Westerville High School, Its Faculty, Administration, and Students Have This Year Been Characterized by an Atmosphere of Transition and Progress

Total Page:16

File Type:pdf, Size:1020Kb

Westerville High School, Its Faculty, Administration, and Students Have This Year Been Characterized by an Atmosphere of Transition and Progress :-..-.• • ^^^^m 1923 1962 FOREWORD Westerville High School, its faculty, administration, and students have this year been characterized by an atmosphere of transition and progress. Of the students, the Seniors are perhaps most aware of the changes, having spent two years in the old school and two in the new. We now have a guidance counselor, a psychologist, an assistant principal, as well as other additions to the staff. Last year Mr. Mowder stepped in as new principal, and this year Mr. Biggs as new Superintendent of Schools. A special speed-reading course has been set up for selected Juniors and Seniors which is duplicated in no other high school in the country. An experimental system of honors work in the form of seminars has been put into effect in Senior English. A new student constitution was drawn up and voted in, and a new Student Council was elected. The members of the staff and the students at Westerville High are gradually growing into their new surroundings. A high school year is a mixture of depressions and elations. The examples are familiar to most. Coming to school in the morning bleary-eyed after studying until 1:00 A.M. ... Or com­ ing to school worried after NOT staying up to study . Being nervous and shaky because of an oral report due next period, all of those people watching, waiting for a slip . Needing a new pair of shoes . Seeing that one girl (or boy) smiling warmly at someone else . And the common feeling that there are 14,000 things that must be done by tomorrow. But how many things there are to offset this darker side of high school life! The elation of an A, a job well done . the proud feeling of physical skill on a football field, a basketball court, or even at a pool table . The incomparable emotions of young love . And the great free feeling when all obligations have been fulfilled, and one's time is his own. Whether the times be good or bad, it is impossible to for­ get the years of high school. On some future day, when you come upon your 1962 Searchlight in a dark corner, blow the dust from its cover, leaf through its drying pages, and enjoy the awareness and nostalgia that comes from the remembrance of things past. WESTERVILLE •JWr»<L ft L- * K \ *^« 1962 HIGH SCHOOL SEARCHLIGHT TABLE OF CONTENTS FOREWORD 1 ADMINISTRATION AND FACULTY 5 ACTIVITIES 21 SPORTS 39 UNDERCLASSES 66 SENIORS 77 ADVERTISEMENTS 100 ADMINISTRATION AND FACULTY A MEMBER OF OUR OVERWORKED STAFF TOILING AT HIS JOB ADMINISTRATION The heading "Administration" covers a wide area; from the Superintendent's office to the sec­ retaries. Among its many duties are the untan­ gling of car formations in the student parking lot, and assisting the custodians in every possible way. This is Carroll Biggs' first year as superinten­ dent of Westerville Schools. He has shown him­ self already to be competent and devoted to his job. Many innovations were evident this year as proof of his grasp of the problems in the high school. The class of 1962 gives Mr. Biggs its stamp of approval. John Mowder, principal of Westerville High School, has the back-breaking task of coordinating all facets of school activity. Mr. Mowder is to be commended on being a strong principal and one who does his job as he sees it - best in the long run for all concerned. Mr. Arthur Wright's position of assistant principal gives him various responsibilities. The one he is best known for among the students is that of Chief Altendance Police­ man. Mr. Morris draws upon his years of experience to func­ The expanding curriculum at W.H.S. is a tion ably as Assistant Superintendent of Schools. direct result of the efficiency of T. V. Ban­ croft, our curriculum director. As guidance counselor, Mr. Hanny is re­ Mrs. O'Keefe, the school nurse, is burdened A new member of the W.H.S. administra­ sponsible for giving aptitude tests and help­ with the real and imagined ills of the tion, Mr. Alvarado, is the school psychologist, ing in the decision of colleges. student body. which here is a decidedly full-time job. Miss Zora Yoemans at her position behind Secretaries of Board of Education: Mrs. Grace Shelly. Mrs. Joan Gould. the front office desk is usually the recipient Mrs. Gertrude Drewes, Mrs. Marjorie Meyer. of the various complaints brought to the office. ENGLISH AND FOREIGN LANGUAGES LATIN, FRENCH, AND SPANISH Mr. Stallings supplements his English courses A new teacher, Mrs. Johnston, is saddled with perceptive tales of his experiences with with the responsibility of shaping the un­ human nature. developed freshmen minds in her English classes. English and Social Studies classes keep Mrs- Mrs. Tobias is doing an exceptional job of Ray busy during the school year. impressing on Senior English students the problems of transition from high school to college. As we arrive in the world of nouns and pronouns, adjectives and adverbs, we see the freshmen brow beat­ ers, Mrs. Johnston and Mrs. Wadley, performing the excit­ ing whims of English. Our next stop is at an interjection! We find sophomore tribunes to Julius Caesar with Mr. Stallings and Mr. Lotz. You say you don't know what a preposition is? Well, Mrs. Ray can explain the whole or­ deal to you juniors. Finally, we reach the co-ordinate con­ junction of the English language to English literature. Who else could connect these two but Mrs. Tobias? Ask any freshman or sophomore taking Latin what his favorite subject is. If he or she is taking Latin, one will invariably get the same answer . lunch! Mrs. Kempshall guides the declension-blinded students through the laby­ rinths of Latin. Monsieur Lotz dictates to the class. "N'ecrivez pas dans ce livre." The French 2 students are naturally very exper­ ienced and can translate this incredibly complicated exam­ ple of French syntax in a little under an hour. One of the high points of the year was the student plot to destroy the school's tape recorder. "Please, ma'am, we didn't mean to do that . You aren't really going to give us a test!" This is a typical plea of the studious rowdies in Mrs. Near's Spanish class. The most frequent sentence spoken in class by Mrs. Near is: "listed es impossible!" Mrs. Kempshall teaches Latin, the so-called "dead" language, which is still very alive in its English derivatives. Mr. Lotz is using his experience of years in Senorita Near has charge of all the Spanish- France to pound the language into the heads speaking aspiring youths in Westerville. of his pupils. SCIENCES Attention all Science teachers! Repeat this handy phrase at least five times a day: "If I am enthusiastic, I have nothing to fear from my students; I have nothing to fear; I have nothing to fear!" Mr. Ralston grimaces painfully as another beaker crashes to the floor. Mr. Detrick watches suspiciously in order to discour­ age the plans of his students to detonate the whole school. The female students in Biology gaze at Mrs. Lipton in wonder that she is not only willing but able to touch those horrid old frogs. Mr. Starr patiently teaches the rudiments of science to his freshman General Science classes. The Science Department has become adjusted to the new labs and equipment. The beautifully smooth, bright green lab tables are now beginning to look acid stained and corroded. The once clean and shining glass instru­ ments are now chemically encrusted. These labs, which have expanded the science program at W.H.S., are looking "lived in." Mr. Joseph Ralston quizzes his physics stu­ dents; "Miss Mar, what is the coefficient of linear expansion of a piece of arn war?" Mrs. Paula Lipton instructs the biology The chemistry instructor, Mr. Ronald De- classes in the social significance of the birds trich, presides over the chaos resulting from and the buzzin' insects. a batch of students turned locse with a batch of chemicals. 10 Ed Cunningham astounds the physics class with his knowledge of the principles of flight. Mr. Starr tries to prepare his General Sci­ ence pupils for the rigors of laboratory work. ART Mrs. Marilyn Miller is a welcome newcomer to Wes­ terville High School's faculty this year, and her subject, Art, an equally welcome and significant addition to the curriculum. Artistic minded students are taught the ba­ sics in color, shape, and design. Experiments in various media took place — tempera, ink, water color, and clay. Along with regular projects, the Art Department helped with signs and decorations for pep rallies, assemblies, dances and other school functions. Pop into the art room sometime and observe Mrs. Miller, pigment dripping from her fingers, bellowing, "You boys, get out of the back room and PAINT!" 11 SOCIAL STUDIES London is in England, not Germany. Versail­ les is in Switzerland, oops, France. Sorry, Mr. Hively and Mrs. Ott. We'll try harder the next time. When was the American Revolution? the War of 1812? the Civil War? You don't know. Read the book, do you hear me? Yes, Mr. Shade, right away. Oh no! Mr. Guckert - not another new way of taking a test! I know it will be easier on you, but it's going to be harder for us. There are 50 States. No, Texas is not the WHOLE United States; it's only half, or part. Yes, Frazier, Colorado does get to 30 below. It doesn't always rain in California, it snows some­ times.
Recommended publications
  • 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.
    [Show full text]
  • The B-Boy Summit Internationally Acclaimed B-Boy/B-Girl Event
    THE B-BOY SUMMIT INTERNATIONALLY ACCLAIMED B-BOY/B-GIRL EVENT Produced by No Easy Props OVERVIEW The B-boy Summit continues to be a major trendsetter in Hip-Hop street dance, art and music culture. Established in 1994, The Summit presented innovative ideas in Hip-Hop culture, offering a conference forum complete with competitions, performances, panels, workshops, and a marketplace for consumer friendly products marketed toward the Hip-Hop community. Never content with success, The B-boy Summit continues its mission to bring the hottest street dance, art, and music above ground to the masses. The B-boy Summit has grown into an internationally acclaimed 3 day festival incorporating all aspects of Hip-Hop in different plateaus, including the most intense battles, rawest circles, theatre performances, a DJ/MC Talent Showcase and live aerosol art painting. The B-boy Summit was created in 1994 out of the need for a community orientated Hip-Hop event that encompassed knowledge of the history of Hip-Hop culture and the skills of B-boying and B-girling. At that point in time B-boys and B-girls didn’t have a platform in which to come together, dance and pay homage to the traditional dance of Hip-Hop. Each year the event has expanded to encompass B-boys, B-girls, MCs, Aerosol Artists, and DJs from across the globe, steadily building into what is now the foremost Hip-Hop cultural event in the world. More recently, The Summit has become one of the most important events for Lockers, Poppers, Freestyle and House Dancers to take part in during The Summit’s Funk Fest.
    [Show full text]
  • '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.
    [Show full text]
  • Hip Hop Culture and Its Foundational Elements
    Lindsay Rapport, Gluck Fellow in Dance Hip Hop Culture and its Foundational Elements Hip Hop’s origin story begins in the 1970s in the South Bronx (Image 1) in New York with predominantly African American and Latino-American youth (around your students’ ages!). Hip hop culture has four foundational elements: the DJ, the MC, graffiti, and breaking. The DJ The hip hop DJ didn’t just put a record on the turntable and let it play. These DJs recognized that the dancers got really excited during certain parts of the songs, the breaks (a percussion section when the rest of the instruments drop out), so they devised ways to just repeat—or loop—the dancers’ faVorite sections of the music. DJ Kool Herc (Image 2) is perhaps the earliest pioneering figure in hip hop history, and he was known for having massiVe, incredibly loud speakers, the Herculoids. DJ Afrika Bambaataa is recognized as the Godfather of hip hop for his influential role, and DJ Grandmaster Flash is known for his scientific approach to deejaying and perfecting the loop. The MC Grandmaster Flash deejayed a party and the crowd wasn’t into it, so he came up with the idea to haVe someone proVide Vocal accompaniment on a microphone to get the crowd excited. While DJs played the music, MCs began with simple phrases to get the crowd hype, some started rhyming, and eVentually this eVolVed into rapping as we know it today. (Image 3) Graffiti Although graffiti is obViously known for its rule-breaking, it is so important to acknowledge the incredibly innoVatiVe artistry graffiti artists deVeloped.
    [Show full text]
  • Urban Street Dance Department
    Urban Street Dance Department Divisions and Competition Rules Break Dance Division Urban Street Dance Division Implemented by the WADF Managing Committee January 2020 Artistic Dance Departments, Divisions and Competition Rules WADF Managing Committee Nils-Håkan Carlzon President Irina Shmalko Stuart Saunders Guido de Smet Senior Vice President Executive Secretary Vice President Marian Šulc Gordana Orescanin Roman Filus Vice President Vice President Vice President Page 2 Index Artistic Dance Departments, Divisions and Competition Rules Urban Street Dance Department Section G-2 Urban Street Dance Division Urban Street Dance Competitions Urban Street Urban Street Dance is a broad category that includes a variety of urban styles. The older dance styles that were created in the 1970s include up-rock, breaking, and the funk styles. At the same time breaking was developing in New York, other styles were being created in California. Several street dance styles created in California in the 1970s such as roboting, bopping, hitting, locking, bustin', popping, electric boogaloo, strutting, sac-ing, and dime-stopping. It is historically inaccurate to say that the funk styles were always considered hip-hop. "Hip-Hop Dance" became an umbrella term encompassing all of these styles. Tempo of the Music: Tempo: 27 - 28 bars per minute (108 - 112 beats per minute) Characteristics and Movement: Different new dance styles, such as Quick Popping Crew, Asian style, African style, Hype Dance, New-Jack-Swing, Popping & Locking, Jamming, etc., adding creative elements such as stops, jokes, flashes, swift movements, etc. Some Electric and Break movements can be performed but should not dominate. Floor figures are very popular but should not dominate the performance.
    [Show full text]
  • Hip Hop Dance: Performance, Style, and Competition
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Oregon Scholars' Bank HIP HOP DANCE: PERFORMANCE, STYLE, AND COMPETITION by CHRISTOPHER COLE GORNEY A THESIS Presented to the Department ofDance and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Master ofFine Arts June 2009 -------------_._.. _--------_...._- 11 "Hip Hop Dance: Performance, Style, and Competition," a thesis prepared by Christopher Cole Gorney in partial fulfillment ofthe requirements for the Master ofFine Arts degree in the Department ofDance. This thesis has been approved and accepted by: Jenife .ning Committee Date Committee in Charge: Jenifer Craig Ph.D., Chair Steven Chatfield Ph.D. Christian Cherry MM Accepted by: Dean ofthe Graduate School 111 An Abstract ofthe Thesis of Christopher Cole Gorney for the degree of Master ofFine Arts in the Department ofDance to be taken June 2009 Title: HIP HOP DANCE: PERFORMANCE, STYLE, AND COMPETITION Approved: ----- r_---- The purpose ofthis study was to identify and define the essential characteristics ofhip hop dance. Hip hop dance has taken many forms throughout its four decades ofexistence. This research shows that regardless ofthe form there are three prominent characteristics: performance, personal style, and competition. Although it is possible to isolate the study ofeach ofthese characteristics, they are inseparable when defining hip hop dance. There are several genre-specific performance formats in which hip hop dance is experienced. Personal style includes the individuality and creativity that is celebrated in the hip hop dancer. Competition is the inherent driving force that pushes hip hop dancers to extend the form's physical limitations.
    [Show full text]
  • Hip Hop Terms
    1 Topic Page Number General Hip Hop Definitions ………………………………………………. 3 Definitions Related to Specific Dance Styles: ♦ Breaking ………………………………………………………………………. 4 ♦ House ………………………………………………………..………………… 6 ♦ Popping / Locking …………………………………………….….……… 7 2 GENERAL • Battle A competition in which dancers, usually in an open circle surrounded by their competitors, dance their routines, whether improvised (freestyle) or planned. Participants vary in numbers, ranging from one on one to battles of opposing breaking crews, or teams. Winners are determined by outside judges, often with prize money. • • Cypher Open forum, mock exhibitions. Similar to battles, but less emphasis on competition. • Freestyle Improvised Old School routine. • Hip Hop A lifestyle that is comprised of 4 elements: Breaking, MCing, DJing, and Graffiti. Footwear and clothing are part of the hip hop style. Much of it is influenced by the original breaking crews in the 1980’s from the Bronx. Sneakers are usually flat soled and may range from Nike, Adidas, Puma, or Converse. Generally caps are worn for spins, often with padding to protect the head. To optimize the fast footwork and floor moves, the baggy pants favored by hip hop rappers are not seen. o Breaking Breakdancing. o MCing Rapping. MC uses rhyming verses, pre‐written or freestyled, to introduce and praise the DJ or excite the crowd. o DJing Art of the disk jockey. o Graffiti Name for images or lettering scratched, scrawled, painted usually on buildings, trains etc. • Hip Hop dance There are two main categories of hip hop dance: Old School and New School. • New School hip hop dance Newer forms of hip hop music or dance (house, krumping, voguing, street jazz) that emerged in the 1990s • Old School hip hop dance Original forms of hip hop music or dance (breaking, popping, and locking) that evolved in the 1970s and 80s.
    [Show full text]
  • B-Girl Like a B-Boy Marginalization of Women in Hip-Hop Dance a Thesis Submitted to the Graduate Division of the University of H
    B-GIRL LIKE A B-BOY MARGINALIZATION OF WOMEN IN HIP-HOP DANCE A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAII AT MANOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN DANCE DECEMBER 2014 By Jenny Sky Fung Thesis Committee: Kara Miller, Chairperson Gregg Lizenbery Judy Van Zile ACKNOWLEDGEMENTS I would like to give a big thanks to Jacquelyn Chappel, Desiree Seguritan, and Jill Dahlman for contributing their time and energy in helping me to edit my thesis. I’d also like to give a big mahalo to my thesis committee: Gregg Lizenbery, Judy Van Zile, and Kara Miller for all their help, support, and patience in pushing me to complete this thesis. TABLE OF CONTENTS Abstract…………………………………………………………………………… 1. Introduction………………………………………………………………………. 1 2. Literature Review………………………………………………………………… 6 3. Methodology……………………………………………………………………… 20 4. 4.1. Background History…………………………………………………………. 24 4.2. Tracing Female Dancers in Literature and Film……………………………... 37 4.3. Some History and Her-story About Hip-Hop Dance “Back in the Day”......... 42 4.4. Tracing Females Dancers in New York City………………………………... 49 4.5. B-Girl Like a B-Boy: What Makes Breaking Masculine and Male Dominant?....................................................................................................... 53 4.6. Generation 2000: The B-Boys, B-Girls, and Urban Street Dancers of Today………………...……………………………………………………… 59 5. Issues Women Experience…………………………………………………….… 66 5.1 The Physical Aspect of Breaking………………………………………….… 66 5.2. Women and the Cipher……………………………………………………… 73 5.3. The Token B-Girl…………………………………………………………… 80 6.1. Tackling Marginalization………………………………………………………… 86 6.2. Acknowledging Discrimination…………………………………………….. 86 6.3. Speaking Out and Establishing Presence…………………………………… 90 6.4. Working Around a Man’s World…………………………………………… 93 6.5.
    [Show full text]
  • Cesa Zuniga Performer/Choreographer/ Instructor/Dancer
    Cesa Zuniga Performer/Choreographer/ Instructor/Dancer Performance Experience Soundcrash & Mteropolis music presents: Method Man & Redman. Juice crew (Big daddy kane, M.c Shane, Kool G Rap, Shante) Dr. Pepper Promotional Show: Thorpe Park UK 2017 & 2016 Clover ‘Harvest’ Commercial UK 2015 Dir. Jake Nava Barclay:s Bank Promotion Tour, UK January 2016 BETT @ Olympia London, UK January 2010, 11 ,15 BFI Video Awards @ London,UK November 2014 Barclay:s Bank Promotion Tour, UK November 2014 Back to the 80’s @ the body shop Tour, Glasgow, Scotland UK October 2013 Barclay:s Bank Promotion Tour, UK October 2013 Mckinsey & Company Corporate Gala, Piccadilly, UK October 2012 Urban Hype @ The Egg, Bath,UK October 2012 Satellite Submission/Nutmeg Overdose @ The Painted Bride, Philadelphia, PA September 2009 Elixir Alchemy Dance Company @ The Painted Bride, Philadelphia, PA September 2009 Olive Dance Theatre @ The Wilma Theater, Philadelphia, PA January 2009 Philly Nutt @ The Painted Bride, Philadelphia, PA December 2008 Olive Dance Theatre @ BS shirts, Philadelphia, PA December 2008 Contempra Dance Theatre @ The Painted Bride, Philadelphia, PA October 2008 Olive Dance Theatre @ City Hall New Deal Gala, Philadelphia, PA October 2008 Olive Dance Theatre @ NYU Hip-Hop Theatre Festival New York, NY September 2008 Olive Dance Theatre @ The Rocky’s Fringe Fesival Awards Philadelphia, PA September 2008 Alchemy Dance Company @ The Performance Garage, Philadelphia, PA May 2008 Olive Dance Theatre @ Jumpstart Performances, San Antonio, TX May 2008 Alchemy Dance
    [Show full text]
  • Hip-Hop Dance
    Hip-Hop Dance Anthony H ovington Hip-hop culture sprang from the hearts of the ground, comes back up to his feet, and young Mrican Americans and Latinos as a way to then lowers himself again while maintaining his express themselves in the inner cities of New spin. Although there is structure to their rou­ York. Beginning around 1973, it became a pow­ tines, many times the best performances are the erful influence on popular culture across the ones that happen instantaneously in a moment globe. of creativity. To put the dancing being done today in per­ There is a tradition involved with hip-hop spective, I interviewed members of the Rock dancing. Older generations continuously pass Steady Crew, one of the first b-boy crews to on what they've learned to younger genera­ emerge with hip-hop. The term "b-boy" was tions. Almost all the dancers agreed that they coined by DJ Kool Here. It means break-boy. The learned to dance by going to parties or by get­ dance was done to the "break" of the record, the ting together with peers when they were funkiest part, the part that was mostly a hard-dri­ younger. Little kids learn by watching their ving beat. An example of a "break" would be a elders dance then going home to practice. Pee­ drum solo in a james Brown record. The Rock Wee Dance studies styles that are similar but Steady Crew still performs and aspires to make came before, namely buck dancing and the hip-hop dancing an accepted art form, like ballet Lindy Hop.
    [Show full text]
  • Disability Equality in the Classroom: a Human Rights Issue
    RICHARD RIESER and MICHELINE MASON DISABILITY EQUALITY IN EDUCATION, LONDON 1992 SUPPORTED BY A LOAN FROM CHARITY PROJECTS DISABILITY EQUALITY IN THE CLASSROOM: A HUMAN RIGHTS ISSUE FOREWORD TO REVISED EDITION There is little doubt that Britains six and a quarter million disabled people have a considerably poorer lifestyle to that of the non-disabled community. Orthodox medical explanations suggesting this is due to the physical and/or intellectual impairments of the individuals concerned are no longer acceptable to disabled people, their organisations, and an increasing number of policy makers throughout the democratic world. It is not impairment which prevents disabled people from achieving a reasonable standard of living, but attitudes and policies which deny them equal rights and opportunities; ie. institutional discrimination. Sadly, institutional discrimination against disabled people is inherent in the present education system. Children with impairments are marked out for a particular form of special provision which is generally segregated, dominated by medical rather than educational criteria, and given a low priority in the system as a whole. As a result disabled school leavers rarely have the skills and confidence to achieve a full and active adult life comparable to that of their non-disabled counter-parts. Hence, special education helps create the negative stereotypes against which all disabled people are judged. At the same time, the removal of children with impairments from mainstream schools denies non-disabled pupils access to the experience of disability; so perpetuating the ignorance and fear upon which stereotyping and prejudice depend. Moreover, despite a succession of legislation since the 1944 Education Act endorsing the principle that disabled children should be educated alongside their non-disabled peers, the impetus toward integration has been only slight.
    [Show full text]
  • Kung-Fu Cowboy to Bronx B-Boys: Heroes and the Birth of Hip Hop
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 Kung-Fu Cowboys to Bronx B-Boys: Heroes and the Birth of Hip Hop Culture Cutler Edwards Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES KUNG-FU COWBOYS TO BRONX B-BOYS: HEROES AND THE BIRTH OF HIP HOP CULTURE By CUTLER EDWARDS A Thesis submitted to the Department of History in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Fall Semester, 2005 Copyright © 2005 Cutler Edwards All Rights Reserved The members of the Committee approve the Thesis of Cutler Edwards, defended on October 19, 2005. ______________________ Neil Jumonville Professor Directing Thesis ______________________ Maxine Jones Committee Member ______________________ Matt D. Childs Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii I give this to many people: to my parents, who alternately encouraged, cajoled, and coerced me at the appropriate times in my life—good timing, folks. To my brothers by birth, who are stuck with me, and my brothers and sisters by choice, who stick with me anyway—you are true patriots. Thanks for the late nights, open minds, arguments, ridicule, jests, jibes, and tunes—the turntables might wobble, but they don’t fall down. I could not hope for a better crew. R.I.P. to O.D.B., Jam Master Jay, Scott LaRock, Buffy, Cowboy, Bruce Lee, and the rest of my fallen heroes.
    [Show full text]