City Election 2019: Our Endorsements
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Gaslightpdffinal.Pdf
Credits. Book Layout and Design: Miah Jeffra Cover Artwork: Pseudodocumentation: Broken Glass by David DiMichele, Courtesy of Robert Koch Gallery, San Francisco ISBN: 978-0-692-33821-6 The Writers Retreat for Emerging LGBTQ Voices is made possible, in part, by a generous contribution by Amazon.com Gaslight Vol. 1 No. 1 2014 Gaslight is published once yearly in Los Angeles, California Gaslight is exclusively a publication of recipients of the Lambda Literary Foundation's Emerging Voices Fellowship. All correspondence may be addressed to 5482 Wilshire Boulevard #1595 Los Angeles, CA 90036 Details at www.lambdaliterary.org. Contents Director's Note . 9 Editor's Note . 11 Lisa Galloway / Epitaph ..................................13 / Hives ....................................16 Jane Blunschi / Snapdragon ................................18 Miah Jeffra / Coffee Spilled ................................31 Victor Vazquez / Keiki ....................................35 Christina Quintana / A Slip of Moon ........................36 Morgan M Page / Cruelty .................................51 Wayne Johns / Where Your Children Are ......................53 Wo Chan / Our Majesties at Michael's Craft Shop ..............66 / [and I, thirty thousand feet in the air, pop] ...........67 / Sonnet by Lamplight ............................68 Yana Calou / Mortars ....................................69 Hope Thompson/ Sharp in the Dark .........................74 Yuska Lutfi Tuanakotta / Mother and Son Go Shopping ..........82 Megan McHugh / I Don't Need to Talk -
AFIO Periscope
NEWSLETTER OF AFIO NATIONAL AND CHAPTER ™ PERISCOPE EVENTS, PLANS & NEWS Association of Former Intelligence Offi cers olumeV XXVI, Number 1, 2003 Boston Pops Meets the Men in Black Special AFIO Evening Hosted by Albano F. Ponte FIO recently held a ground-breaking event in Boston at The Changing Face Symphony Hall on of Intelligence Tuesday,A July 2, 2003. The Boston Pops Esplanade Orchestra performed AFIO’s to a sold-out performance including one hundred AFIO members and National Intelligence supporters and AFIO President Gene Symposium 2003 Poteat, all of whom enjoyed a program titled An American Salute. at The National Reconnaissance Office, The Central Intelligence Agency, and other locales 1 - 4 November 2003 — Tyson’s Corner, VA Backstage post-concert were [L to R] AFIO Board member & ave the date! And make plane Symposium 2003 will be com- Endowment Fund Director Albano Ponte; Boston Pops conductor bined with the AFIO Convention and Keith Lockhart; AFIO President Gene Poteat, and AFIO Member and hotel reservations NOW. and Chairman of Boston Pops Event Committee Gary Wass.. The AFIO National Intelli- Awards Banquet again this year, but the gence Symposium 2003, 1 Banquet will start the event. The AFIO Conductor Keith Lockhart, led Sthrough 4 November 2003, will be Convention runs 1 and 2 November at the Boston Pops in a stirring patri- one of our best ever, with distinguished the Sheraton Premiere Hotel on Lees- otic program of American favorites speakers from the intelligence commu- burg Pike in Tysons Corner, Virginia. with guest performers soprano Indra nity, law enforcement, and homeland The Sixth Annual AFIO Awards Ban- Thomas and Pianist Michael Lewin. -
Come Pick Me up (Reissue)
P.O. Box 1235 Chapel Hill, NC 27514 USA Phone: 919.688.9969 x125 www.mergerecords.com International Sales Contact Kraegan Graves: [email protected] TRACK LISTING: SIDE A SIDE B 1. So Convinced 8. Smarter Hearts 2. Hello Hawk 9. Honey Bee 3. Cursed Mirror 10. June Showers 4. 1000 Pounds 11. Pulled Muscle 5. Good Dreams 12. Tiny Bombs 6. Low Branches 13. You Can Always Count on Me 7. Pink Clouds (In the Worst Way) MRG 163 BONUS: TBA audio. To be included on CD & LP download coupon In March of 1999, Superchunk traveled to Electrical Audio Superchunk Studios in Chicago to record the tracks that would become Come Pick Me Up. The addition of producer Jim O’Rourke allowed Superchunk to advance their sound with more Come Pick Me Up experimentation, including horn and string accompaniments. Ken Vandermark, Jeb Bishop, and Bob (reissue) Weston provided the horn section (saxophone, trombone, and trumpet, respectively) while Fred Longberg-Holm and Suzanne Roberts contributed on cello and violin. CD “It was exciting to work in the big room downstairs at Electrical. For part of our visit we also slept there, in the dark except for lights on all the gear blinking. It snowed a ton the day we got there, and I didn’t go outside for the first five or six days we were there,” Mac recalls. “I read an 180g LP interview where O’Rourke said we tried to make a two- month record in two weeks or something. I’m sure he’s right—we never wanted to spend the time or money mak- 10 July 2015 ing records the ‘proper’ way, but I like how this record came out, -
Nightlight: Tradition and Change in a Local Music Scene
NIGHTLIGHT: TRADITION AND CHANGE IN A LOCAL MUSIC SCENE Aaron Smithers A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Curriculum of Folklore. Chapel Hill 2018 Approved by: Glenn Hinson Patricia Sawin Michael Palm ©2018 Aaron Smithers ALL RIGHTS RESERVED ii ABSTRACT Aaron Smithers: Nightlight: Tradition and Change in a Local Music Scene (Under the direction of Glenn Hinson) This thesis considers how tradition—as a dynamic process—is crucial to the development, maintenance, and dissolution of the complex networks of relations that make up local music communities. Using the concept of “scene” as a frame, this ethnographic project engages with participants in a contemporary music scene shaped by a tradition of experimentation that embraces discontinuity and celebrates change. This tradition is learned and communicated through performance and social interaction between participants connected through the Nightlight—a music venue in Chapel Hill, North Carolina. iii ACKNOWLEDGEMENTS Any merit of this ethnography reflects the commitment of a broad community of dedicated individuals who willingly contributed their time, thoughts, voices, and support to make this project complete. I am most grateful to my collaborators and consultants, Michele Arazano, Robert Biggers, Dave Cantwell, Grayson Currin, Lauren Ford, Anne Gomez, David Harper, Chuck Johnson, Kelly Kress, Ryan Martin, Alexis Mastromichalis, Heather McEntire, Mike Nutt, Katie O’Neil, “Crowmeat” Bob Pence, Charlie St. Clair, and Isaac Trogden, as well as all the other musicians, employees, artists, and compatriots of Nightlight whose combined efforts create the unique community that define a scene. -
Public Opinion and Foreign Policy ∗ John Peterson 1
9 L a í t { 5 Ç 9 t h C t W t 1 US Democrats = the True Europeans? Public Opinion and Foreign Policy ∗ John Peterson 1 This paper, based on a ceremonial lecture, develops three main arguments. First, we know far more today about public opinion globally than we have ever known before. Second, foreign policy is becoming a less cloistered, elite- dominated arena of public policy. Third, all of this has implications for transatlantic relations. On most questions of values – including those which underpin US foreign policy – Americans are more alike than different from one another, and both exceptional and distinct from Europeans. On questions of policy, the real divide is often not between Europe and America, but between American Republicans and everybody else. One consequence of the polarisation of American society is that American Democrats share many views on policy that are ‘European’ in nature. Over the years, all of us who have studied European integration have learned a lot from Joseph Weiler of New York University. Over those same years, he has developed and kept close ties to the University of Edinburgh, mostly via the good offices of our highly-prized colleague Prof Drew Scott of the Europa Institute. A few years ago, I saw Weiler give a ceremonial lecture in Belfast. On that occasion, I felt that I learned a lot about what is appropriate at this sort of occasion. By way of introducing him, the person chairing in Belfast elected to read out a very long list of all of the academic institutions where Joseph had ever been affiliated. -
A Scene Without a Name: Indie Classical and American New Music in the Twenty-First Century
A SCENE WITHOUT A NAME: INDIE CLASSICAL AND AMERICAN NEW MUSIC IN THE TWENTY-FIRST CENTURY William Robin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2016 Approved by: Mark Katz Andrea Bohlman Mark Evan Bonds Tim Carter Benjamin Piekut © 2016 William Robin ALL RIGHTS RESERVED ii ABSTRACT WILLIAM ROBIN: A Scene Without a Name: Indie Classical and American New Music in the Twenty-First Century (Under the direction of Mark Katz) This dissertation represents the first study of indie classical, a significant subset of new music in the twenty-first century United States. The definition of “indie classical” has been a point of controversy among musicians: I thus examine the phrase in its multiplicity, providing a framework to understand its many meanings and practices. Indie classical offers a lens through which to study the social: the web of relations through which new music is structured, comprised in a heterogeneous array of actors, from composers and performers to journalists and publicists to blog posts and music venues. This study reveals the mechanisms through which a musical movement establishes itself in American cultural life; demonstrates how intermediaries such as performers, administrators, critics, and publicists fundamentally shape artistic discourses; and offers a model for analyzing institutional identity and understanding the essential role of institutions in new music. Three chapters each consider indie classical through a different set of practices: as a young generation of musicians that constructed itself in shared institutional backgrounds and performative acts of grouping; as an identity for New Amsterdam Records that powerfully shaped the record label’s music and its dissemination; and as a collaboration between the ensemble yMusic and Duke University that sheds light on the twenty-first century status of the new-music ensemble and the composition PhD program. -
Troubled Waters Earthquakes May Not Be Oklahoma’S Biggest Problem with Fracking
• An Independent JournAl of CommentAry • JUNE 2016 • VOLUME 48 NUMBER 6 • $5.00 Troubled Waters Earthquakes May Not Be Oklahoma’s Biggest Problem With Fracking Special Report: Page 24 Observations www.okobserver.net OK Corral VOLUME 48, NO. 6 Chalk one up for common sense. The same Legislature that introduced a resolution urging the presi- PUBLISHER Beverly Hamilton dent’s impeachment and approved a measure [later vetoed] making abor- EDITOR Arnold Hamilton tion a felony actually stood up to the gun lobby and rejected a proposal that would have authorized open-carry without training or permits. DIGITAL EDITOR MaryAnn Martin Holy Slim Pickens! What in the Wide, Wide World of Sports is a-goin’ on here? FOUNDING EDITOR Frosty Troy Well, it turns out modern businesses – including the NBA’s Oklahoma ADVISORY BOARD City Thunder – weren’t exactly keen on Grandfield Republican Rep. Jeff Marvin Chiles, Andrew Hamilton, Coody’s loopy, frontier-era scheme to allow anyone at least 21 years old Matthew Hamilton, Scott J. Hamilton, and without a felony conviction to strap on a firearm, whether or not Trevor James, Ryan Kiesel, George Krumme, Robert D. Lemon, they know the barrel from the handle. Gayla Machell, Bruce Prescott, It was in late April, you might recall, that a licensed, conceal-carrying Robyn Lemon Sellers, Kyle Williams man shot and killed a fellow worshipper at a Pennsylvania church in a dispute over reserved seating. OUR MOTTO To Comfort the Afflicted and Afflict the If that can happen in a house of worship, just imagine untrained, un- Comfortable. licensed, intoxicated louts at an emotionally-charged Bedlam football game, six-shooters at the ready. -
'Flush with Punky Guitars and Grabby Pop Melodies.'
NOVEMBER 2010 ISSUE MMUSICMAG.COM REVIEWS HOLE SNobody’sUPERCHUNK Daughter [Universal] Majesty Shredding [Merge Records] The first album released under the Hole moniker since 1998’s Celebrity Skin is Superchunkreally doesn’t aspire to be Merge Records’ most innovative frontwoman Courtney Love’s second solo album—co-founder,or best-selling act. Mac McCaughan and Laura Ballance—founders songwriter and lead guitarist Eric Erlandson isn’t involved,of both Superchunk and Merge—leave that to the Arcade Fire, whose nor is any other previous Hole member. So it’s Love andSuburbs three album recently became the venerable North Carolina indie ringers on 11 new songs—10 of which Love wroteimprint’s with first-ever chart-topper. The decidedly less ambitiousMajesty collaborators like Billy Corgan,Shredding Linda ,Perry Superchunk’s and new first full-length in nine years, is a gift to fans guitarist Micko Larkin. (Perry gets full credit on one tune, “Letter to God.”) who have been following the group since its Clinton-era heyday. Flush Much of the riveting intensity of the group’s 1990s heyday appears to havewith left punkyalong with guitars her former and grabbyDaniel Jackson pop melodies, the album could have been bandmates, but there are fl ashes here of the snarling Too often, though, the slower songs trip her up. While once fury Love deployed to suchreleased devastating in effectthe mid-’90s,back in the day. just theyas werethe quartetshowcases was for harrowing transitioning displays of from naked theemotion, She spits out her vocals with vengeful disdain on “Skinny Little Love sounds more dispassionate these days. -
Bands’ Rocks out for Children Who Stutter Transportation to the Individual Events Will Be Provided at No Cost
News Sports Students get backstage Women’s tennis loses pass to entertainment tournament opener, beats world with PRSSA 3 UCR for ninth place 6 California State University, Fullerton DAILY TITAN Tuesday, April 26, 2005 www.dailytitan.com Volume 80, Issue 39 Creative strategy puts ad team in third team the victory yesterday during at the competition, it was this cliff- eight other schools in their district The National Student Advertising Farnall said the presentation was Synergy 23 competes the National Student Advertising hanger that left him hanging when and received third place for their Competition included over 200 evaluated by five judges, two of against seven schools Competition on campus. making his decision. presentation. schools, said Olan Farnall, an asso- whom were from Yahoo!, this year’s Their idea was to produce a “cliff- “The idea is there but I’m not Greg Dodds, a co-account super- ciate professor and Ad Club faculty client. in Yahoo! campaign hanger” advertisement that viewers sure whether the world is ready,” visor for the UCLA advertising team, adviser. There are 15 separate dis- Businesses typically pay approxi- By ASHLEE ANDRIDGE could go to the Web to watch, and said Roberts. “It was a struggle. Not said the answer to their success was tricts and the winner from each com- mately $1.5 million to be a host Daily Titan Asst. News Editor in the end, they hoped it would help everyone’s got broadband.” hard work. petes nationally in Nashville, Tenn., for the competition and sometimes them stand out from other schools, First place for the competition “We’re a club, not a class. -
REVIEWS HOLE Snobody’Superchunk Daughter [Universal] I Hate Music
ISSUE #30 MMUSICMAG.COM REVIEWS HOLE SNobody’sUPERCHUNK Daughter [Universal] I Hate Music [Merge] The first album released under the Hole moniker since 1998’s Celebrity Skin is really frontwoman Courtney Love’sFor a band that supposedly hates music, Superchunk seems pretty second solo album—co-founder,determined to resurrect the ’90s Chapel Hill sound. Ironically—as the title of songwriter and lead guitarist Eric Erlandson isn’t involved,Superchunk’s 10th album is surely meant to be taken—I Hate Music ranks nor is any other previous Hole member. So it’s Love andamong three this North Carolina quartet’s most listenable material. The album ringers on 11 new songs—10 of which Love wrotefeatures with 11 songs—just like 2010’s Majesty Shredding, Superchunk’s fi rst collaborators like Billy Corgan,studio albumLinda Perry in 10 and years—and new while it lacks the frenzy of the band’s younger guitarist Micko Larkin. (Perry gets full credit on one tune, “Letter to God.”) days, the recording quality is infi nitely better. Singer Mac McCaughan hasn’t Much of the riveting intensity of the group’s 1990s heyday appears to havelost left his along distinctive with her former falsetto, Daniel Jackson and happily, his guitar riffs still go from slightly bandmates, but there are fl ashes here of the snarling Too often, though, the slower songs trip her up. While once fury Love deployed to suchdiscordant devastating to effect all overback inthe the place. day. theyThe were stark, showcases high-pitch for harrowing guitar displaysis most of powerfulnaked emotion, She spits out her vocals onwith “Breaking vengeful disdain Down,” on “Skinny and “Me Little & YouLove &sounds Jackie more Mittoo,” dispassionate the disc’s these catchiest days. -
North Carolina Museum of Art Celebrates 20Th Anniversary of Outdoor Summer Concerts with Special Lineup of Local, National Performers
FOR IMMEDIATE RELEASE May 2, 2017 MEDIA CONTACT Emily Kowalski | (919) 664-6795 | [email protected] North Carolina Museum of Art Celebrates 20th Anniversary of Outdoor Summer Concerts with Special Lineup of Local, National Performers Summer season also includes outdoor movies, family-friendly performances, and a music-movie combo Raleigh, N.C.—The North Carolina Museum of Art (NCMA) announces its 20th anniversary summer outdoor concert and movie series. This season’s lineup includes 12 concerts, one music-movie combo special event, 16 movies, and three family-friendly performances. “We’re thrilled to celebrate this special anniversary with an all-star lineup featuring local favorites, exciting newcomers to the music scene, and internationally acclaimed rock bands,” says George Holt, the NCMA’s director of performing arts and film. “Since the debut of the Joseph M. Bryan, Jr., Theater in the Museum Park in 1997, we’ve welcomed some of the world’s finest musicians and performers, and we’ve experienced countless unforgettable moments.” Concerts and Family-Friendly Performances The concert series kicks off May 6 with a concert by Chapel Hill indie folk band Mipso. Mipso’s first NCMA appearance celebrates the release of a new album, Coming Down the Mountain. North Carolina band River Whyless opens. On June 5 legendary artists and longtime friends Joan Baez, Mary Chapin Carpenter, and Indigo Girls Amy Ray and Emily Saliers share the stage in a special sold-out group performance as Four Voices. Tegan and Sara—who over eight albums and nearly two decades have evolved from a folk duo to acclaimed indie- rockers and then to a glossier dance-pop powerhouse—perform on June 9. -
Big, Bent Ears May 2015-January 2016 Gben a Multimedia Installation About Listening Bi W
T EARS EN , B IG B g in n te is l ut bo a ion llat sta ia in a multimed tEars.org Big, Bent Ears May 2015-January 2016 gBen A multimedia installation about listening Bi w. Curated by Sam Stephenson & Ivan Weiss of Rock Fish Stew w w Artists BIG, BENT EARS originated as an online series in Alex Boerner, filmmaker collaboration with The Paris Review called “Big, Bent Mika Chance, filmmaker Ears: A Serial in Documentary Uncertainty.” Kate Joyce, photographer Carter McCall, filmmaker We have provided links throughout this guide to related Jonna McKone, filmmaker Ligaiya Romero, filmmaker chapters. Please follow along using your mobile devices. Richard Rothman, photographer Ivan Weiss, filmmaker g Partners .or w tew Rock Fish Stew Institute of Literature and Materials • Arts Access • ww.RockFishS Triple Aught • DecoRaleigh • SiteLink • CAM/now • Morningstar Law Group • Themeworks • Gensler • Theater Consultants Collaborative • ROCK FISH STEW is a documentary non-profit The Wine Feed • The Betty Eichenberger Adams Society based in Durham, N.C. We work with words, films, CAM’s educational and community programs are funded in part by the photographs, collected materials – whatever is called Goodnight Educational Foundation, The Grable Foundation, the William for. We explore people’s daily processes and devotion R. Kenan Jr. Charitable Trust, the United Arts Council of Raleigh and to craft, and strive to elucidate the connections between Wake County, IBM Community, SunTrust Grant, Telepathic Graphic. individuals, their communities and histories, and the Family Sundaes are funded by the PNC Foundation. environment at large. Rock Fish Stew received primary funding for this project from the Reva and David Logan Foundation of Chicago.