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Robert Kelly
1 Robert Kelly MAY DAY Poems 2003-2005 Originally published by the Parsifal Press, Toronto 2007 Now made readable on line. 2 Copyright © 2007, 2009 by Robert Kelly Some of these poems were first printed elsewhere … for example in Capitalism Nature Socialism (Joel Kovel), Conjunctions (Bradford Morrow), Elixir (Zia Inayat Khan), First Intensity (Lee Chapman ), The Modern Review (Simone dos Anjos and Pietro Aman), Irish Poetry Review (Peter Sirr), The Bard Papers (Alexandra Dumont), New Politics (Marvin Mandell and Betty Reid Mandell) The 2007 Alhambra Poetry Calendar (Shafiq Naz). For help in the selection and ordering of some of these poems, I owe a debt to the tuneful ears and lucid reading of Simone dos Anjos, the founder of Parsifal Press, and first publisher of this collection. 3 Skies? We make those lights. Nature is our half-remembered dream. for Charlotte 4 CONTENTS Elegies for Osiris 6 Lovecraft 9 The Flies of October 10 Night Grammar 12 A Theory of Leaf Management 13 Rembrandt’s Raising of Lazarus, 1642 17 The Poor Land of Tyrol 18 The Politics of You 20 Twelfth Night 22 Identity 24 History Lesson 25 Some words I say come out all wrong 26 Early Dutch Breakfast Paintings 27 Tumult spirit 28 Young lionesses patrol 29 The Construction of Hell 30 You read me shallowly these days 31 An Elegy for Wolves 32 Brahms, String Quartet No.1 in c, Op.51 36 When boys were named Lester and girls were called Kate 37 Oblation 38 1878 Brown Street 39 We say he went to heaven 40 A Writing with John Clare 41 May Day 42 Science 44 The Daybed 45 The -
Cast Biographies RILEY KEOUGH (Christine Reade) PAUL SPARKS
Cast Biographies RILEY KEOUGH (Christine Reade) Riley Keough, 26, is one of Hollywood’s rising stars. At the age of 12, she appeared in her first campaign for Tommy Hilfiger and at the age of 15 she ignited a media firestorm when she walked the runway for Christian Dior. From a young age, Riley wanted to explore her talents within the film industry, and by the age of 19 she dedicated herself to developing her acting craft for the camera. In 2010, she made her big-screen debut as Marie Currie in The Runaways starring opposite Kristen Stewart and Dakota Fanning. People took notice; shortly thereafter, she starred alongside Orlando Bloom in The Good Doctor, directed by Lance Daly. Riley’s memorable work in the film, which premiered at the Tribeca film festival in 2010, earned her a nomination for Best Supporting Actress at the Milan International Film Festival in 2012. Riley’s talents landed her a title-lead as Jack in Bradley Rust Gray’s werewolf flick Jack and Diane. She also appeared alongside Channing Tatum and Matthew McConaughey in Magic Mike, directed by Steven Soderbergh, which grossed nearly $167 million worldwide. Further in 2011, she completed work on director Nick Cassavetes’ film Yellow, starring alongside Sienna Miller, Melanie Griffith and Ray Liota, as well as the Xan Cassavetes film Kiss of the Damned. As her camera talent evolves alongside her creative growth, so do the roles she is meant to play. Recently, she was the lead in the highly-anticipated fourth installment of director George Miller’s cult- classic Mad Max - Mad Max: Fury Road alongside a distinguished cast comprising of Tom Hardy, Charlize Theron, Zoe Kravitz and Nick Hoult. -
Renee J. Vaca __ Department Head Hair Stylist Contact: Journeyman Local 706 (626) 379-2610 Feature Films & Television [email protected]
Renee J. Vaca __ Department Head Hair Stylist Contact: Journeyman Local 706 (626) 379-2610 Feature Films & Television [email protected] Dirty John/Betty Broaderick Department Head Amanda Peet NBC/USA Network Cast Gone Hollywood Department Head John Magaro FX/Pilot Nikolaj Coster-Waldau Lola Kirke Jonathan Pryce Strange Angel Department Head Jack Reynor CBS/Episodic (Episodes 5 & 6) Bella Heathcote Will & Grace Assistant Department Head Megan Mullally NBC/Sitcom Alec Baldwin Bobby Cannavale Dancing with the Stars Main Trailer Stylist Jenna Johnson ABC/Audience Reality Emmy Nominated Peta Murgatroyd Seasons 21-27 Jodie Sweetin Young & Hungry, Seasons 1-5 Department Head Emily Osment ABC Family/Sitcom Jonathan Sadowski Rex Lee Past Forward Department Head Hair Freida Pinto David O. Russell/Prada Guild Nominated Zachary Levi Dr. Strange Dept. Head US/Re-Shoots Mads Mikkelsen Marvel/Feature (US/Film Crew) Benedict Wong Nissan/Star Wars Department Head All Actors Commercial Mad Dogs Department Head Steve Zahn Amazon/Episodic Michael Imperioli Ben Chaplin Sean Saves The World Department Head, Hair Sean Hayes NBC/Sitcom Sami Isler Thomas Lennon Ground Floor Department Head Briga Heelan TBS/Sitcom Seasons 1 & 2 Skylar Astin John C. McGinley American Hustle Assistant Department Head Elisabeth Rohm David O. Russell/Feature Film Shea Whigham Michael Peña Page 1 of 3 Renee J. Vaca __ Feature Films & Television (continued) Revenge Department Head Emily VanCamp ABC/Episodic Josh Bowman Paranormal Activity 4 Department Head Kathryn Love Newton Paramount/Feature -
The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 -
Wavelength (November 1984)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 11-1984 Wavelength (November 1984) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (November 1984) 49 https://scholarworks.uno.edu/wavelength/49 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. I I ~N0 . 49 n N<MMBER · 1984 ...) ;.~ ·........ , 'I ~- . '· .... ,, . ----' . ~ ~'.J ··~... ..... 1be First Song • t "•·..· ofRock W, Roll • The Singer .: ~~-4 • The Songwriter The Band ,. · ... r tucp c .once,.ts PROUDLY PR·ESENTS ••••••••• • • • • • • • •• • • • • • • • • • • • • • • ••••••••• • • • • • • • •• • • • • • • • • • • • • • •• • • • • • • • • • • • ••••••••••• • •• • • • • • • • ••• •• • • • • • •• •• • •• • • • •• ••• •• • • •• •••• ••• •• ••••••••••• •••••••••••• • • • •••• • ••••••••••••••• • • • • • ••• • •••••••••••••••• •••••• •••••••• •••••• •• ••••••••••••••• •••••••• •••• .• .••••••••••••••••••:·.···············•·····•••·• ·!'··············:·••• •••••••••••• • • • • • • • ...........• • ••••••••••••• .....•••••••••••••••·.········:· • ·.·········· .....·.·········· ..............••••••••••••••••·.·········· ............ '!.·······•.:..• ... :-=~=···· ····:·:·• • •• • •• • • • •• • • • • • •••••• • • • •• • -
A TALE by ALINA UDREA
A TALE By ALINA UDREA Table of contents: Chapter 1: Going hunting Chapter 2: Royalty in love Chapter 3: Gelebron Chapter 4: Hunting for love Chapter 5: (In)Visible Chapter 6: A royal wedding Chapter 7: Rescuing Bratty Chapter 8: Imprisonment Chapter 9: All the king' s friends Chapter 10: Solitude Chapter 11: A kingdom without a queen Chapter 12: Carrow Chapter 13: On the road again Chapter 14: Gelebron' s Tower NOTE: This short fiction is my first try at writing and it is dedicated to my family, especially to my mother who has always believed in me and who is always by my side when I need her; also my husband and my 3 and a half year old daughter whom I adore. It is also dedicated to my friends from a video game called Celtic Heroes which we’ve been playing together for more than 2 years. They were my inspiration. Enjoy! Chapter 1 : Going hunting In the beautiful kingdom Donn there was peace and harmony for the last 500 years. All ended with the evil wizard Gelebron’ s obssession for Miiah, the king' s beautiful young wife. But let’ s see how it all happened...... Miiah is a ravishing dark haired healer . She is the mistress of the Enchanted Forest, a land feared by the evil doers and sought as refuge by honest people who suffer at the hands of the first category. Miiah' s best friend is Bratty, a beautiful but quick tempered mage. So whenever Miiah , or the Lady of the Forest, as she is known to most of the people, needs advice, she goes to Bratty. -
Individuality, Collectivity, and Samoan Artistic Responses to Cultural Change
The I and the We: Individuality, Collectivity, and Samoan Artistic Responses to Cultural Change April K Henderson That the Samoan sense of self is relational, based on socio-spatial rela- tionships within larger collectives, is something of a truism—a statement of such obvious apparent truth that it is taken as a given. Tui Atua Tupua Tamasese Taisi Efi, a former prime minister and current head of state of independent Sāmoa as well as an influential intellectual and essayist, has explained this Samoan relational identity: “I am not an individual; I am an integral part of the cosmos. I share divinity with my ancestors, the land, the seas and the skies. I am not an individual, because I share a ‘tofi’ (an inheritance) with my family, my village and my nation. I belong to my family and my family belongs to me. I belong to my village and my village belongs to me. I belong to my nation and my nation belongs to me. This is the essence of my sense of belonging” (Tui Atua 2003, 51). Elaborations of this relational self are consistent across the different political and geographical entities that Samoans currently inhabit. Par- ticipants in an Aotearoa/New Zealand–based project gathering Samoan perspectives on mental health similarly described “the Samoan self . as having meaning only in relationship with other people, not as an individ- ual. This self could not be separated from the ‘va’ or relational space that occurs between an individual and parents, siblings, grandparents, aunts, uncles and other extended family and community members” (Tamasese and others 2005, 303). -
1. Richie Ashburn (April 11, 1962) 60
1. Richie Ashburn (April 11, 1962) 60. Joe Hicks (July 12, 1963) 117. Dick Rusteck (June 10, 1966) 2. Felix Mantilla 61. Grover Powell (July 13, 1963) 118. Bob Shaw (June 13, 1966) 3. Charlie Neal 62. Dick Smith (July 20, 1963) 119. Bob Friend (June 18, 1966) 4. Frank Thomas 63. Duke Carmel (July 30, 1963) 120. Dallas Green (July 23, 1966) 5. Gus Bell 64. Ed Bauta (August 11, 1963) 121. Ralph Terry (August 11, 1966) 6. Gil Hodges 65. Pumpsie Green (September 4, 1963) 122. Shaun Fitzmaurice (September 9, 1966) 7. Don Zimmer 66. Steve Dillon (September 5, 1963) 123. Nolan Ryan (September 11, 1966) 8. Hobie Landrith 67. Cleon Jones (September 14, 1963) --- 9. Roger Craig --- 124. Don Cardwell (April 11, 1967) 10. Ed Bouchee 68. Amado Samuel (April 14, 1964) 125. Don Bosch 11. Bob Moorhead 69. Hawk Taylor 126. Tommy Davis 12. Herb Moford 70. John Stephenson 127. Jerry Buchek 13. Clem Labine 71. Larry Elliot (April 15, 1964) 128. Tommie Reynolds 14. Jim Marshall 72. Jack Fisher (April 17, 1964) 129. Don Shaw 15. Joe Ginsberg (April 13, 1962) 73. George Altman 130. Tom Seaver (April 13, 1967) 16. Sherman Jones 74. Jerry Hinsley (April 18, 1964) 131. Chuck Estrada 17. Elio Chacon 75. Bill Wakefield 132. Larry Stahl 18. John DeMerit 76. Ron Locke (April 23, 1964) 133. Sandy Alomar 19. Ray Daviault 77. Charley Smith (April 24, 1964) 134. Ron Taylor 20. Bobby Smith 78. Roy McMillan (May 9, 1964) 135. Jerry Koosman (April 14, 1967) 21. Chris Cannizzaro (April 14, 1962) 79. -
Kévin Bideaux, 2018. Millennial Pink: from Iphone to Rihanna. an Analysis of a Color Trend
MILLENNIAL PINK: FROM IPHONE TO RIHANNA AN ANALYSIS OF A COLOR TREND Kévin Bideaux LEGS (UMR 8238), Université Paris 8 ; Centre Français de la Couleur, Paris ; [email protected] Publié dans : Veronica Marchiafava & Lia Lauzzato (dir.), 2018. Colour and Colorimetry. Multidisciplinary Contributions , XIV B, pp. 293-302. RESUMÉ En août 2016, la journaliste de mode Véronique Hyland a écrit un article dans le New York Magazine dans lequel elle notait qu'une vague de rose envahissait progressivement le monde de la mode et du design. L’émergence du millennial pink consiste en un nombre relativement important d’événements qui se succèdent ou se chevauchent. Mais si le millennial pink est si répandu, c’est parce que les idoles des millennials, très actives sur les réseaux sociaux comme Instagram , jouent également avec cette tendance, et drainent autour d’elles un flot de médias qui relaient leur adhésion au à la tendance du millennial pink. Ainsi, aux côtés de Rihanna qui a lancé une gamme de vêtements roses en collaboration avec Puma, il y a Zain Malik, Drake, Solange ou Zoe Kravitz. Toute apparition d’une star en rose est sujette au « buzz », une communication virale médiatique qui concentre toute l’attention, en particulier sur les internets, pendant une courte période. Une tactique promotionnelle attrayante pour les médias qui publient leurs articles et font en sorte que le nombre de visiteur ∙se ∙s sur leur page soit suffisamment rémunéré par la publicité. Mots-clés: millennial pink, tendances, marketing genré, symbolique des couleurs ABSTRACT In August 2016, fashion journalist Véronique Hyland wrote an article in New York Magazine where she noted that a wave of pink was gradually invading the world of fashion and design. -
A History of Hip Hop in Halifax: 1985 - 1998
HOW THE EAST COAST ROCKS: A HISTORY OF HIP HOP IN HALIFAX: 1985 - 1998 by Michael McGuire Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia August 2011 © Copyright by Michael McGuire, 2011 DALHOUSIE UNIVERSITY DEPARTMENT OF HISTORY The undersigned hereby certify that they have read and recommend to the Faculty of Graduate Studies for acceptance a thesis entitled “HOW THE EAST COAST ROCKS: A HISTORY OF HIP HOP IN HALIFAX: 1985 - 1998” by Michael McGuire in partial fulfilment of the requirements for the degree of Master of Arts. Dated: August 18, 2011 Supervisor: _________________________________ Readers: _________________________________ _________________________________ ii DALHOUSIE UNIVERSITY DATE: August 18, 2011 AUTHOR: Michael McGuire TITLE: How the East Coast Rocks: A History Of Hip Hop In Halifax: 1985 - 1998 DEPARTMENT OR SCHOOL: Department of History DEGREE: MA CONVOCATION: October YEAR: 2011 Permission is herewith granted to Dalhousie University to circulate and to have copied for non-commercial purposes, at its discretion, the above title upon the request of individuals or institutions. I understand that my thesis will be electronically available to the public. The author reserves other publication rights, and neither the thesis nor extensive extracts from it may be printed or otherwise reproduced without the author’s written permission. The author attests that permission has been obtained for the use of any copyrighted material appearing in the -
The Edge of Ladyspace: Ladi6 and the Political Limits of Self-Branding
MEDIANZ ! VOL 15, NO 1 ! 2015 DOI: 10.11157/medianz-vol15iss1id6 - ARTICLE - The Edge of Ladyspace: Ladi6 and the Political Limits of Self-Branding Annalise Friend Abstract Musicians connected through online and offline networks make use of a personal brand to represent themselves and their work. This self-branding must be recognisable, repetitive, and ‘fresh’ if it is to cut through the deluge of contemporary media content. The brands of politically engaged performers—referred to as ‘conscious’ performers—often revolve around political critique, ‘oneness’, and personal and spiritual uplift. These notions are often placed in opposition to the apparent commodification of performers through practices of personal branding. The circulation and consumption of personal brands may not necessarily however, preclude the impact of apparent political critique. This article will explore how the Samoan Aotearoa-New Zealander vocalist Ladi6 plays with the role of ‘lady’ in her brand as a politically engaged strategy. Ladi6 draws on genre resources from conscious hip-hop, soul, reggae, and electronic music. Her assertion of female presence, or creation of a ‘ladyspace’, is both ambiguous and reflexive. While the production of her personal brand—found in videos, lyrics, photos, online presence, merchandise, and live performances—operates according to the logics of global capitalism; the consumption of this brand can provide an alternative ‘conscious’ mode of engagement with the Ladi6 musical commodity. Introduction This article presents Ladi6 (Karoline Tamati) as a case study of a performer who uses the role of being a ‘conscious’ artist as her personal brand. This type of branding implies that her lyrical and musical content is politically critical. -
Town Group Where When of the MACC and Trucks Cringe and Hide and Will Call in Behalf of a Have Failed
\ . 18 - EVENING HERALD, Mon., Aug. 4 ,1 ^ . \ MACC News Here’s how the furniture bank works PfiASTROLOGER me set up a successful luck to Irene English in her i®mtrliP8tPr family members with vans offer a furniture service Cons: All attempts to deposits and withdrawals The How Who What design a working schedule to our ‘‘Bank. ‘ "•s ‘‘Operation Match Game” new apartment). BEYp^QUIDE ^ Town group Where When of the MACC and trucks cringe and hide and will call in behalf of a have failed. We are looking'-?chedule could work on a and recycle furniture to the Donations for FISH — Mrs. when they see me coming. need. Most requests have Furniture Bank Match at the needs: Vehicles - ^ o n t h l y basis. Two benefit of us all. Please William Maver. Day Camp BUSINESS, ETC. The Furniture Bank in a been met. contact LaFerne Walker at Frtt HoroMOpt Chan Game by LaFerne Walker, Muscles - Time. hours pledged each month Contributions; Mary and I hsvr n^ver falllafl Help A Advice Nulahell Donations to MACC of Human Needs Assistant. If the tree offering this from any 1 volunteer would the MACC office 6464114 ... Katherine Winzler, Pat READINGS BV NC^IOSCOPE The story about to enfold Pros: The Zipser Club on items ranging from infant and just watch our how, Herdic, Albert 0. Bourret. dressing tables to harvest could be located, put us right in the groove of HANDWmtNC ANALYSIS, is true. Names and places Brainard Place has operation. How about it who, what, where, when We are pleased that the NUMEROLOGY, ETC.