Take A'trip' to the Gallery —Page 4

Total Page:16

File Type:pdf, Size:1020Kb

Take A'trip' to the Gallery —Page 4 I . & i • 4 « Ehra Hau, bronze modalM In Taa Kwon Do In tha 1988 Olymplca, delivers a aplnning back kick to Jaime Myatic during a regular training exerolaa of the American Taa Kwon Do Academy. Take a'trip' to the gallery —page 4 Vice Pres. 'Top' of shake-up the charts -page 2 —page6 NEWS New title, duties added to academic affairs VP After a restmctimng of upper serving as assistant to the interim Provost. level administration at UTSA, However, when a permanent provost is the position of vice president found, Val verde'sconlractis not expected for academic affairs has been tobe renewed. Valverde's offke was con­ tacted for more informadon, but no mes­ renamed and expanded. The sages were returned. new position, provost and vice- Dr. Linda Whitson, vice preskknt for president for academic afTairs, administration and planning, was also VP tor academic alMra and now pravoat until a permanent pn>- aaaiata the Interim provoat. voat la appointed. (of Dr. Valverde). Valvenk demotkm. DeLuna said that the Ttie provost position erjcompasses tiie duties of ttie She has no historical knowledge cm the group does not wish to speak to the media subject, and cannot verify or comment on about dwir plans. When adced why she vice president for academic affairs while increasing itsany artkk addressing the subject of Dr. sakl, "Sdategy, I guess." Valvenk." The provost position encompasses the scope of auttiority. Ttie Provost will serve as acting Dr. James W. Wagener, professor in duties of the vice president for academic tlw division of education and presitknt of affairs whik increasing its scope of au­ UTSA when Valverde was hired, was thority. The Provost will serve as acting president wtien ttie president is away or indisposed. contacted for m interview. When an president when the president is away or interview regarding Vidverde was re­ indisposed. quested, Wagenersakl,"Idon'tthinkso,'' Some of dw responsibilities outlined will be filled temporarily by contacted regarding the renewal of and hung up. in the advertisement for tlw provost in the James Gaertner, dean ofthe col­ Valverde'scontract, but her secretary sakl When asked about tlw lack of fordi- Chronicle of Higher Educatkm are: (on behalf of Whitson): coming information. Dr. Bobbin •Promote the academic interest of tlw lege of business. "Dr. Whitson has no factual informa­ Hernandez, vice president for student af­ university Dr. Leonard Valverde, former vice tton on the subject, and feels it would be fairs, said "We (as administrators) only •serve as liaison to academk gover- president for academk affairs, is now inapprofnriate to comment on the subject wish to talk about dw areas for which we nawe structures and faculty committees are responsible. I myself can't speculate concerned with academic affairs as to diings outside of academic affairs." •has a primary req;x)nsibility for fac­ According to Anna DeLuna, preskknt ulty recruitment, development, compen­ of MEChA,' dw group and a sation, promotion, and tenure. numbo-of Hiqxuik UTS Aprofesscrs have •supervise and evaluate 40 undo-gradu- been meeting regularly to discuss the ate and 21 master's degree programs and a cooperative doctoral program in four c(4kges with associated research centers and IS academk divisions. The advertisenwnt stated further, "Re­ GMAT porting to the provost are the Office of Graduate Studies and Research, the Of­ fice of Admissions and Registrar, the Li­ brary, Office of Instructional Resources, 1992 is here. the University Ifonors Program, and the Senicnily . aoBriiaur'tgivinf you a Iweik. Remeniber >Dur col- It's time to get university-wide Hiqianic Research Cen­ has its lege «bvt with aamethiDg dnt «ril ter. These responsilHlities include leader­ bntaSfelinie . ahindciifted ship for the development of selected doc­ privileges. nwlyBiliaur. down to business! toral programs and associated research Add &3zSQjpom\s to activities." Under the list <tf (|ualifications dw ad your score. states, "The Flovost must demonstrate Our students do. comnutment and a record of success in Si recnuting and retaining minorities and women among dw faculty, staff and stu­ aS Courses begin dent body: appreciate the role of faculty, CM February 8th. staff and students in university gover­ nance." 697-8223 I By Rotiert Schermertiorn Newa EdNor Save $50 On Gold Now THE PRINCETO Campus Soodi Bookstore By Mary-Heallior BaitMr 14331 RoaifawinerWiy REVIEW Aaaoc. News Edilor CM SEE THE RING MAN are Score More! i Iteaday January 28,11 ajn. - S pjn. NEWS Here's who's in 'Who's Who' for 1992 Ninety-nine UTSAjuniors and seniors JuliaP.Patton LydiaD. SiWa Yvonne E. Vela have been inducted into Who's Who Kevui O.Prescott Cherie D. Sisneros Addie G.Ward Among Students in Amerkan Universi- DariaJ.Pundt Maty E. Stevens James M. Warner tksand Colleges. LaTaynaM. Pumell Jennifer E. Stone MabksM. Wells Tahnee R. Roulndoux Helen M. Strait Cara E. Whiteskle Students are nominated by faculty and Lana J. Ryan advisors for academk achkvement. ser­ William P. Strout Nichole Y. Wicha Robctt A. Schermerhom Lewis E. Syring RkhaidLWikox vice to the community, leadership in ex- Christopher F. Schexnayder KukE.Tayk)r Maria S. Wood bacurricular activities and potential for Susan M. Schulle Nohemi P. Torres . Wendy J. Woods continued success. Andrew W.Scott Paul E. Tores Rebecca L. Yekiennan UTSA is one of more than 1400insti- Starie L. Seay-Lowe Kalheiine A. Tniett Martha Ysassi ttdions of higher leaming in the U.S. and MiukA.Shultz Timothy A. VanCuren Jose E. Zapata several foreign coimtries, that submits a slate of student nominees for selection by Who's Who. Edwin L. Alvarez Adrienne W. Askew CankCBast DebraJ.Biichcr SherifY.Boctor Sheik Brooks Rachel A. Biynteson Kathleen K. Budginas Jennifer M. Buffo EdnaL.Cak)eron Find Out How Lionel Cantu, Jr. EUzabedi G. Oieatham TIAA-CREF Dalene C. CmneUus Angemette E. Coy Jonathan N. Darnell Can Help Michele N. Davis Cameron C. Deiser You Protect Anna M. DeLuna StacyL.Dill MarUK.Drake Your Retirement James M. Edwards Tina M. Pagan Nest Egg... Gafariella Fasci Jaaon A. Fasone ^ Samuel E. Filch Ricaido A. Flores, Jr. Ruben M. Flores MatUiew M. Fkiyd These are tough economic times. Banks are A winning combination. Elizabedi R. Garza going bankrupt, and businesses are failing. So Combine this with all the other advanuges. Such Dana M. Gaspardi it's more important than ever that your letirement as our wide variety of retirement income options, Bienda L. Gales savings are working for you. You'll want to be featuring lifetime annuities, fixed-period payments, Ada L. Gonzales sure you've entrusted your future to a financially and cash withdrawals. Our extensive services, Joe K. Gregoiy, Jr. strong, stable company — one that knows how to including an Automated Telephone Service to Monica Guajardo - weather any storms that may be ahead. find out infonnation and make transactions. One- Curtis D. Haines on-one counseling from our professional Rachel E. Heinemeyer That's why now is the right time to lake a new retirement specialists. Free booklets, reports and Dawn M. HiU look at TIAA-CREF — the retirement system for informaiion. Personalized retirement income EsleUaH.HiII higher education. Kimberly L.Holub illustralions. And our remarkably low expenses. ToddM. Huoni Make a sound choice. Shirley A. Huston Compare for yourself. TIAA has the stability, sound investments, and CariaE. Johnson If you're currendy with another retirement overall financial stiengih you need fiom a Daniel CKede carrier, we invite you lo make your own retirement company. Three independent ratings Dianne Z. Keelon comparison. Call for our FREE KIT, including Michelle S.Kiiby agencies — A.M. Best, Standard A Poor's, and the booklet "Selecting a Retirement Company," Nonna A. Leal Moody's Investors Service — have given us their and the "Retirement Company Comparison JocqriiL. Lee highest ratings for financial strength and ability Chart" so you can add up the differences. If LmiS.Ling to pay claims. Plessenna K. Long you're already a TIAA-CREF participant, call 00 Criselda Manoquin for our FREE Retirement Investing Kit, with Kathiyn E. Martinez Additional opportunities with CREF. information about how TIAA-CREF can help to CREF is the largest I / (O Alex L. ManUin you achieve your retirement goals. to Matthew W.McC:ain variable annuity in the ^**^ ^ RoxiLMcCkMkey world, with some $40 Call us today. Eiizabdh M. MoGimis billion in assets. It Barbara D.Mesa offers you four distinct 1800 842-2733, ext. 8014. Nancy I. Meza investment accounts so o DavidJ.Mofaine you can further DiMiaN. Nichol diversify your Ensurii^ die future s James M. Noel retirement savings. Karen L.Qrbin for duMc who shape itr Wesley R. Paifcer AllysoaG.Paneraon u UTSA gallery shows psycho-drama art Bom in Chicago, Karl Umlanf what it wouU take," Umlauf staled at his has been known only as the "son showing. Growing up in the artist com­ of Charles Umlanf," who is not munity wi|h his father woidd give most dw easy iMIity lo imitate others' worit, only his father, but a renowned but dMdkln'thifipen widi Umlauf. "Dwre sculptor. On Tiiesday, Jan. 21, have been sevaal artists I admire," he Karl Umlauf proved in the sakl, "but there are none dial I'm influ­ enced by." It seems hard to believe, but in UTSA Gallery that he is his own the art business, it must be this inde­ man when it comes to art. pendent attitutk diat has kd lo his fanw. Umlauf couM have become a conceit That night in dw galkry in his turtle- vkia player, but after years of lessons, he neck, btazer and jeans, he told the crowd tired of dw discipline and changed his ofhisloveofmachinesandjunkyards. He interests from the performance aits to the admits widi a straight face that he likes to craft arts.
Recommended publications
  • Collective Memory and the Constructio
    Liljedahl: Recalling the (Afro)Future: Collective Memory and the Constructio RECALLING THE (AFRO)FUTURE: COLLECTIVE MEMORY AND THE CONSTRUCTION OF SUBVERSIVE MEANINGS IN JANELLE MONÁE’S METROPOLIS-SUITES Everywhere, the “street” is considered the ground and guarantee of all reality, a compulsory logic explaining all Black Music, conveniently mishearing antisocial surrealism as social realism. Here sound is unglued from such obligations, until it eludes all social responsibility, thereby accentuating its unreality principle. (Eshun 1998: -41) When we listen to music in a non-live setting, we do so via some form of audio reproduction technology. To most listeners, the significant part about the technology is not the technology itself but the data (music) it stores and reverberates into our ears (Sofia 2000). Most of these listeners have memories tied to their favourite songs (DeNora 2000) but if the music is at the centre of the history of a people, can the songs themselves be seen as a form of recollection? In this paper, I suggest that sound reproduction technology can be read as a storage of memories in the context of Black American popular music. I will turn my attention to the critical potential of Afrofuturist narratives in the field of memory- technology in order to focus on how collective memory is performed as Afrofuturist technology in Black American popular music, specifically in the music of Janelle Monáe. At play in the theoretical backdrop of this article are two key concepts: Signifyin(g) and collective memory, the first of which I will describe in simplified terms, while the latter warrants a more thorough discussion.
    [Show full text]
  • 25Th Super Bock Super Rock
    25th Super Bock Super Rock New line-up announcement: Janelle Monáe July 20, Super Bock Stage July 18, 19, 20 Herdade do Cabeço da Flauta, Meco - Sesimbra superbocksuperrock.pt | facebook.com/sbsr | instagram.com/superbocksuperrock After the line up confirmations of Lana Del Rey, Cat Power, Charlotte Gainsbourg and Christine and The Queens, there’s another feminine talent on her way to Super Bock Super Rock: the North American Grammy-nominated, singer, songwriter, arranger and producer Janelle Monáe, performs on July 20 at the Super Bock Stage. JANELLE MONÁE Janelle Monáe Robinson was born and raised in Kansas City but soon felt the need to go in search of her dreams and headed out to New York. She enrolled in the American Musical and Dramatic Academy and at the time, her goal was to make musicals. Life ended up givigin Janelle some other possibilities and shortly thereafter, she began to participate in several songs by Outkast, having been invited by Big Boi. She began to appear under the spotlight thanks to her enormous talent, being a multifaceted and very focused artist. She released her first EP in 2007, “Metropolis: Suite I (The Chase)”. These first songs caught the producer Diddy’s eyes (Sean “Puffy” Combs) who soon hired Janelle for his label, Bad BoY Records. Her first Grammy nomination came at this time with the single “Many Moons”. Three years later, in 2010, Monae released her debut album. “The ArchAndroid” was inspired by the German film “Metropolis”, which portrays a futuristic world, a dystopian projection of humanity. The album’s whole concept raised some ethical issues and enriched the songs, these authentic pop pearls, filled with soul and funk.
    [Show full text]
  • Agency in the Afrofuturist Ontologies of Erykah Badu and Janelle Monáe
    Open Cultural Studies 2018; 2: 330–340 Research Article Nathalie Aghoro* Agency in the Afrofuturist Ontologies of Erykah Badu and Janelle Monáe https://doi.org/10.1515/culture-2018-0030 Received May 21, 2018; accepted September 26, 2018 Abstract: This article discusses the visual, textual, and musical aesthetics of selected concept albums (Vinyl/CD) by Afrofuturist musicians Erykah Badu and Janelle Monaé. It explores how the artists design alternate projections of world/subject relations through the development of artistic personas with speculative background narratives and the fictional emplacement of their music within alternate cultural imaginaries. It seeks to establish that both Erykah Badu and Janelle Monáe use the concept album as a platform to constitute their Afrofuturist artistic personas as fluid black female agents who are continuously in the process of becoming, evolving, and changing. They reinscribe instances of othering and exclusion by associating these with science fiction tropes of extraterrestrial, alien lives to express topical sociocultural criticism and promote social change in the context of contemporary U.S. American politics and black diasporic experience. Keywords: conceptual art, Afrofuturism, gender performance, black music, artistic persona We come in peace, but we mean business. (Janelle Monáe) In her Time’s up speech at the Grammys in January 2018, singer, songwriter, and actress Janelle Monáe sends out an assertive message from women to the music industry and the world in general. She repurposes the ambivalent first encounter trope “we come in peace” by turning it into a manifest for a present-day feminist movement. Merging futuristic, utopian ideas with contemporary political concerns pervades Monáe’s public appearances as much as it runs like a thread through her music.
    [Show full text]
  • Kaboom Walking Gallery Hillbilly
    founder's message KABOOM WALKING GALLERY HILLBILLY THE QUEST:TEA Changing the future of 2035 Sept 30 AT KENTUCKY CENTER FOR THE PerFORMING ARTS HOSTED BY: ANGIE FENTON FEATURING: NAT IRVIN—THRIVALS, DARELL HAMMOND—KABOOM, REGINA HOLLIDAY—WALKING GALLERY, KARTER LOUIS—HILLBILLY TEA, MOLLY BURKE & JAHNE BROWN SPECIAL GUEST: JANELLE MONÁE & THE WONDALAND ARTS SOCIETY www.thrivals.com founder's message Angie Fenton 8:30 WELCOME & OPENING REMARKS Nat Irvin, II, Founder of Thrivals, Woodrow M. Strickler Executive-in-Residence/Professor of Management Practice, College of Business, University of Louisville What if you lived in a city, town, village or slum that didn’t appear on a map? Officially the place you called home didn’t even exist. This was a reality for 14-year-old Salim Shekh and Sikha Patra, who grew up in one of the unchar- tered slums of Kolkata, India, or at least until they decided to do something about it. message Our theme for this year’s Thrivals was inspired by the idea of “positive disruption” as so powerfully from the dean demonstrated by these two young Indian teenagers. Their incredible quest has been documented in the film, The Revolutionary Optimists. Salim and Sikha are positively disrupting the deeply held cultural beliefs that members of their community hold about the future. Instead of the future being consigned to fate and destiny and even luck, Salim and Sikha say that the community’s future will depend on what the members of the community choose to do for themselves. Their message: Forget about fate and luck, and instead do something.
    [Show full text]
  • Allegories of Afrofuturism in Jeff Mills and Janelle Monaé
    Vessels of Transfer: Allegories of Afrofuturism in Jeff Mills and Janelle Monáe Feature Article tobias c. van Veen McGill University Abstract The performances, music, and subjectivities of Detroit techno producer Jeff Mills—radio turntablist The Wizard, space-and-time traveller The Messenger, founding member of Detroit techno outfit Underground Resistance and head of Axis Records—and Janelle Monáe—android #57821, Cindi Mayweather, denizen and “cyber slavegirl” of Metropolis—are infused with the black Atlantic imaginary of Afrofuturism. We might understand Mills and Monáe as disseminating, in the words of Paul Gilroy, an Afrofuturist “cultural broadcast” that feeds “a new metaphysics of blackness” enacted “within the underground, alternative, public spaces constituted around an expressive culture . dominated by music” (Gilroy 1993: 83). Yet what precisely is meant by “blackness”—the black Atlantic of Gilroy’s Afrodiasporic cultural network—in a context that is Afrofuturist? At stake is the role of allegory and its infrastructure: does Afrofuturism, and its incarnates, “represent” blackness? Or does it tend toward an unhinging of allegory, in which the coordinates of blackness, but also those of linear temporality and terrestial subjectivity, are transformed through becoming? Keywords: Afrofuturism, Afrodiaspora, becoming, identity, representation, race, android, alien, Detroit techno, Janelle Monáe tobias c. van Veen is a writer, sound-artist, technology arts curator and turntablist. Since 1993 he has organised interventions, publications, gatherings, exhibitions and broadcasts around technoculture, working with MUTEK, STEIM, Eyebeam, the New Forms Festival, CiTR, Kunstradio and as Concept Engineer and founder of the UpgradeMTL at the Society for Arts and Technology (SAT). His writing has appeared in many publications.
    [Show full text]
  • Of Producing Popular Music
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 6-26-2019 1:00 PM The Elements of Production: Myth, Gender, and the "Fundamental Task" of Producing Popular Music Lydia Wilton The University of Western Ontario Supervisor Coates, Norma. The University of Western Ontario Graduate Program in Popular Music and Culture A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Music © Lydia Wilton 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Musicology Commons Recommended Citation Wilton, Lydia, "The Elements of Production: Myth, Gender, and the "Fundamental Task" of Producing Popular Music" (2019). Electronic Thesis and Dissertation Repository. 6350. https://ir.lib.uwo.ca/etd/6350 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Using Antoine Hennion’s “anti-musicology”, this research project proposes a methodology for studying music production that empowers production choices as the primary analytical tool. It employs this methodology to analyze Kesha’s Rainbow, Janelle Monáe’s Dirty Computer, and St. Vincent’s Masseduction according to four, encompassing groups of production elements: musical elements, lyrical elements, personal elements, and narrative elements. All three albums were critical and commercial successes, and analyzing their respective choices offers valuable insight into the practice of successful producers that could not necessarily be captured by methodologies traditionally used for studying production, such as the interview.
    [Show full text]
  • Black Feminism in Frances EW Harper's “Vashti”&A
    Kay 1 Nina Kay Dr. Parker English 113 12 December 2015 Bowing To No One: Black Feminism in Frances E.W. Harper's “Vashti”& in Janelle Monáe’s “Q.U.E.E.N.” In the ongoing discussion of women’s rights and feminism, one topic that keeps being brought up is the wage gap. However, such a statistic only pertains to white women, completely erasing and ignoring the unique struggles Black women face. It is common to hear that women make seventy-seven cents for every dollar a man makes. What is not normally mentioned is that white women are the ones being underpaid twenty-three cents. For Black women it is an entirely different narrative. The American Association of University Women in their 2014 article “How Does Race Affect the Gender Wage Gap”, state that Black women make 64% of what white men make. It is because of this racial and gender discrimination that Black feminism has emerged. Some of the strongest examples of Black feminism are seen throughout American history in poetry and song, specifically, the poem “Vashti” by Frances Ellen Watkins Harper and the Song “Q.U.E.E.N.” by Janelle Monáe. Through their uplifting messages and female central narratives, “Q.U.E.E.N.” and “Vashti” are prime examples of Black feminism that call upon Black women to free themselves from others’ expectations. Looking through a Black feminist lens I will explain how Monáe’s “Q.U.E.E.N.” and Harper’s “Vashti” can serve as sources of empowerment for Black women. I uphold the Kay 2 argument that experiencing these works and listening to the messages that they carry has had an uplifting and empowering effect on Black women.
    [Show full text]
  • Make It New: Reshaping Jazz in the 21St Century
    Make It New RESHAPING JAZZ IN THE 21ST CENTURY Bill Beuttler Copyright © 2019 by Bill Beuttler Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to be a digitally native press, to be a peer- reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial- NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/ by-nc-nd/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, California, 94042, USA. DOI: https://doi.org/10.3998/mpub.11469938 Print ISBN: 978-1-64315-005- 5 Open access ISBN: 978-1-64315-006- 2 Library of Congress Control Number: 2019944840 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Contents Member Institution Acknowledgments xi Introduction 1 1. Jason Moran 21 2. Vijay Iyer 53 3. Rudresh Mahanthappa 93 4. The Bad Plus 117 5. Miguel Zenón 155 6. Anat Cohen 181 7. Robert Glasper 203 8. Esperanza Spalding 231 Epilogue 259 Interview Sources 271 Notes 277 Acknowledgments 291 Member Institution Acknowledgments Lever Press is a joint venture. This work was made possible by the generous sup- port of
    [Show full text]
  • Diversity of K-Pop: a Focus on Race, Language, and Musical Genre
    DIVERSITY OF K-POP: A FOCUS ON RACE, LANGUAGE, AND MUSICAL GENRE Wonseok Lee A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2018 Committee: Jeremy Wallach, Advisor Esther Clinton Kristen Rudisill © 2018 Wonseok Lee All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Since the end of the 1990s, Korean popular culture, known as Hallyu, has spread to the world. As the most significant part of Hallyu, Korean popular music, K-pop, captivates global audiences. From a typical K-pop artist, Psy, to a recent sensation of global popular music, BTS, K-pop enthusiasts all around the world prove that K-pop is an ongoing global cultural flow. Despite the fact that the term K-pop explicitly indicates a certain ethnicity and language, as K- pop expanded and became influential to the world, it developed distinct features that did not exist in it before. This thesis examines these distinct features of K-pop focusing on race, language, and musical genre: it reveals how K-pop groups today consist of non-Korean musicians, what makes K-pop groups consisting of all Korean musicians sing in non-Korean languages, what kind of diverse musical genres exists in the K-pop field with two case studies, and what these features mean in terms of the discourse of K-pop today. By looking at the diversity of K-pop, I emphasize that K-pop is not merely a dance- oriented musical genre sung by Koreans in the Korean language.
    [Show full text]
  • My Spaceship Leaves at 10: Blackness in the Global Future
    My Spaceship Leaves At 10: Blackness in the Global Future Senior Thesis Presented to The Faculty of the School of Arts and Sciences Brandeis University Department of African and Afro-American Studies Faith Smith, Advisor In partial fulfillment of the requirements for the degree of Bachelor of Arts By Natasha Iris Gayle Gordon May 2015 Committee Members: Professor Faith Smith Signature: ____________________ Professor Jasmine Johnson Signature: ____________________ Professor Greg Childs Signature: ____________________ 2 Acknowledgements I would like to thank the following people for their part in the making of this project: My mother, Annette Harris-Gordon: for sense of self, exploration of the quotidian fantastic, and frequent reminders throughout the production of this project to outline every thought. My advisor, Professor Faith Smith, for her help working through all aspects of the paper, willingness to discuss every detail, and general positive energy this past year. This thesis would not have been what it is today without her guidance. The African and Afro-American Studies Department and associated professors for their feedback, book recommendations, and useful web links: Professor Chad Williams, Professor Jasmine Elizabeth Johnson, Professor Wellington Nyangoni, Professor Derron Wallace, and Professor Gregory Childs. And Mohamed Abdirahman, Easter Peterson, Riley Sandberg, Britnie Smith, Brian Jones, and Keith Jones for endless encouragement. 3 What difference is there between Utopia and a dream? Just one. —Jean Pierre Bekolo We know that we are larger than life. We know that we are larger than Earth. We know we are larger than the cosmos. And that is reflected in our work and in our music.
    [Show full text]
  • Billboard Magazine
    11.02.2013 billboard.com billboard.biz ATLANTIC'S SUPER BOWL PLAY Doritos Partnership Drives Synchs NEW LIFE FOR RHAPSODY Telecom Bundles Drive 13* Scale FILM/TV MUSIC CONFERENCE HELLO, SIA 4. IL r!1 ti 14,1 410 $6 99US $8.99CAM 4 2> 7 896 47205 9 UK £5.50 "ONE OF THE BESTWorldMags.net"THE ARRIVAL OF "ONE OF THE MOST STRIKING STORIES IN POP" A NEW KIND OF STAR " ARTISTS IN R&B " -- ROLLING STONE -- ENTERTAINMENT WEEKLY -- NEW YORK TIMES * * * * * * * * * * taylor swift lorde the weeknd *IDE / BILLBOARD TOP 200 ALBUMS a1 DEBUT / BILLBOARD TOP ROCK ALBUMS / BILLBOARD TOP R&B ALBUMS siSINt "I KNEW YOU WERE TROUBLE" #1 SINGLE "ROYALS"' "LIVE FOR" Source: Billboard Hot Digital Songs Source: Billboard Hot too Songs Source: rTunes / Top R&B / Soul Song's (8.20.13) "THIS MIGHT BE THE MOST -AN AMALGAM OF EVERYTHING "THE BIGGEST STORY IN COUNTRY INVITING POP RECORD OF 20f3 " YOU'D WANT FROM A NEW MUSIC THIS YEAR [201.91 IS MOST -- LA TIMES BLACK SABBATH ALBUM" -- NME CERTAINLY FLORIDA GEORGIA LINE" * * -- THE ARGUS LEADER * * * * * ariana grande black sabbath florida #1 DEBUT / BILLBOARD TOP 200 ALBUMS / BILLBOARD TOP 200 ALBUMS #1 SINGLE "THE WAY"" "GOD IS DEAD" georgia line #1 DEBUT / BILLBOARD TOP COUNTRY ALBUMS #1 SINGLE "CRUISE"` -.+111P. Source: iTures / Top Singles (3.25.r3) Source: Mechabase Mainstream Rock (5.24,3) "...HELLA-COOL DEBUT" `AN ARTISTIC TOUR DE FORCE THAT ROWLAND STEPS OUT WITH PEOPLE FURTHERS THE POTENT/AL SHOWN SURE FOOTING, A GIRL -NEXT * * * * ON GROUP'SAWARD-WINNING DEBUT. " DOOR WHO BELONGS ON TOP" -- THE ASSOCIATED PRESS - SPIN of monsters * * * * * and men the band perry kelly rowland *1DEBI./ BILLBOARD TOP ROCK ALBUMS #1 DEBUT / BILLBOARD TOP COUNTRY ALBUMS / BILLBOARD TOP R&B ALBUMS "LITTLE TALKS" #1 SINGLE "BETTER DIG TWO"` "KISSES DOWN LOW" *t- IN V ' Atk 4446 A Irrirffei Source: Billboard Country Airplay republic for your grammy® consideration WorldMags.net WorldMags.net THIS WEEK Volume 125 [ No.
    [Show full text]
  • Heavy on the Air: Radio & Promotion in the Heavy
    HEAVY ON THE AIR: RADIO & PROMOTION IN THE HEAVY METAL CAPITAL OF THE WORLD by Ted Jacob Dromgoole, B.A. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Arts with a Major in History May 2021 Committee Members: Jason Mellard, Chair Shannon Duffy Thomas Alter COPYRIGHT by Ted Jacob Dromgoole 2021 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, Section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author’s express permission is not allowed. Duplication Permission As the copyright holder of this work I, Ted Jacob Dromgoole, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. DEDICATION For Delleney and Emmylou. Thank you for being by my side through it all. ACKNOWLEDGEMENTS I would like to bestow the greatest of thanks to my partner Delleney. Every idea or thought I had, I shared with her first. She is my rock, my inspiration and my home. Thank you for believing in me as deeply as you have. I am so incredibly fortunate to have you in my life. To my mother and her partner, Papa Steve, thank you for your wisdom and support during this whole process. Mom, thank you for inspiring in me a lifelong love of history, beginning with the What Your 5th Grader Should Know books.
    [Show full text]