Spring 2020 Commencement Spring 2020 Commencement a Message from the President
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Still on the Road 1991 Fall Sessions
STILL ON THE ROAD 1991 FALL SESSIONS SEPTEMBER 15 Los Angeles, California KCOP TV Studios OCTOBER 17 Seville, Spain Auditorio de la Cartuja Bob Dylan 1991: Fall Sessions 12625 KCOP TV Studios Los Angeles, California 15 September 1991 1. Sold American (Kinky Friedman) Kinky Friedman (vocal, acoustic guitar), Bob Dylan (electric guitar). Studio talk Bob: What do you want me to say? Rabbi Shlomo Boruch Cunin: Help to give back the books. Bob: Oh, yeah, give back the books, and give plenty of money to Chabad, It's my favourite organisation in the whole world, really. They do nothing but good things with all the money, and-a the more you can give, the more it's going to help everybody. Rabbi Shlomo Boruch Cunin: I wanna say something, Bob, if I might. I think the people out there, millions of people that are watching us, that heard us talk about the cry of these books. These are books that have suffered for seventy years behind those bars of the Lenin library. Mr. Gorbachev had said he's going to give it back, Mr. Yeltsin says he's gonna give them back, everybody says he's going to give it back. Bob, tell them to give it back! Bob: Yeah, give it back! Give the books back! Rabbi Shlomo Boruch Cunin: OK, if Bob Dylan says they'll give it back, they'll give it back! … Please go to your phones and call and call and call. Bob, tell them what to do. Bob Dylan: Call and call and call some more until you get somebody to answer - and give what you can. -
Sweet and Dirty a Collaboration of Sweet Brenda and Dirty Red Band Bios
Sweet and Dirty A collaboration of Sweet Brenda and Dirty Red Band Bios When Dirty Red – Eric McDaniel – leader of modern day powerhouse band, Dirty Red and the Soul Shakers invited legendary Oklahoma Blues Singer, Sweet Brenda – Bren Severson – on stage the first time to sit in with the band, a lightning bolt of electricity melded them together and shot their sound and energy into an unsuspecting blues audience that soaked it up like fireball whiskey on freaky Saturday night. From that moment this energetic collaboration has caused quite a stirring in the blues scene. Both musicians have made a name for themselves across the blues nation with experience and expertise that speaks for itself. When all of that is combined with the background and expertise of the rest of the band, a stage full of all-stars is born. Besides the giant personalities of Dirty Red and Sweet Brenda, the scary tight rhythm section of Cliff the “Iron Man” Belcher and Forrest Worrell, both of Watermelon Slim and the Workers fame, and the lonesome but ripping tasty blues guitar of Big Robb Hibbard, former lead for Miss Blues and the Blue Notes, put the icing on the cake. Add to all of that, the fact that Dirty Red and Sweet Brenda both write all the songs with soulful and pertinent lyrics written for all people, and a jolting beat that never stops, the dance floor is full and crazy, the room is packed with a punch of energy and the blues appetite is wildly satisfied. Sweet and Dirty is a collaboration of blues monsters bragging over 130 years of performance altogether culminating into this fabulous high- energy show. -
Steve Cropper | Primary Wave Music
STEVE CROPPER facebook.com/stevecropper twitter.com/officialcropper Image not found or type unknown youtube.com/channel/UCQk6gXkhbUNnhgXHaARGskg playitsteve.com en.wikipedia.org/wiki/Steve_Cropper open.spotify.com/artist/1gLCO8HDtmhp1eWmGcPl8S If Yankee Stadium is “the house that Babe Ruth built,” Stax Records is “the house that Booker T, and the MG’s built.” Integral to that potent combination is MG rhythm guitarist extraordinaire Steve Cropper. As a guitarist, A & R man, engineer, producer, songwriting partner of Otis Redding, Eddie Floyd and a dozen others and founding member of both Booker T. and the MG’s and The Mar-Keys, Cropper was literally involved in virtually every record issued by Stax from the fall of 1961 through year end 1970.Such credits assure Cropper of an honored place in the soul music hall of fame. As co-writer of (Sittin’ On) The Dock Of The Bay, Knock On Wood and In The Midnight Hour, Cropper is in line for immortality. Born on October 21, 1941 on a farm near Dora, Missouri, Steve Cropper moved with his family to Memphis at the age of nine. In Missouri he had been exposed to a wealth of country music and little else. In his adopted home, his thirsty ears amply drank of the fountain of Gospel, R & B and nascent Rock and Roll that thundered over the airwaves of both black and white Memphis radio. Bit by the music bug, Cropper acquired his first mail order guitar at the age of 14. Personal guitar heroes included Tal Farlow, Chuck Berry, Jimmy Reed, Chet Atkins, Lowman Pauling of the Five Royales and Billy Butler of the Bill Doggett band. -
Law and Military Operations in Kosovo: 1999-2001, Lessons Learned For
LAW AND MILITARY OPERATIONS IN KOSOVO: 1999-2001 LESSONS LEARNED FOR JUDGE ADVOCATES Center for Law and Military Operations (CLAMO) The Judge Advocate General’s School United States Army Charlottesville, Virginia CENTER FOR LAW AND MILITARY OPERATIONS (CLAMO) Director COL David E. Graham Deputy Director LTC Stuart W. Risch Director, Domestic Operational Law (vacant) Director, Training & Support CPT Alton L. (Larry) Gwaltney, III Marine Representative Maj Cody M. Weston, USMC Advanced Operational Law Studies Fellows MAJ Keith E. Puls MAJ Daniel G. Jordan Automation Technician Mr. Ben R. Morgan Training Centers LTC Richard M. Whitaker Battle Command Training Program LTC James W. Herring Battle Command Training Program MAJ Phillip W. Jussell Battle Command Training Program CPT Michael L. Roberts Combat Maneuver Training Center MAJ Michael P. Ryan Joint Readiness Training Center CPT Peter R. Hayden Joint Readiness Training Center CPT Mark D. Matthews Joint Readiness Training Center SFC Michael A. Pascua Joint Readiness Training Center CPT Jonathan Howard National Training Center CPT Charles J. Kovats National Training Center Contact the Center The Center’s mission is to examine legal issues that arise during all phases of military operations and to devise training and resource strategies for addressing those issues. It seeks to fulfill this mission in five ways. First, it is the central repository within The Judge Advocate General's Corps for all-source data, information, memoranda, after-action materials and lessons learned pertaining to legal support to operations, foreign and domestic. Second, it supports judge advocates by analyzing all data and information, developing lessons learned across all military legal disciplines, and by disseminating these lessons learned and other operational information to the Army, Marine Corps, and Joint communities through publications, instruction, training, and databases accessible to operational forces, world-wide. -
SOUL ASYLUM Biography by Arthur Levy
SOUL ASYLUM biography by Arthur Levy “It’s a crazy mixed up world out there, Someone’s always got a gun and it’s all about money You live with loneliness, or you live with somebody who’s crazy It’s just a crazy mixed up world …” (“Crazy Mixed Up World”) Chapter 1. Every Cloud Has One Renewed and revitalized, Soul Asylum founders Dave Pirner and Dan Murphy return to rock’s front line with THE SILVER LINING, their first new studio release since 1998’s Candy From a Stranger. That album inadvertently kicked off a seven-year sabbatical for the group, which telescoped into the death of bassist Karl Mueller in June 2005, the other founding member of the triumvirate that has steered Soul Asylum through rock’s white water for the past two decades plus. The re-emergence of the group on THE SILVER LINING is as much a reaffirmation of Soul Asylum’s commitment to the music as it is a dedication to Karl, who worked and played on the album right up until the end. They were joined in the studio by not-so-new heavyweight Minneapolis drummer Michael Bland (who has played with everyone from Paul Westerberg to Prince). The band is now complemented by Tommy Stinson on bass, a member of fellow Twin Cities band the Replacements since age 13, and a pal of Dan’s since he was in high school and Tommy in junior high. Tommy was the only friend that Karl could endorse to replace himself in the band. This hard-driving lineup was introduced for the first time in October 2005, when they played sold-out showcase dates at First Avenue in Minneapolis and the Bowery Ballroom in New York – within three days. -
BIO (EN) | Tom Ganter | Drummer
PERFORMER EDUCATING ARTIST Last u pda te: 0 4/02 /2020 TOM GANTER Professional Drummer www.tomganter.com Address: Tölzer Str. 2, D-83607 Holzkirchen Email: [email protected] Phone: 0049 (0)176 5074 8000 Nationality: German Date of birth: July 15th, 1986 Place of birth: Prien am Chiemsee, Germany Musical Career With the far too long name Thomas Andreas Ganter, Tom was born in the south of Germany (mid-eighties) and still lives in the south of Munich at the German- Austrian border. Tom is on the r oad as on e of the spe cial live and studi o drummer s - influence d by song-friendly and solid beats. Consistently modern drumming, at the right moment alway s wi th the nec essary emp ha sis t o stay in rememb ran c e for a long time . With his man y yea rs on sta ge an d in recording stud io experien ce (sin ce t he a ge of 16 ) and the numer ous professio nal educat ion and traini ngs in N ew Y ork C ity, T om off ers the maxim um scrupulousne ss an d saf ety beh ind the dru ms for y our l ive sho ws an d studio sessions. His specialization is mainly in the styles of pop, hip-hop, funk, soul, blues and rock. Tom successfully completed his full-time (performance) scholarship in the summer of 2018 with the primary focus on 'New Musical Concepts' at the prestigious Drummers Collective (The Collective School of Music) in Manhattan, New York City. -
Author Index MEDICINE & SCIENCE in SPORTS & EXERCISE®
S794 Author Index MEDICINE & SCIENCE IN SPORTS & EXERCISE® Agu-Udemba, Chinonye C. 205 Alkhathami, Khalid 2997 Anand, Ashmeet S. 789, 1473 Araújo, Leandro O. 3011 Awodele, Adeola 479 A Ahearn, Lisa 1192 Allada, Ravi 1557 Andelfinger, Gregoir 3564 Araújo, Murilo A. 2264 Axtell, Robert 2496 Aaby, David 2003 Ahmad, Anam 1587 Allaway, Heather C. 1485, 1486 Andelfinger, Gregor 600, 1553 Araujo, Timoteo L. 847, 1191, Ayers, Colby 1093 Aagaard, Per 1214, 3522 Ahmad, Christopher 83 Allegretti, Gustavo 3060 Anders, John Paul V. 1309 3349, 3391 Äyrämö, Sami 555 Aaronson, Neil K. 1547 Ahmad, Sabrina 216 Allegretti João, Gustavo 1241 Andersen, Anders H. 3519 Araya-Ortega, Luis E. 3361 Azevedo, Ana M. 2533 Aasdahl, Lene 1355 Ahmadi, Matthew N. 685 Allen, Anne 108 Andersen, Christina 72 Araya-Ramirez, Felipe 287 Azevedo, Liane B. 2610 Abadin, Andre A. 2299 Ahmed, Irfan H. 1822 Allen, Answorth 2745 Andersen, Jody C. 3344 Araya-Ramírez, Felipe 1430 Azevedo, Rafael d. 1153 A.B. Cruz, Ariel 456 Ahmed, Shakeel 104 Allen, Answorth A. 2747, 2748 Andersen, Lars B. 3572 Araya-Vargas, Gerardo A. 2044 Azuma, Ayako 2412, 2417, 2420 Abdon, Ana Paula 3328 Ahmetov, Ildus I. 2111 Allen, Charles R. 808 Andersen, Ross 309 Arballo, Joseph 222 Azurdia, Daniel 699 Abe, Takashi 519, 1427, 2406, Ahn, Kwang Woo 3076 Allen, Jason D. 176 Andersen, Ross E. 1406 Arbet, Jaron 603 2407, 3520, 3521, 3523, 3524, Ahn, Sun Joo 1443 Allen, Norrina B. 1632 Andersen, Thomas B. 3585 Arboix-Alió, Jordi 164 B 3528 Ahn, Yeonsoon 3372 Allen, Patton 2269 Anderson, Christopher 1940 Arboleda, Victor H. 2613 Babault, Nicolas 3418 Abel, Garrett 2434 Aholu, Calixte 186 Allerton, Timothy 3606 Anderson, Courtney L. -
The Balkans of the Balkans: the Meaning of Autobalkanism in Regional Popular Music
arts Article The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music Marija Dumni´cVilotijevi´c Institute of Musicology, Serbian Academy of Sciences and Arts, 11000 Belgrade, Serbia; [email protected] Received: 1 April 2020; Accepted: 1 June 2020; Published: 16 June 2020 Abstract: In this article, I discuss the use of the term “Balkan” in the regional popular music. In this context, Balkan popular music is contemporary popular folk music produced in the countries of the Balkans and intended for the Balkan markets (specifically, the people in the Western Balkans and diaspora communities). After the global success of “Balkan music” in the world music scene, this term influenced the cultures in the Balkans itself; however, interestingly, in the Balkans themselves “Balkan music” does not only refer to the musical characteristics of this genre—namely, it can also be applied music that derives from the genre of the “newly-composed folk music”, which is well known in the Western Balkans. The most important legacy of “Balkan” world music is the discourse on Balkan stereotypes, hence this article will reveal new aspects of autobalkanism in music. This research starts from several questions: where is “the Balkans” which is mentioned in these songs actually situated; what is the meaning of the term “Balkan” used for the audience from the Balkans; and, what are musical characteristics of the genre called trepfolk? Special focus will be on the post-Yugoslav market in the twenty-first century, with particular examples in Serbian language (as well as Bosnian and Croatian). Keywords: Balkan; popular folk music; trepfolk; autobalkanism 1. -
Books-A-Million Will Face Throughout the Departments Were Year
University of South Carolina Scholar Commons September 2006 9-20-2006 The aiD ly Gamecock, Wednesday, September 20, 2006 University of South Carolina, Office oftude S nt Media Follow this and additional works at: https://scholarcommons.sc.edu/gamecock_2006_sep Recommended Citation University of South Carolina, Office of Student Media, "The aiD ly Gamecock, Wednesday, September 20, 2006" (2006). September. 13. https://scholarcommons.sc.edu/gamecock_2006_sep/13 This Newspaper is brought to you by the 2006 at Scholar Commons. It has been accepted for inclusion in September by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. dailygamecock.com The University of South Carolina Wednesday, September 20, 2006 Vol. 100, No. 11 ● Since 1908 Under rule, cigarettes piling up Smoking policy outside USC buildings causes mix of appreciation, anger, ashtrays year elementary education Kathleen Kemp student, said he has THE DAILY GAMECOCK noticed that the litter is everywhere. Since the new smoking The smoking ban policy went into effect prohibits smoking within Aug. 1, a marked increase 25 feet of university in cigarette butts left buildings; in outdoor on the ground has been seating areas (such as the noticed. Russell House patio); in Around noon Monday, ATM, ticket and bus lines 11 cigarette butts were on campus; in outdoor on the ground between fixed seating venues the Humanities classroom (such as Williams-Brice building and the Welsh Stadium) and outdoor humanities building. events. Several trashcans (some The ban also prohibits outfitted with ashtrays) the sale and advertisement were in sight; however, of tobacco on campus under the new policy, or through university a person smoking a publications. -
Levon Helm -- the Classic Drummer Interview
Levon Helm The Classic Drummer Interview by Bob Girouard photo by Paul La Raia No one plays drums or sings a song like Levon Helm…..no one. He’s in a select club of musical pioneers that have cut across time and trends; legend and fact being one and the same. In a way he’s the everyman; a true American original and his impact on popular music over the past five decades is in a category unto itself. Helm is undeniably a larger than life Sonny Boy Williamson on KFFA, The Drawing from his own influences, persona, yet at the same time humble to Grand Ole Opry on WSM, Rhythm & Levon set the gold standard by creating a fault. Very few have commanded the Blues on WLAC, or “diving-in” to the a style uniquely his, and achieving a respect of such a cross section of influ- fray with his first band, “The Jungle level many drummers are still trying to ential artists as he has, and drummers Bush Beaters.” Local dues paid, it was copy. Musically, when one listens to are only a part of it. A short list would time to venture out into the great such staples as Up On Cripple Creek, The be people like Ringo Starr, Jim Keltner, unknown with wild man Ronnie Weight, and The Night They Drove Old Richie Hayward, George Receli, and Hawkins, and later Levon & The Dixie Down, they are hearing not only Steve Jordan, as well as icons like Hawks, who received a Brill Building songs….but rather a living-breathing Muddy Waters, Bob Dylan, and Eric baptism courtesy of mogul/gangster, history of a bygone era. -
Bill Withers Comes Back Into the Spotlight for Carnegie Hall Tribute (Downbeat.Com, 10/6/15)
Bill Withers Comes Back Into The Spotlight for Carnegie Hall Tribute (DownBeat.com, 10/6/15) Is there a happier refugee from the music business than singer-songwriter Bill Withers? The ex-Navy aircraft mechanic from dirt-poor Slab Fork, West Virginia, who got his first record contract in his thirties, was never a showbiz kid. He famously distrusted the business, keeping his day job as his first hit single, “Ain’t No Sunshine,” climbed the charts. Withers went on to write more hits, including the ubiquitous “Lean On Me.” By October 1972, a mere 15 months after he quit his day job, Withers was playing Carnegie Hall, a performance immortalized on the album Bill Withers Live at Carnegie Hall. Eventually he got disgusted with the record business, retired in 1985, and has lived contentedly at his home in the Hollywood Hills ever since, collecting a steady stream of royalties and, as he told Stephen Colbert recently, watching “Judge Judy.” This year has been very good to Withers. In April he was inducted into the Rock And Roll Hall of Fame. And on October 1, almost precisely 43 years to the day after his initial Carnegie Hall show, he was the subject of an all-star tribute concert at the same venue, a benefit for the Stuttering Association for Youth, or SAY (Withers stuttered until his mid-twenties). The concert producers, including City Winery’s Michael Dorf, assembled a parade of first-class R&B, pop and jazz talent to perform the Withers songbook, including Gregory Porter, Branford Marsalis, Ed Sheeran, Dr. -
Aaker, Bradley H
Aaker, Bradley H Aaker, Delette R Aaker, Nathaniel B Aaker, Nicola Jean Aalbers, Carol J Aalbers, David L Aarek, Jennifer , Aarons, Cheyenne R Abalahin, Arlene J Abbett, Jacob D Abbett, Kate V Abbie, Richard L Abbie, Ruth K Abbie, Ruth P Abbott, Allison E Abbott, Anthony R Abbott, Charles G Abbott, Cheryle A Abbott, Dyllan T Abbott, Janet Mae Abbott, Jaremiah W Abbott, Jeremy A Abbott, Kathryn Florene Abbott, Lawrence George Abbott, Sidnee Jean Abby, Michael D Abdelahdy, Mohammad Abdelhade, Chajima T Abdelhade, Suleiman N Abdelhady, Amjad Abdelhady, Jalellah A Abdelhady, Khaled Suleiman Abdelhady, Nidal Zaid Abdelhady, Shahema Khaled Abdelhady, Zaid Abe, Kara Abejar, Hermoliva B Abele, Minden A Abella, Elizabeth A Abella, Frank K Abend, Frank J Abend, Rhonda M Abercrombie, Charles H Abercrombie, Deborah A Abercrombie, Eric C Abercrombie, Jeanne A Abercrombie, Megan A Abercrombie, Pamela J Abeyta, Paul K Abeyta, Sherri L Abeyta, Stephanie P Abowd, Charles P Abowd, Karen L Abowd, Nicole Lynn Abraham, Ravikumar I Abram, Alison K Abreu, Sammi J Abreu, Timothy Charles, Jr Abril, Paulette P Abts, Donna P Abts, Terry P Abuan, Anthony A Abundis, Anthony Abundis, Jesus A Abundis, Jesus P Abundis, Kayla M Abundis, Maria I Abundis, Marlayna M Abundis, Robert Acaiturri, Louis B Acaiturri, Sharon A Accardo, Vincent F Acebedo Vega, Omar A Acebedo, Gabriel Aced, Mary E Aced, Paul T Acero, Ashlyn A Acero, Edgar Acero, Leonel Acevedo Cruz, Rolando Acevedo Delgado, Victor Hugo Acevedo, Cristal E Acevedo, Destiny L Acevedo, Elizabeth A Acevedo, Jorge L Acevedo,