Montana Kaimin, February 10-16, 2016 Students of the University of Montana, Missoula

Total Page:16

File Type:pdf, Size:1020Kb

Montana Kaimin, February 10-16, 2016 Students of the University of Montana, Missoula University of Montana ScholarWorks at University of Montana Associated Students of the University of Montana Montana Kaimin, 1898-present (ASUM) 2-10-2016 Montana Kaimin, February 10-16, 2016 Students of the University of Montana, Missoula Let us know how access to this document benefits ouy . Follow this and additional works at: https://scholarworks.umt.edu/studentnewspaper Recommended Citation Students of the University of Montana, Missoula, "Montana Kaimin, February 10-16, 2016" (2016). Montana Kaimin, 1898-present. 6910. https://scholarworks.umt.edu/studentnewspaper/6910 This Newspaper is brought to you for free and open access by the Associated Students of the University of Montana (ASUM) at ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Kaimin, 1898-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. FEBRUARY 10-16, 2016 / 10-16, FEBRUARY N I M I A MONTANAKAIMIN.COM MONTANAKAIMIN.COM K A AN MONT FINDING Page 4 / THE LAST BEST COLLEGE COLLEGE BEST THE LAST FELLER @montanakaimin @montanakaimin facebook.com/montanakaimin ASUM CHILDCARE AT RISK PAGE 3 STUDENT EMPLOYEES FEELING BUDGET CUTS PAGE 3 HIGH PRAISE FOR STUDENT TRANS FILM PAGE 8 2 FEBRUARY 10-16, 2016 / MONTANA KAIMIN / MONTANAKAIMIN.COM OPINION TRANNY 911 EDITORIAL More chart-topping STUDENT FEES: OUR queers, please LAST LINE OF DEFENSE Editorial Staff [email protected] Michael Siebert [email protected] hough the news lately has been plenty of gloom and doom, ne of the most exhilarating countless more have all found a cer- students are wrong to feel powerless in the face of top-down moments in music last year tain amount of underground success. budget cuts that have fired popular instructors and proficient wasn’t a song. Rapper Young But none of them have found stardom T ThugO appeared on the cover of Dazed, quite like Young Thug. Le1f has not had bureaucrats. ASUM student fees support many of the most important a fashion magazine, in September 2015. a chart-topper, Cakes da Killa is not fea- institutions on campus, and students have a responsibility to stand by The cover was less important than the tured on Kanye tracks and Mykki Blan- them. spread within, where Thugger wore a co no longer makes music. The tenor of campus may be changing uncontrollably, but students sheer cream Molly Goddard dress. But, is it because hip-hop isn’t ready can stop some of the worst of it. It’s why we have student government Homophobes came out of the wood- for a queer rapper, or is it because lis- and student-led institutions in the first place; to pick up the slack and work to complain. But what’s more in- teners aren’t? Sure, homophobia is still provide students services the administration cannot or will not. teresting is that this didn’t seem to af- rampant in lyrics and from some of rap’s From the people who watch the campus’ children to the impresarios fect his credibility. Thugger has almost biggest figures. But, with more rappers that keep the Adams Center packed with buckle bunnies, agencies fund- 1.3 million Facebook fans, with multiple coming out in support of LGBTQIA ed through ASUM student fees are in trouble from the enrollment drop. certifiable hits, all without having ever rights, that argument seems to lose Decreasing student fees aren’t the only reason foundational campus released a studio album. He has con- credibility. sistently fucked with hip-hop’s notions Hip-hop is often hypersexual, and institutions are struggling, but they’ve made unforeseen budgetary fluc- of masculinity since the beginning; his while we can handle a straight guy rap- tuations harder to weather. wardrobe is tight, feminine and chic, ping about gay people, are we cultur- Adapting to new federal regulations means ASUM Child Care faces an and he raps in a warbly, high-pitched ally ready for someone rapping about existential threat if it can’t find ways to cover a sudden shortfall. UM Pro- moan. anal sex? Could we have a Billboard hit ductions will not receive any funding from ASUM next year, and can only In other words, he’s a stark contrast about Azealia Banks picking up girls operate off their accumulated nest egg for so long. ASUM Transportation to what we think of as the archetypal and giving us the details? It doesn’t ap- just bought two brand new electric buses, and as the University’s prima- hip hop figure. There’s a whole new pear that way. Because while we have ry means of combating Montana’s legendary proclivity for drunk-driving, school of others like him. Future, Drake, gay, lesbian, bisexual and trans charac- cannot afford to be cut. The Montana Kaimin and KBGA both saw their Rich Homie Quan, ILoveMakonnen and ters on television shows and in film, we proposed fee increases voted down last year as ad revenue simultane- more are all deconstructing the idea have yet to really delve into what those ously continues to fall. that rappers need to be hyper-mascu- identities mean in more than a superfi- All organizations funded partly or in whole by ASUM student fees line, whether through lyrics or appear- cial way. ance. And existence isn’t exactly represen- have seen their operating budgets dwindle as thousands of students Which means that we’ve laid all the tation. So, the reason we haven’t seen a who once paid them took their tuition somewhere else. groundwork for the next step: a main- mainstream queer rapper has less to do Paying slightly higher fees is something students have to get used to stream queer rapper. with hip-hop and more to do with us. if they don’t want to see the University lose important services that help Culturally, we’ve seen everything If we still can’t handle some of Nicki everyone. To Montanans, any tax is a grim reality, but with enrollment short of this happen. Macklemore had Minaj’s lyricism, how long will it take sinking every year, and the administration offering no answers whatso- a hit single about supporting gay mar- radio stations to spin tracks about boys ever, students aren’t left with any other options. riage, Frank Ocean alluded to his queer- kissing boys, or gender dysphoria? Voting in favor of fee increases at the end of the semester is a chance ness in an open letter he published on We need to stop thinking of rep- for students to score a rare victory after years of retreating. The quality his Tumblr, and now, the gradual ac- resentation as something that can be of UM’s academic offerings may be diminishing, but it’s going to be much ceptance of feminine behavior. So, why achieved just by having queer individ- harder to get to class when the buses stop running and your kid’s daycare is there not even a single openly queer uals present in our media. We need to is halfway across town. A few extra dollars from each of us won’t stop rapper that we can point to that has think of it as a genuine sharing of their seen crossover success? experiences. We need to be willing to the University’s decline, but it will substantially soften the blow. It certainly isn’t because there’s a listen to Cakes da Killa talk about his shortage of them. Rappers like Le1f, bad breakup if we champion Drake for Cakes da Killa, Mykki Blanco and doing the same thing.▪ Cover photo by Lacey Young / @ laceyyoung87 OPINION NEWS ARTS SPORTS KIOSK FEBRUARY 10-16, 2016 / MONTANA KAIMIN / MONTANAKAIMIN.COM 3 NEWS ASUM Child Care survival at risk Silas Miller [email protected] for 20 fewer kids at any given time. Sanks, director of ASUM Child Care, went tion their rooms with low walls to maintain If rates remain the same, this would to Helena to plead for changes to the pro- small group sizes. Low walls would allow ASUM Child Care may need to discon- shrink the program’s annual revenue by posed regulations for child care centers. their caregivers to watch two groups at tinue or downsize to comply with oncom- $168,000, according to Meixner. Meixner said he thinks a decision will once, keeping staff costs down. ing state regulations, according to ASUM With fewer kids to care for, ASUM be made concerning the fate of the child Nothing is for certain, according to President Cody Meixner. would still have to maintain the same size care program by mid-February, when Meixner, who said, “Losing 20 spots is still The Child Care Development Block staff it currently has, as the number of care- ASUM senators budget for the upcoming a very big possibility.” Grant Act of 2014 mandated new child care givers needed for each group wouldn’t fiscal year. The state of Montana must submit regu- regulations across the United States. change significantly. Meixner said he walked away from the lations to the federal government by March In accordance with the CCDBG, Mon- Furthermore, they will have to increase Helena meeting feeling optimistic ASUM 1 of this year, leaving minimal time for any tana must decide how many kids can be staff training and pay for background Child Care may be able to maintain their exemptions or changes to occur. cared for in a room at a given time. checks, changes which incur annual costs current numbers of kids while adjusting to There will be a Montana state child care The state has proposed a plan that of at least $5,500, according to Meixner.
Recommended publications
  • «Es Gibt Keinen Schwulen Rap» | Norient.Com 7 Oct 2021 18:15:11
    «Es gibt keinen schwulen Rap» | norient.com 7 Oct 2021 18:15:11 «Es gibt keinen schwulen Rap» by Jonathan Fischer Der New Yorker Rapper Khalif Diouf alias Le1f ist schwul und mischt mit Witz und knalligen Videos den Hip-Hop auf. Als Aktivist für LGTB-Rechte sieht sich der Sohn senegalesischer Einwanderer aber nicht – und Musikjournalisten, so empfiehlt er, sollten sich weniger mit seiner sexuellen Identität und mehr mit seinen Songs beschäftigen. Eine bearbeitete Version dieses Artikels erschien im Norient Buch Seismographic Sounds (Info und Bestellmöglichkeit hier). Das Interview fängt nicht gut an. Nachdem der Fotograf den schlaksigen Afroamerikaner darum gebeten hat, doch bitte – «nur für ein paar Bilder» – eine blonde Perücke aufzusetzen, stürmt Khalif Diouf alias Le1f wütend Richtung Ausgang seines Münchner Hotels: «Ich bin ein Rapper und keine https://norient.com/stories/le1f Page 1 of 5 «Es gibt keinen schwulen Rap» | norient.com 7 Oct 2021 18:15:11 Drag-Queen!» Und was er auf dem Kopf trage, solle man bitte sehr seiner eigenen Regie überlassen. Erst das Versprechen, ernsthaft über seine Texte zu reden, holt ihn zurück. Ein paar Fragen später lümmelt Le1f entspannt auf der Couch und lacht über die Aufregung, die seine Person im Showbusiness auslöst: «Warum kommt niemand mal auf die Idee, mich mit Little Richard oder Sylvester in eine Reihe zu stellen? Die waren auch schwul und schwarz. Und sehr erfolgreiche Entertainer.» Dabei teilt der junge New Yorker das Dilemma aller offen schwulen Rapper: Die Medien reduzieren sie nur allzu gern auf ihre Sexualität, messen sie an ihrem Provokationswert für die Hiphop-Welt.
    [Show full text]
  • IZZY OCAMPO New York, NY | (917) 480-0360 | [email protected]
    IZZY OCAMPO New York, NY | (917) 480-0360 | [email protected] EDUCATION 2014 Middlebury College Middlebury, VT Bachelor of Arts, magna cum laude, Chemistry GPA: 3.6/4.0 HONORS 2010—2014 Posse Foundation Full-Tuition Leadership Scholarship to Middlebury College LECTURES & WORKSHOPS 2016 Recess Art New York, NY brujas x stud1nt: Home Studio Recording & Sound Design Workshop 2016 Vassar College Poughkeepsie, NY Creative Approaches to Electronic Production 2016 The New School New York, NY Movement and Process in Electronic Production EXPERIENCE Fall 2016- Present Hyperballad Music Brooklyn, NY A&R ▪ Scout emerging and leading talent for 7” series and liaise between artist’s team and Hyperballad ▪ Build Hyperballad’s brand as a creative cultural hub and cultivate relevant industry partnerships through curatorial programming of unique music products and events Summer 2016-Present Whimsical Raps New York, NY Operations Manager ▪ Manage lifecycle of four modular synthesizers from parts sourcing, manufacturing, assembly, shipment, to repairs ▪ Prepare and coordinate invoices and purchase orders for dozens of distributors, manufacturers, and buyers ▪ Responsible for hand assembly of faceplates, knobs, circuit boards and product packaging and small soldering repairs ▪ Calibrate and quality control each module before shipment Summer 2016 Hyperballad Music Brooklyn, NY Recording Engineer Intern ▪ Prepared recording consoles, tape machine, patchbay, instruments, mics, outboard gear, and DAWs for tracking sessions ▪ Assisted engineers with tracking
    [Show full text]
  • SXSW2016 Music Full Band List
    P.O. Box 685289 | Austin, Texas | 78768 T: 512.467.7979 | F: 512.451.0754 sxsw.com PRESS RELEASE - FOR IMMEDIATE RELEASE SXSW Music - Where the Global Community Connects SXSW Music Announces Full Artist List and Artist Conversations March 10, 2016 - Austin, Texas - Every March the global music community descends on the South by Southwest® Music Conference and Festival (SXSW®) in Austin, Texas for six days and nights of music discovery, networking and the opportunity to share ideas. To help with this endeavor, SXSW is pleased to release the full list of over 2,100 artists scheduled to perform at the 30th edition of the SXSW Music Festival taking place Tuesday, March 15 - Sunday, March 20, 2016. In addition, many notable artists will be participating in the SXSW Music Conference. The Music Conference lineup is stacked with huge names and stellar latebreak announcements. Catch conversations with Talib Kweli, NOFX, T-Pain and Sway, Kelly Rowland, Mark Mothersbaugh, Richie Hawtin, John Doe & Mike Watt, Pat Benatar & Neil Giraldo, and more. All-star panels include Hired Guns: World's Greatest Backing Musicians (with Phil X, Ray Parker, Jr., Kenny Aranoff, and more), Smart Studios (with Butch Vig & Steve Marker), I Wrote That Song (stories & songs from Mac McCaughan, Matthew Caws, Dan Wilson, and more) and Organized Noize: Tales From the ATL. For more information on conference programming, please go here. Because this is such an enormous list of artists, we have asked over thirty influential music bloggers to flip through our confirmed artist list and contribute their thoughts on their favorites. The 2016 Music Preview: the Independent Bloggers Guide to SXSW highlights 100 bands that should be seen live and in person at the SXSW Music Festival.
    [Show full text]
  • Queer Hip Hop Clips from 8 Countries | Norient.Com 26 Sep 2021 18:36:37
    Queer Hip Hop Clips From 8 Countries | norient.com 26 Sep 2021 18:36:37 Queer Hip Hop Clips From 8 Countries by Theresa Beyer Norient flicked through You Tube and collected queer hip hop clips from around the world: Avalanches of images, beats and powerful words from Angola, Argentina, Cuba, Germany, Israel, Serbia, South Africa and USA. Rebellious, ironic and thoughtful hip hop artists raise their voice for a queer consciousness and LGTB rights. At first glance, Hip hop and related genres seem to be heteronormative bubbles. The cliché includes invincible rappers, objectified female bodies, homophobic lyrihttps://norient.com/wp-admin/edit.phpcs, and sexist videos. However, the exceptions to this rule are old as the hip hop culture itself. Oddly enough, just recently feuilletons and music magazines have paid increasing attention to them. This was set in motion in 2012, when Frank Ocean declared that his first love had been a man [see Norient Artikel Gayngster Rap, in German]. This debate didn’t create a new queer hip hop movement, but it did spark a new sensibility and shows: Hip Hop has always been a voice for the oppressed. Umbrella terms like «queer hip hop», «homohop», or «gayngster https://norient.com/video/queer-hip-hop-worldwide Page 1 of 7 Queer Hip Hop Clips From 8 Countries | norient.com 26 Sep 2021 18:36:37 rap» are obviously problematic, because queer hip hop isn’t a homogenous scene or a musical subgenre; neither is it another approach to the hip hop culture. Queer hip hop is part of the hip hop culture and doesn’t need to be labeled «queer».
    [Show full text]
  • America and the Musical Unconscious E Music a L Unconl S Cious
    G Other titles from Atropos Press Music occupies a peculiar role in the field of American Studies. It is undoubtedly (EDS.) “It is not as simple as saying that music REVE/P JULIUS GREVE & SASCHA PÖHLMANN Resonance: Philosophy for Sonic Art recognized as an important form of cultural production, yet the field continues does this or that; exploring the musical On Becoming-Music: to privilege textual and visual forms of art as its objects of examination. The es- unconscious means acknowledging the Between Boredom and Ecstasy says collected in this volume seek to adjust this imbalance by placing music cen- very fact that music always does more.” ter stage while still acknowledging its connections to the fields of literary and Philosophy of Media Sounds ÖHLMANN Hospitality in the Age of visual studies that engage with the specifically American cultural landscape. In Media Representation doing so, they proffer the concept of the ‘musical unconscious’ as an analytical tool of understanding the complexities of the musical production of meanings in various social, political, and technological contexts, in reference to country, www.atropospress.com queer punk, jazz, pop, black metal, film music, blues, carnival music, Muzak, hip-hop, experimental electronic music, protest and campaign songs, minimal ( E music, and of course the kazoo. DS. ) Contributions by Hanjo Berressem, Christian Broecking, Martin Butler, Christof Decker, Mario Dunkel, Benedikt Feiten, Paola Ferrero, Jürgen AMERIC Grandt, Julius Greve, Christian Hänggi, Jan Niklas Jansen, Thoren Opitz, Sascha Pöhlmann, Arthur Sabatini, Christian Schmidt, Björn Sonnenberg- Schrank, Gunter Süß, and Katharina Wiedlack. A A ND TH AMERICA AND THE MUSICAL UNCONSCIOUS E MUSIC A L UNCON S CIOUS ATROPOS PRESS new york • dresden 5 6 4 7 3 8 2 9 1 10 0 11 AMERICA AND THE MUSICAL UNCONSCIOUS JULIUS GREVE & SASCHA PÖHLMANN (EDS.) America and the Musical Unconscious Copyright © 2015 by Julius Greve and Sascha Pöhlmann (Eds.) The rights of the contributions remain with the respective authors.
    [Show full text]
  • Gigs of My Steaming-Hot Member of Loving His Music, Mention in Your Letter
    CATFISH & THE BOTTLEMEN Van McCann: “i’ve written 14 MARCH14 2015 20 new songs” “i’m just about BJORK BACK FROM clinging on to THE BRINK the wreckage” ENTER SHIKARI “ukiP are tAKING Pete US BACKWARDs” LAURA Doherty MARLING THE VERDICT ON HER NEW ALBUM OUT OF REHAB, INTO THE FUTURE ►THE ONLY INTERVIEW CLIVE BARKER CLIVE + Palma Violets Jungle Florence + The Machine Joe Strummer The Jesus And Mary Chain “It takes a man with real heart make to beauty out of the stuff that makes us weep” BLACK YELLOW MAGENTA CYAN 93NME15011142.pgs 09.03.2015 11:27 EmagineTablet Page HAMILTON POOL Home to spring-fed pools and lush green spaces, the Live Music Capital of the World® can give your next performance a truly spectacular setting. Book now at ba.com or through the British Airways app. The British Airways app is free to download for iPhone, Android and Windows phones. Live. Music. AustinTexas.org BLACK YELLOW MAGENTA CYAN 93NME15010146.pgs 27.02.2015 14:37 BAND LIST NEW MUSICAL EXPRESS | 14 MARCH 2015 Action Bronson 6 Kid Kapichi 25 Alabama Shakes 13 Laura Marling 42 The Amorphous Left & Right 23 REGULARS Androgynous 43 The Libertines 12 FEATURES Antony And The Lieutenant 44 Johnsons 12 Lightning Bolt 44 4 SOUNDING OFF Arcade Fire 13 Loaded 24 Bad Guys 23 Lonelady 45 6 ON REPEAT 26 Peter Doherty Bully 23 M83 6 Barli 23 The Maccabees 52 19 ANATOMY From his Thai rehab centre, Bilo talks Baxter Dury 15 Maid Of Ace 24 to Libs biographer Anthony Thornton Beach Baby 23 Major Lazer 6 OF AN ALBUM about Amy Winehouse, sobriety and Björk 36 Modest Mouse 45 Elastica
    [Show full text]
  • Queer Rap: Music Genre As an Expression of Identity
    Masarykova univerzita Filozofická fakulta Katedra anglistiky a amerikanistiky Bakalářská diplomová práce Pavla Němečková 2016 Pavla Němečková 20 16 Hřbet Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Pavla Němečková Queer Rap: Music Genre as an Expression of Identity Bachelor’s Diploma Thesis Supervisor: Jeffrey Alan Vanderziel, B.A. 2016 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Pavla Němečková Acknowledgements I would like to thank to my supervisor Mr. Vanderziel for his guidance and kind help. I would also like to thank him for the work he has done as the Head of our Department and for the fact that I had the opportunity to gain knowledge in the field of Queer Studies and African- American history. I would like to thank to Ms. Rebecca Brückmann for being the wonderful teacher she is and sharing her extensive knowledge of the African-American civil rights struggle with me. I would like to thank to Mr. Talel Ben Jemia for challenging my intellectual capacities. I would like to thank to my dear friends, Bajza for the initial idea, and Anna Wim for being an everlasting inspiration and showing me that you should always do what you truly believe in. And finally, I would like to thank to my family for their trust and unconditional support. Table of Contents Chapter 1: Introduction ..................................................................... 6 Chapter 2: Hypermasculinity and Homophobia in Hip-Hop .............. 8 Hip-Hop as the Black Panther Progeny .................................................... 9 Eldridge Cleaver’s Soul on Ice: “We Shall Have Our Manhood” ..............
    [Show full text]
  • Vol. 7 Critical Theory and Social Justice Critical Theory and Social Justice Journal of Undergraduate Research Vol
    CTSJ CRITICAL THEORY AND SOCIAL JUSTICE JOURNAL OF UNDERGRADUATE RESEARCH OCCIDENTAL COLLEGE SPRING‘18 VOL. 7 CRITICAL THEORY AND SOCIAL JUSTICE CRITICAL THEORY AND SOCIAL JUSTICE JOURNAL OF UNDERGRADUATE RESEARCH VOL. 7 JOURNAL OF UNDERGRADUATE RESEARCH OCCIDENTAL COLLEGE CTSJ | OCCIDENTAL COLLEGE The Politics of Madvillainy: Queer Interventions in Hip-Hop BENNETT BRAZELTON | Tufts University ABSTRACT: Clay Cane writes of hip-hop in The Advocate, “one cannot forget its homophobia, a contagious infection in an art form that once stood for positivity.” This reactionary sentiment to hip-hop masculinity implies a sort of cognitive dissonance toward its intersection with queer theory. In line with the thinking of Moya Bailey and Mark Anthony Neal, I contend that hip-hop should be viewed––rather than dismissed––in terms of opportunities to disrupt oppressive structures within the genre. Little scholarship has used this framework to address disruptive performances outside of queer bodies. This paper attempts to fill this gap by analyzing the enigmatic, comical, at times oppressive, works of rapper MF DOOM. I specifically analyze DOOM’s creation and embrace of villainous identities, his subversions of capitalist mentalities in music, and his complex, transgressive sexualities, juxtaposed with the violent homophobia found in his later work. Ultimately, the purpose of this essay is to qualify archetypes of queer disruption in hip-hop, using DOOM as a case study of both transgression and oppression. “The Illest Villains” Villains who possess supernatural abilities––villains who were the personification of carnage. Madvillain, more accurately, the dark side of our beings. – an excerpt from the album intro, “Illest Villains” on 2004’s Madvillainy José Esteban Muñoz writes in the opening words of Cruising Utopia, “Queerness is not yet here” but is in fact an imagination of futuristic potentiality.
    [Show full text]
  • Performing Manchyna: Unmapping Promissory Exaltation, Multicultural
    Performing ManChyna: Unmapping Promissory Exaltation, Multicultural Eugenics, and the New Whiteness (Or, “Call Me Dr. ManChyna”) By Andrew Wei Ling (A.W.) William Lee A thesis submitted to the Graduate Program in Cultural Studies in conformity with the requirements for the Degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada September, 2015 Copyright © Andrew Wei Ling William Lee, 2015 Abstract Creating art and performing as ManChyna collectively function as my entry into an autoethnographic mapping of mobility and space within liberal multiculturalism. I introduce the research creative method of autoethnographic creatography, because creation and performance are my interventions into and tools for analyzing social space. My parody of queer Asian racialization upends liberal multiculturalism’s promise of incorporation, or promissory exaltation (invoking Sunera Thobani’s, “racial exaltation”), which instrumentally disciplines and includes putative model minorities and homonorms alike. Thus, assimilation into a queer liberal multiculturalism is my primary theoretical target. Building on José Muñoz’s idea of disidentification, I introduce the notion of disassimilation as a performative embodiment of critical analysis and theory. How can individuals articulate the current contours of liberal ideology? How can one counter an ever-shifting dominant culture from a ‘minor’ point of view when one crucial aim of the latter’s evasive energy is the incorporation of that minor gaze? And how does the minoritarian subject represent
    [Show full text]
  • Christina Hogarth Thesis
    1 The End of Convenience: A Hip Hopera and Exegesis By Christina Hogarth Doctor of Philosophy 2017 1 2 ABSTRACT This practice-led PhD consists of a feature film screenplay titled ‘THE END OF CONVENIENCE’ and an exegesis that critically reflects on the process of creating the work and its related themes. The artefact explores the life and relationship challenges encountered by three unmarried young couples who are forced by finances and circumstance to co-habit in share accommodation. It also investigates some of the difficulties of youth cohabitation, such as economic and social marginalisation. The dialogue is constructed in rap. The screenplay interrogates the notion that sharehousing is both an individual and societal economic relationship of benefit, explores whether the relationships within sharehouses are constructed around convenience, and asks what happens to the lives of young people when they enter sharehouse arrangements. The exegesis analyses, critiques, and reflects upon the writerly choices made during the creation of the screenplay. It integrates discussion about these choices with questions around whether the musical genre of Hip Hop can be used to tell a story about urban marginalisation in an Australian domestic environment. It evaluates whether Hip Hop is an effective tool for social commentary when the subject of its storytelling is not the industries of the street or race related issues. It also uses the frame of Feminist Standpoint Theory as its central theoretical approach and applies it to questions and assumption around the role of gender, performance, and lived experience in Hip Hop, narratives of cohabitation, and to the debates around appropriation of cultural and musical forms.
    [Show full text]
  • An Exploration of White Hip-Hop Fans, Consumers and Practitioners Dale Compton Anderson Wayne State University
    Wayne State University Wayne State University Dissertations 1-1-2014 Re/presentation Of Hip-Hop: An Exploration Of White Hip-Hop Fans, Consumers And Practitioners Dale Compton Anderson Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the Communication Commons Recommended Citation Anderson, Dale Compton, "Re/presentation Of Hip-Hop: An Exploration Of White Hip-Hop Fans, Consumers And Practitioners" (2014). Wayne State University Dissertations. Paper 1113. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. RE/PRESENTATION OF HIP-HOP: AN EXPLORATION OF WHITE HIP-HOP FANS, CONSUMERS AND PRACTITIONERS by DALE ANDERSON DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2015 MAJOR: COMMUNICATION Approved by: ______________________________________ Advisor Date ______________________________________ ______________________________________ ______________________________________ ______________________________________ DEDICATION I am dedicating this to my uncle, Wade Telaar, and my Grandparents, Leon and Doris Anderson. ii ACKNOWLEDGMENTS I would like to thank everyone that has provided assistance, support, guidance, and/or time to this project. I attempt to express my appreciation for everyone in my life, regularly. However, I am not always as thorough as I need to be. So thank you to any that has entered my life, even those that did so briefly and/or indirectly. Specifically, I would like to thank Stephanie and Amelia Anderson, Leon, Jr. (Andy) and Jane Anderson, Timothy Anderson, and Ann Telaar.
    [Show full text]
  • ABQ Free Press, December 16, 2015
    VOL II, Issue 25, December 16, 2015 New Mexico’s best alternative newspaper Govt. Openness Under Siege PAGE 6 Beware Of Petty Tyrants PAGE 13 Joe Monahan’s Christmas List (Wow!) Get to P AGE 7 Know Mary & Tito’s PAGE 23 Party Hard, Drink Smart(er) on New Year’s Eve PAGES 20-21 2 • December 16, 2015 • ABQ FREE PRESS nEwS EditoR’S A&E PickS ABQ FREE PRESS • December 16, 2015 • 3 Paris Talks More About Business than Climate A&E: Three to See BY DAVID CORREIA “The Artistic Odyssey of Higinio V. Gonzales” ARIS – The United Nations Framework Con- the world gave stirring speeches marking the start All are out in Paris.” Instead the agreement uses eu- Albuquerque Museum of Art and History [Page 25] Pvention on Climate Change held its twenty-first of COP21 in a cavernous airplane hangar nearby, phemisms such as “international credited mitigation Dec. 9–April 6 annual meeting on climate change from Nov. 30-Dec. Gates was telling Amanpour that climate change was outcome mechanism.” She explained, “That’s how we 11 north of Paris in Le Bourget, France. The meeting a good business opportunity. He planned to recruit refer to markets in Paris.” was highly anticipated as perhaps the first real oppor- other billionaires, he said, in order to create a massive The predictions of economists and business leaders tunity for a binding global limit on greenhouse gas climate fund that would bankroll the climate mitiga- during the first week were reflected in the agreement emissions since the 1997 meetings in Kyoto, Japan.
    [Show full text]