy… that’s what it is, that’s why when the public the oil light went on changed it to ‘break-dancing’ they were just giving a To count hairs sprouting professional name to it, but b-boy was the original name for it and whoever wants to keep it real would around our cocks To touch 1 ourselves To pick the half-smoked keep calling it b-boy. True Blues from my father's ash tray and cough the gray grit - JoJo, from Rock Steady Crew into my hands To run my tongue along the lips of a girl with crooked teeth To be To B-boy To be boys for the ten days an 8-foot gash of cardboard lasts after we dragged that cardboard seven blocks then slapped it on the cracked blacktop To spin on our hands and backs To bruise elbows wrists and hips To Bronx-Twist Jersey version beside the mid-day traffic To swipe To pop To lock freeze and drop dimes on the hot pavement – even if the girls stopped watching and the street lamps lit buzzed all night we danced like that and no one called us home - Patrick Rosal 1 The Freshest Kids , prod. -
The Real Estate Marketplace Glossary: How to Talk the Talk
Federal Trade Commission ftc.gov The Real Estate Marketplace Glossary: How to Talk the Talk Buying a home can be exciting. It also can be somewhat daunting, even if you’ve done it before. You will deal with mortgage options, credit reports, loan applications, contracts, points, appraisals, change orders, inspections, warranties, walk-throughs, settlement sheets, escrow accounts, recording fees, insurance, taxes...the list goes on. No doubt you will hear and see words and terms you’ve never heard before. Just what do they all mean? The Federal Trade Commission, the agency that promotes competition and protects consumers, has prepared this glossary to help you better understand the terms commonly used in the real estate and mortgage marketplace. A Annual Percentage Rate (APR): The cost of Appraisal: A professional analysis used a loan or other financing as an annual rate. to estimate the value of the property. This The APR includes the interest rate, points, includes examples of sales of similar prop- broker fees and certain other credit charges erties. a borrower is required to pay. Appraiser: A professional who conducts an Annuity: An amount paid yearly or at other analysis of the property, including examples regular intervals, often at a guaranteed of sales of similar properties in order to de- minimum amount. Also, a type of insurance velop an estimate of the value of the prop- policy in which the policy holder makes erty. The analysis is called an “appraisal.” payments for a fixed period or until a stated age, and then receives annuity payments Appreciation: An increase in the market from the insurance company. -
SHOOT Magazine March/April 2019 Issue
March/April 2019 March/April Chat Room 4 The Road To Emmy Preview Hot Locations 10 4 Spring 2019 DIR Adam McKay Lauren Greenfield Chat Room 18 ECT online.com Series SHOOT ORS Matthew Heineman 8 Ramaa Mosley www. Up-and-Coming Directors 19 Floyd Russ Ridley Scott Spike Jonze Cinematographers & Cameras 22 Top Ten VFX & Animation Chart 26 Top Ten Music Tracks Chart 28 TO GET CONNECTED THE FURTHEST REACHES OF YOUR IMAGINATION ARE CLOSER THAN YOU THINK. With versatile landscapes, experienced film crews and incentivized tax breaks, the only limit to filming in the U.S. Virgin Islands is your imagination. Enjoy up to a 29% tax rebate and up to a 17% transferable tax credit when you film in the USVI. For more opportunities in St.Croix, St. John and St. Thomas, call 340.774.8784 ext. 2243. filmusvi.com DOWNLOAD THE FILM USVI APP: © 2019 U.S. Virgin Islands Department of Tourism USVI19037_9x10.875_SHOOT.indd 1 3/22/19 4:09 PM AGENCY: JWT/Atlanta SPECS: 4C Page Bleed PUB: SHOOT Magazine CLIENT: USVI TRIM: 9” x 10.875” DATE: March/April, 2019 AD#: USVI19037 BLEED: 9.25” x 11.125” HEAD: “The Furthest Reaches of LIVE: 8.5” x 10.375” your Imagination...” Perspectives The Leading Publication For Film, TV & Commercial Production and Post March/April 2019 spot.com.mentary By Robert Goldrich Volume 60 • Number 2 www.SHOOTonline.com EDITORIAL Publisher & Editorial Director Serious Comedy Roberta Griefer 203.227.1699 ext. 701 [email protected] Editor Robert Goldrich Our Up-and-Coming known for its humorous chops, and hope- her feature film, Late Night. -
Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 8-2018 Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Asian Studies Commons, Comparative Literature Commons, and the Literature in English, British Isles Commons Recommended Citation Maiti, Rashmila, "Mumbai Macbeth: Gender and Identity in Bollywood Adaptations" (2018). Theses and Dissertations. 2905. http://scholarworks.uark.edu/etd/2905 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Mumbai Macbeth: Gender and Identity in Bollywood Adaptations A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Comparative Literature and Cultural Studies by Rashmila Maiti Jadavpur University Bachelor of Arts in English Literature, 2007 Jadavpur University Master of Arts in English Literature, 2009 August 2018 University of Arkansas This dissertation is approved for recommendation to the Graduate Council. M. Keith Booker, PhD Dissertation Director Yajaira M. Padilla, PhD Frank Scheide, PhD Committee Member Committee Member Abstract This project analyzes adaptation in the Hindi film industry and how the concepts of gender and identity have changed from the original text to the contemporary adaptation. The original texts include religious epics, Shakespeare’s plays, Bengali novels which were written pre- independence, and Hollywood films. This venture uses adaptation theory as well as postmodernist and postcolonial theories to examine how women and men are represented in the adaptations as well as how contemporary audience expectations help to create the identity of the characters in the films. -
Song Artist Or Soundtrack Language Tightrope Janelle Monae English
Song Artist or Soundtrack Language Tightrope Janelle Monae English Come Alive [War of the Roses] Janelle Monae English Why this kolaveri di Dhanush Urdu Ghoom tana Janoon Urdu Count your blessings Nas & Damian Jr English America K'naan Somali/ English Mahli Souad Massi Arabic (Tunisian) Helwa ya baladi Dalida Arabic (Egyptian) Stop for a Minute K'naan English Miracle Worker SuperHeavy English Crazy Gnarls Barkley English 1977 Ana Tijoux Spanish (Chilean) Nos Hala Asalah Arabic Don't Let Me Be Misunderstood Santa Esmeralda / Kill Bill Vol. 1 Original Soundtrack Never Can Say Goodbye Jackson Five English My Doorbell The White Stripes English Peepli Live Various Artists, Indian Ocean Hindi or Urdu Forget You Camilla and the Chickens, The Muppets Soundtrack Chicken?? Ring of Fire Johnny Cash English I Was Born on the Day Before Yesterday The Wiz English Y'All Got It The Wiz English Everything Michael Buble English I'm Yours Jason Mraz English Something's Gotta Hold on Me Etta James English Somebody to Love Queen English Al Bosta Fairouz Arabic (Lebanese) Kifak Inta Fairouz Arabic (Lebanese) Etfarag ala najsak Asala Nasri Arabic (Egyptian) Make it bun dem Skrillex, Damian English Statesboro Blues Taj Mahal English Albaniz: Zambra-Capricho, Cordoba, Zor David Russell Spanish classical Volver Estrella Morente from Volver: Musica de la Pelicula Spanish Solo le pido a Dios Leon Gieco Spanish Mambo Italiano Rosemary Clooney English / Italian Botch-A-Me (Baciani Piccina) Rosemary Clooney English / Italian Satyameva Jayathe SuperHeavy English / ? -
'What Ever Happened to Breakdancing?'
'What ever happened to breakdancing?' Transnational h-hoy/b-girl networks, underground video magazines and imagined affinities. Mary Fogarty Submitted in partial fulfillment Of the requirements for the degree of Interdisciplinary MA in Popular Culture Brock University St. Catharines, Ontario © November 2006 For my sister, Pauline 111 Acknowledgements The Canada Graduate Scholarship (SSHRC) enabled me to focus full-time on my studies. I would also like to express my deepest gratitude to my committee members: Andy Bennett, Hans A. Skott-Myhre, Nick Baxter-Moore and Will Straw. These scholars have shaped my ideas about this project in crucial ways. I am indebted to Michael Zryd and Francois Lukawecki for their unwavering kindness, encouragement and wisdom over many years. Steve Russell patiently began to teach me basic rules ofgrammar. Barry Grant and Eric Liu provided comments about earlier chapter drafts. Simon Frith, Raquel Rivera, Anthony Kwame Harrison, Kwande Kefentse and John Hunting offered influential suggestions and encouragement in correspondence. Mike Ripmeester, Sarah Matheson, Jeannette Sloniowski, Scott Henderson, Jim Leach, Christie Milliken, David Butz and Dale Bradley also contributed helpful insights in either lectures or conversations. AJ Fashbaugh supplied the soul food and music that kept my body and mind nourished last year. If AJ brought the knowledge then Matt Masters brought the truth. (What a powerful triangle, indeed!) I was exceptionally fortunate to have such noteworthy fellow graduate students. Cole Lewis (my summer writing partner who kept me accountable), Zorianna Zurba, Jana Tomcko, Nylda Gallardo-Lopez, Seth Mulvey and Pauline Fogarty each lent an ear on numerous much needed occasions as I worked through my ideas out loud. -
1. Summer Rain by Carl Thomas 2. Kiss Kiss by Chris Brown Feat T Pain 3
1. Summer Rain By Carl Thomas 2. Kiss Kiss By Chris Brown feat T Pain 3. You Know What's Up By Donell Jones 4. I Believe By Fantasia By Rhythm and Blues 5. Pyramids (Explicit) By Frank Ocean 6. Under The Sea By The Little Mermaid 7. Do What It Do By Jamie Foxx 8. Slow Jamz By Twista feat. Kanye West And Jamie Foxx 9. Calling All Hearts By DJ Cassidy Feat. Robin Thicke & Jessie J 10. I'd Really Love To See You Tonight By England Dan & John Ford Coley 11. I Wanna Be Loved By Eric Benet 12. Where Does The Love Go By Eric Benet with Yvonne Catterfeld 13. Freek'n You By Jodeci By Rhythm and Blues 14. If You Think You're Lonely Now By K-Ci Hailey Of Jodeci 15. All The Things (Your Man Don't Do) By Joe 16. All Or Nothing By JOE By Rhythm and Blues 17. Do It Like A Dude By Jessie J 18. Make You Sweat By Keith Sweat 19. Forever, For Always, For Love By Luther Vandros 20. The Glow Of Love By Luther Vandross 21. Nobody But You By Mary J. Blige 22. I'm Going Down By Mary J Blige 23. I Like By Montell Jordan Feat. Slick Rick 24. If You Don't Know Me By Now By Patti LaBelle 25. There's A Winner In You By Patti LaBelle 26. When A Woman's Fed Up By R. Kelly 27. I Like By Shanice 28. Hot Sugar - Tamar Braxton - Rhythm and Blues3005 (clean) by Childish Gambino 29. -
The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities
The Miseducation of Hip-Hop dance: Authenticity, and the commodification of cultural identities. E. Moncell Durden., Assistant Professor of Practice University of Southern California Glorya Kaufman School of Dance Introduction Hip-hop dance has become one of the most popular forms of dance expression in the world. The explosion of hip-hop movement and culture in the 1980s provided unprecedented opportunities to inner-city youth to gain a different access to the “American” dream; some companies saw the value in using this new art form to market their products for commercial and consumer growth. This explosion also aided in an early downfall of hip-hop’s first dance form, breaking. The form would rise again a decade later with a vengeance, bringing older breakers out of retirement and pushing new generations to develop the technical acuity to extraordinary levels of artistic corporeal genius. We will begin with hip-hop’s arduous beginnings. Born and raised on the sidewalks and playgrounds of New York’s asphalt jungle, this youthful energy that became known as hip-hop emerged from aspects of cultural expressions that survived political abandonment, economic struggles, environmental turmoil and gang activity. These living conditions can be attributed to high unemployment, exceptionally organized drug distribution, corrupt police departments, a failed fire department response system, and Robert Moses’ building of the Cross-Bronx Expressway, which caused middle and upper-class residents to migrate North. The South Bronx lost 600,000 jobs and displaced more than 5,000 families. Between 1973 and 1977, and more than 30,000 fires were set in the South Bronx, which gave rise to the phrase “The Bronx is Burning.” This marginalized the black and Latino communities and left the youth feeling unrepresented, and hip-hop gave restless inner-city kids a voice. -
The Case of Rihanna: Erotic Violence and Black Female Desire
Fleetwood_Fleetwood 8/15/2013 10:52 PM Page 419 Nicole R. Fleetwood The Case of Rihanna: Erotic Violence and Black Female Desire Note: This article was drafted prior to Rihanna and Chris Brown’s public reconciliation, though their rekindled romance supports many of the arguments outlined herein. Fig. 1: Cover of Esquire, November 2011 issue, U. S. Edition. Photograph by Russell James. he November 2011 issue of Esquire magazine declares Rihanna “the sexiest Twoman alive.” On the cover, Rihanna poses nude with one leg propped, blocking view of her breast and crotch. The entertainer stares out provocatively, with mouth slightly ajar. Seaweed clings to her glistening body. A small gun tattooed under her right arm directs attention to her partially revealed breast. Rihanna’s hands brace her body, and her nails dig into her skin. The feature article and accompanying photographs detail the hyperbolic hotness of the celebrity; Ross McCammon, the article’s author, acknowledges that the pop star’s presence renders him speechless and unable to keep his composure. Interwoven into anecdotes and narrative scenes explicating Rihanna’s desirability as a sexual subject are her statements of her sexual appetite and the pleasure that she finds in particular forms of sexual play that rehearse gendered power inequity and the titillation of pain. That Rihanna’s right arm is carefully positioned both to show the tattoo of the gun aimed at her breast, and that her fingers claw into her flesh, commingle sexual pleasure and pain, erotic desire and violence. Here and elsewhere, Rihanna employs her body as a stage for the exploration of modes of violence structured into hetero- sexual desire and practices. -
Uptownlive.Song List Copy.Pages
Uptown Live Sample - Song List Top 40/ Pop 24k Gold - Bruno Mars Adventure of A Lifetime - Coldplay Aint My Fault - Zara Larsson All of Me (John Legend) Another You - Armin Van Buren Bad Romance -Lady Gaga Better Together -Jack Johnson Blame - Calvin Harris Blurred Lines -Robin Thicke Body Moves - DNCE Boom Boom Pow - Black Eyed Peas Cake By The Ocean - DNCE California Girls - Katy Perry Call Me Maybe - Carly Rae Jepsen Can’t Feel My Face - The Weeknd Can’t Stop The Feeling - Justin Timberlake Cheap Thrills - Sia Cheerleader - OMI Clarity - Zedd feat. Foxes Closer - Chainsmokers Closer – Ne-Yo Cold Water - Major Lazer feat. Beiber Crazy - Cee Lo Crazy In Love - Beyoncé Despacito - Luis Fonsi, Daddy Yankee and Beiber DJ Got Us Falling In Love Again - Usher Don’t Know Why - Norah Jones Don’t Let Me Down - Chainsmokers Don’t Wanna Know - Maroon 5 Don’t You Worry Child - Sweedish House Mafia Dynamite - Taio Cruz Edge of Glory - Lady Gaga ET - Katy Perry Everything - Michael Bublé Feel So Close - Calvin Harris Firework - Katy Perry Forget You - Cee Lo FUN- Pitbull/Chris Brown Get Lucky - Daft Punk Girlfriend – Justin Bieber Grow Old With You - Adam Sandler Happy – Pharrel Hey Soul Sister – Train Hideaway - Kiesza Home - Michael Bublé Hot In Here- Nelly Hot n Cold - Katy Perry How Deep Is Your Love - Calvin Harris I Feel It Coming - The Weeknd I Gotta Feelin’ - Black Eyed Peas I Kissed A Girl - Katy Perry I Knew You Were Trouble - Taylor Swift I Want You To Know - Zedd feat. Selena Gomez I’ll Be - Edwin McCain I’m Yours - Jason Mraz In The Name of Love - Martin Garrix Into You - Ariana Grande It Aint Me - Kygo and Selena Gomez Jealous - Nick Jonas Just Dance - Lady Gaga Kids - OneRepublic Last Friday Night - Katy Perry Lean On - Major Lazer feat. -
Memory Rings
2016 BAM Next Wave Festival #MemoryRings Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Katy Clark, President Joseph V. Melillo, Executive Producer Memory Rings BAM Harvey Theater Nov 17—19 at 7:30pm; Nov 20 at 3pm Running time: approx. one hour & 20 minutes, no intermission Phantom Limb Company Conceived by Jessica Grindstaff and Erik Sanko Choreography by Ryan Heffington Direction and design by Jessica Grindstaff Original music and puppet design by Erik Sanko Costume design by Henrik Vibskov Lighting design by Brian H Scott Sound design by Darron L West Projection design by Keith Skretch Dramaturgy by Janice Paran Creative producer Mara Isaacs/Octopus Theatricals Season Sponsor: Major support for theater at BAM provided by: The Francena T. Harrison Foundation Trust Donald R. Mullen Jr. The SHS Foundation The Shubert Foundation, Inc. Additional support provided by The Jim Henson Foundation. Memory Rings CAST Toby Billowitz Rowan Magee Marissa Brown Aaron Mattocks Emeri Fetzer Daniel Selon Takemi Kitamura Carlton Cyrus Ward ADDITIONAL CREDITS Stage manager Randi Rivera Production manager Corps Liminis Design architect Gia Wolff Fragrance design Douglas Little Rehearsal director Aaron Mattocks Cello recording Jeffrey Ziegler Producing associate/Company manager Bryan Hunt Bramble costumes designed by Jessica Grindstaff Costumes fabricated by Henrik Vibskov Studio Bramble costumes fabricated by Daniel Selon and Kaitlyn Horpedahl, Sarah -
A Love Story of Fantasy and Fascination: Exigency of Indian Cinema in Nigeria
Annals of the Academy of Romanian Scientists Series on Philosophy, Psychology, Theology and Journalism 80 Volume 9, Number 1–2/2017 ISSN 2067 – 113x A LOVE STORY OF FANTASY AND FASCINATION: EXIGENCY OF INDIAN CINEMA IN NIGERIA Kaveri Devi MISHRA Abstract. The prevalence of Indian cinema in Nigeria has been very interesting since early 1950s. The first Indian movie introduced in Nigeria was “Mother India”, which was a blockbuster across Asia, Africa, central Asia and India. It became one of the most popular films among the Nigerians. Majority of the people were able to relate this movie along story line. It was largely appreciated and well received across all age groups. There has been a lot of similarity of attitudes within Indian and Nigerian who were enjoying freedom after the oppression and struggle against colonialism. During 1970’s Indian cinema brought in a new genre portraying joy and happiness. This genre of movies appeared with vibrant and bold colors, singing, dancing sharing family bond was a big hit in Nigeria. This paper examines the journey of Indian Cinema in Nigeria instituting love and fantasy. It also traces the success of cultural bonding between two countries disseminating strong cultural exchanges thereof. Keywords: Indian cinema, Bollywood, Nigeria. Introduction: Backdrop of Indian Cinema Indian Cinema (Bollywood) is one of the most vibrant and entertaining industries on earth. In 1896 the Lumière brothers, introduced the art of cinema in India by setting up the industry with the screening of few short films for limited audience in Bombay (present Mumbai). The turning point for Indian Cinema came into being in 1913 when Dada Saheb Phalke considered as the father of Indian Cinema.