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Louisa Rachel Solomon Louisa Rachel Solomon is the lead singer of The Shondes, an indie punk band from Brooklyn, NY. Solomon is known for being a Jewish musician who is outspoken about opposing the occupation of Palestine. She is best known for her emotional live performance, and has been called "a front-woman to fear and fall in love with.". Peter Ames Carlin said The Garden features "better-stand-back vocals from Louisa Solomon, who has one of the biggest voices in pop music.". Complete your Louisa Rachel Solomon record collection. Discover Louisa Rachel Solomon's full discography. Shop new and used Vinyl and CDs.Â If you would like to browse in a different language, please choose a language using the dropdown. Deutsch English EspaÃ±ol FranÃ§ais Italiano æ—¥æœ¬èªž. Louisa Rachel Solomon. Edit Artist. Add An Image. Louisa Rachel Solomon. Variations: Viewing All | Louisa Rachel Solomon. Louisa Rachel Solomon is the lead singer of The Shondes, an indie punk band from Brooklyn, NY. Solomon is known for being a Jewish musician[1] who is outspoken about opposing the occupation of Palestine.[2][3][4][5][6][7] She is best known for her emotional live performance, and has been called "a front-woman to fear and fall in love with."[8].Â For faster navigation, this Iframe is preloading the Wikiwand page for Louisa Rachel Solomon. Home. News. Louisa Rachel Solomon is the lead singer of The Shondes, an indie punk band from Brooklyn, NY. Solomon is outspoken about being a Jewish musician and opposing the occupation of Palestine. She is best known for her emotional live performance, and has been called "a front-woman to fear and fall in love with." Critical response. "Lead singer Louisa Solomon steps out of the role of the one who has been wronged, and back into that of the unrepentant sinner, which suits her better. Louisa Rachel Solomon is on Facebook. Join Facebook to connect with Louisa Rachel Solomon and others you may know. Facebook gives people the power to...Â Louisa Rachel Solomon is on Facebook. To connect with Louisa, sign up for Facebook today. Log In. or. Sign Up. About Louisa Rachel Solomon. Work. Simon & Schuster. Louisa Rachel Solomon is the lead singer of The Shondes, an American indie punk band from Brooklyn, New York. Solomon is outspoken about being a Jewish musician and opposing the occupation of Palestine. She is best known for her emotional live performance, and has been called "a front-woman to fear and fall in love with.". ...no one in the band treated their instrument gently this past Saturday night on one of the last stops of a tour that started in August. All four members of the Shondes treated A veteran of the riot grrrl scene of the â™90s, Louisa Rachel Solomon played in bands Lucky Tiger and The Syndicate before forming The Shondes in 2006. Louisaâ™s bounding basslines and the furious finesse of her voice have seen the band release two demos and three albums, 2008â™s The Red Sea, 2010â™s My Dear One (Fanatic Records), and 2011â™s Searchlights (Exotic Fever Records). Louisa is also an outspoken activist regarding the Israeli occupation of Palestine. Louisa Rachel Solomon is the lead singer of The Shondes, an indie punk band from Brooklyn, NY. Solomon is known for being a Jewish musician[1] who is outspoken about opposing the occupation of Palestine.[2][3] [4][5][6][7] She is best known for her emotional live performance, and has been called "a front-woman to fear and fall in love with."[8]. Critical response. Peter Ames Carlin said The Garden features "better-stand-back vocals from Louisa Solomon, who has one of the biggest voices in pop music." Depth of Field.

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Dissertation
DISSERTATION Titel der Dissertation “We’re Punk as Fuck and Fuck like Punks:”* Queer-Feminist Counter-Cultures, Punk Music and the Anti-Social Turn in Queer Theory Verfasserin Mag.a Phil. Maria Katharina Wiedlack angestrebter akademischer Grad Doktorin der Philosophie (Dr. Phil.) Wien, Jänner 2013 Studienkennzahl lt. Studienblatt: A 092 343 Studienrichtung lt. Studienblatt: Anglistik und Amerikanistik Betreuerin / Betreuer: Univ. Prof.in Dr.in Astrid Fellner Earlier versions and parts of chapters One, Two, Three and Six have been published in the peer-reviewed online journal Transposition: the journal 3 (Musique et théorie queer) (2013), as well as in the anthologies Queering Paradigms III ed. by Liz Morrish and Kathleen O’Mara (2013); and Queering Paradigms II ed. by Mathew Ball and Burkard Scherer (2012); * The title “We’re punk as fuck and fuck like punks” is a line from the song Burn your Rainbow by the Canadian queer-feminist punk band the Skinjobs on their 2003 album with the same name (released by Agitprop Records). Content 1. Introduction .......................................................................................................... 1 2. “To Sir With Hate:” A Liminal History of Queer-Feminist Punk Rock ….………………………..…… 21 3. “We’re punk as fuck and fuck like punks:” Punk Rock, Queerness, and the Death Drive ………………………….………….. 69 4. “Challenge the System and Challenge Yourself:” Queer-Feminist Punk Rock’s Intersectional Politics and Anarchism……...……… 119 5. “There’s a Dyke in the Pit:” The Feminist Politics of Queer-Feminist Punk Rock……………..…………….. 157 6. “A Race Riot Did Happen!:” Queer Punks of Color Raising Their Voices ..……………..………… ………….. 207 7. “WE R LA FUCKEN RAZA SO DON’T EVEN FUCKEN DARE:” Anger, and the Politics of Jouissance ……….………………………….………….
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The Art Worlds of Punk-Inspired Feminist Networks
! The Art Worlds of Punk-Inspired Feminist Networks ! ! ! ! ! ! A social network analysis of the Ladyfest feminist music and cultural movement in the UK ! ! ! ! ! ! A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities ! ! ! 2014 ! ! Susan O’Shea ! ! School of Social Sciences ! ! Chapter One Whose music is it anyway? 1.1. Introduction 12 1.2. Ladyfest, Riot Girl and Girls Rock camps 14 1.2.1. Ladyfest 14 1.2.2. Riot Grrrl 16 1.2.3. Girls Rock camps 17 1.3. Choosing art worlds 17 1.4. The evidence: women’s participation in music 20 1.5. From the personal to the political 22 1.6. Thesis structure 25 Chapter Two The dynamics of feminist cultural production 2.1. Introduction 27 2.2. Art Worlds and Becker’s approach 29 2.3. Punk, Riot Grrrl and Ladyfest 32 2.3.1. Punk 33 2.3.2. Riot Grrrl 34 2.3.3. Ladyfest 40 2.4. The political economy of cultural production 41 2.5. Social movements, social networks and music 43 2.6. Women in music and art and the translocal nature of action 48 2.6.1. Translocality 50 2.7. Festivals as networked research sites 52 2.8. Conclusion 54 Chapter Three Methodology 3.1. Introduction 56 !2 ! 3.2. Operationalising Art Worlds, research aims and questions 57 3.3. Research philosophy 58 3.4. Concepts and terminology 63 3.5. Mixed methods 64 3.6. Ethics 66 3.6.1. Ethics review 68 3.6.2.
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AMS/SMT Milwaukee 2014 Abstracts Thursday Afternoon
AMS/SMT American Musicological Society Society for Music Theory Program & Abstracts & Abstracts Program 2014 Milwaukee Milwaukee 6-9 November 2014 Abstracts g Abstracts of Papers Read at the American Musicological Society Eightieth Annual Meeting and the Society for Music Theory Thirty-seventh Annual Meeting 6–9 November 14 Hilton Hotel and Wisconsin Center Milwaukee, Wisconsin g AMS/SMT 2014 Annual Meeting Edited by Judy Lochhead and Richard Will Chairs, 14 SMT and AMS Program Committee Local Arrangements Committee Mitchell Brauner, Chair, Judith Kuhn, Rebecca Littman, Timothy Miller, Timothy Noonan, Gillian Rodger Performance Committee Catherine Gordon-Seifert, Chair, Mitchell Brauner, ex officio, David Dolata, Steve Swayne Program Committees AMS: Richard Will, Chair, Suzanne Cusick, Daniel Goldmark, Heather Hadlock, Beth E. Levy, Ryan Minor, Alejandro Planchart SMT: Judy Lochhead, Chair, Poundie Burstein, ex officio, Michael Klein, Sherry Lee, Alexander Rehding, Adam Ricci, Leigh VanHandel The AMS would like to thank the following people and organizations for their generous support: Calvary Presbyterian Church, Milwaukee Joan Parsley Charles Sullivan and Early Music Now Milwaukee Symphony Orchestra University of Wisconsin-Milwaukee Program and Abstracts of Papers Read (ISSN 9-1) is published annually for the An- nual Meeting of the American Musicological Society and the Society for Music Theory, where one copy is distributed to attendees free of charge. Additional copies may be purchased from the American Musicological Society for $1. per copy plus $. U.S. shipping and handling (add $. shipping for each additional copy). For international orders, please contact the American Musicological Society for shipping prices: AMS, 61 College Station, Brunswick ME 411-41 (e-mail [email protected]).
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COMING out on DECEMBER 9, 2014 New Releases from ADELIT@S/KOHOSH • BLOOD FARMERS RAJOITUS/RATSTAB • CAVES • DOE BIG WOW • TROPHY WIFE • the SHRINE
COMING OUT ON DECEMBER 9, 2014 new releases from ADELIT@S/KOHOSH • BLOOD FARMERS RAJOITUS/RATSTAB • CAVES • DOE BIG WOW • TROPHY WIFE • THE SHRINE Exclusively Distributed by ADELIT@S/KOHOSH Split, LP STREET DATE: DECEMBER 9, 2014 INFORMATION: Artist Hometown: ADELIT@S-- Portland, OR; KOHOSH—Seattle, WA Key Markets: Seattle, Portland, Vancouver BC, San Francisco, Los Angeles, San Diego, Tijuana, Germany, France, Netherlands, Denmark, Sweden For Fans of: CRASS, CONFLICT, LOST WORLD, LOS CRUDOS, POST REGIMENT, CONTROPOTERE, SKARP, AGATHA, GARMONBOZIA, ARCANE, OLD CITY, INVERSION, CREOSOTE The split features five new tracks of blazing anarcho-punk from Portland’s ADELIT@S, who are picking up right where their Llama Viva de la Rabia LP (released on Aborted Society in 2012) left off. Energetic, melodic, and tuneful punk with politically charged dual female/male vocals sung in Spanish. ARTIST: ADELIT@S/KOHOSH Incorporating some of their Latin folk influence, these tracks are punchier and more hardcore than TITLE: Split earlier efforts. Recorded by Stan Wright at Buzz or Howl Studios in Portland, OR. LABEL: Aborted Society CAT#: ABSOC031-1 A progressive six-piece from Seattle, KOHOSH brings three tracks of inventive crust that equally harkens FORMAT: LP to 80’s peace punk as much as it does to the more melodic side of the 90’s European anarchopunk GENRE: Punk, Latin, Crust, Melodic Hardcore, sound. Dual guitars weave in and out of fast and mid-tempo passages accompanied with cello and Anarchopunk harmonized female/male vocals. Recorded by Brandon Fitzsimons at Airport Grocery Studio in Seattle, BOX LOT: 50 WA. Both sides were mastered by Dan Randall at Mammoth Sound in Oakland, CA.
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Riot Acts: Flaunting Gender Deviance in Music Performance
RIOT ACTS: FLAUNTING GENDER DEVIANCE IN MUSIC PERFORMANCE A documentary by Madsen Minax 72 Minutes Video, Color, USA, 2009 Contact: Vanessa Domico Phone: 917.520.7392 vdomico@outcast‐films.com 1 RIOT ACTS: FLAUNTING GENDER DEVIANCE IN MUSIC PERFORMANCE Festival Screenings Awards Jury Award: Best Documentary Feature Reeling Lesbian & Gay International Film Festival Audience Choice Award: Best Documentary Feature Reeling Lesbian & Gay International Film Festival Audience Award Park City Music and Film Festival Park City, Utah Philadelphia Independent Film Frameline: San Francisco’s International LGBT Film Festival London Lesbian and Gay Film Festival Out On Screen Vancouver Queer Film Festival Reeling Gay and Lesbian Film Festival Chicago International Movies and Music Festival SENE Film, Music & Arts Festival Boston LGBT Film Festival BostonIdapalooza Music Festival Seattle Transgender Film Festival MIX Mexico LGBT Film Festival Sacramento Film and Music Festival International Youth Film Festival Queer Lisboa Film Festival 2 RIOT ACTS: FLAUNTING GENDER DEVIANCE IN MUSIC PERFORMANCE Short Synopsis Riot Acts is a ‘trans‐fabulous’ rockumentary representing the multi‐dimensional lives of transgender and gender variant musicians. A first‐hand perspective of the intersections between gender performance and stage performance, Riot Acts suggests that identities and bodies are undeniably political, and the journey within a trans experience isn't always one of tragedy, but one of creativity and joy. Long synopsis Representing the whole lives of transgender and gender variant musicians, each story is one of a journey in progress through a first‐hand perspective of the intersections between gender performance and stage performance. The feature documentary Riot Acts: Flaunting Gender Deviance in Music Performance will allow a venue for a particular niche of trans existence to be revealed and celebrated.
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Forging a New Path: Transgender Singers in Popular Music
POPULAR SONG AND MUSIC THEATER Robert Edwin, Associate Editor Forging a New Path: Transgender Singers in Popular Music Nancy Bos ome of the first issues that a cisgender voice teacher of transgen- der and gender nonconforming singers faces is finding role models and repertoire for the student. After all, with most students we have well established ideas of what their musical niche might be. But trans- Sgender or gender nonconforming singers might seem to bring an entirely blank slate, as if nobody had ever developed a following or composed songs as a transgender singer. Thankfully, that is not the case. There are talented transgender singers in almost every genre, and many people have cut paths for our students to explore. Nancy Bos Few people have more expertise on music of transgender performers than JD Doyle, archivist of music of LGBTQ performers spanning the last hundred years. His websites, Queer Music Heritage and JD Doyle Archives, are both sources of understanding, appreciation, and exposure for LGBTQ singers. JD has an uncomplicated way of shining light on appropriate repertoire: “[W]hat is queer music, and what makes it different, and the same, from what straight artists write and sing about? It’s the same because of course LGBT people write about relationships, falling in love, wanting to be in love, and losing love . .” Doyle offers a number of recommendations of artists to consider that I have supplemented. It is exciting to hear the authentic and meaningful music of these artists, some who sing from their hearts with insightful, serious lyrics about their transitions, some who perform songs that say nothing specific about their transitions, and others who use comedy and bring up the edgier side of their lives.
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The Sounds of Queer Justice
The Queer Sounds of Justice: Contemporary Queer Musicking and Transformative Justice in The United States S.M. Gray Submitted in Partial Fulfillment of the Prerequisite for Honors in Peace and Justice Studies Program April 2012 © 2012, S.M. Gray Table of Contents Acknowledgements _____________________________________ i Introduction: Terminology, Process, and Construction of Narrative ___________________________________________ 1 1. Girlyman’s “Young James Dean”: A Tribute to the Pioneers of the Women’s Music movement__________________ 24 2. Positionality and Activism within Musicking: The Women’s Music movement of 1988__________________________35 3. From Ani DiFranco to Coyote Grace: A Queer and Feminist Blender of Politics, Gender, Genre, Sex, and Desire_______49 4. The Muses of Mustached ElectroLovers: Homos and Queer Punks, Angry Grrrl Feminists, and Lesbionic Dykes____________65 5. Contemporary Queer and Trans(Feminist) Musicking: Technology, Embodiment, Temporality, and Intersectionality__________91 Conclusion: Queer Musicking and A Broader Transformative Justice Framework______________________________117 Bibliography__________________________________________137 Acknowledgements I am so excited to finally be sharing my year-long endeavors with colleagues, friends, and family. It has been a long journey, and I am so grateful to all of you who have helped me along the way. Thank you so much to all of the musicians who have been so supportive through this process: the members of Girlyman, Coyote Grace, Katastrophe, Athens Boys Choir, Grygiel, The Shondes, Lovers, Des Ark, MC Micah, Kera Washington and Zili Musik, and Schmekel. I have been so inspired and supported by all of you through my research, and have learned so much from all of you. Thank you for sharing your sounds and stories with the world. I want to extend a huge thank you to Larry Rosenwald for his calming demeanor, quiet support, outgoing intellectualism, and laidback deadlines.
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Contemporary Queer Musicking and Transformative Justice in the United States
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Wellesley College Wellesley College Wellesley College Digital Scholarship and Archive Honors Thesis Collection 2012 The Queer Sounds of Justice: Contemporary Queer Musicking and Transformative Justice in The nitU ed States S. M. Gray Wellesley College, [email protected] Follow this and additional works at: https://repository.wellesley.edu/thesiscollection Recommended Citation Gray, S. M., "The Queer Sounds of Justice: Contemporary Queer Musicking and Transformative Justice in The nitU ed States" (2012). Honors Thesis Collection. 11. https://repository.wellesley.edu/thesiscollection/11 This Dissertation/Thesis is brought to you for free and open access by Wellesley College Digital Scholarship and Archive. It has been accepted for inclusion in Honors Thesis Collection by an authorized administrator of Wellesley College Digital Scholarship and Archive. For more information, please contact [email protected]. The Queer Sounds of Justice: Contemporary Queer Musicking and Transformative Justice in The United States S.M. Gray Submitted in Partial Fulfillment of the Prerequisite for Honors in Peace and Justice Studies Program April 2012 © 2012, S.M. Gray Table of Contents Acknowledgements _____________________________________ i Introduction: Terminology, Process, and Construction of Narrative ___________________________________________ 1 1. Girlyman’s “Young James Dean”: A Tribute to the Pioneers of the Women’s Music movement__________________ 24 2. Positionality and Activism within Musicking: The Women’s Music movement of 1988__________________________35 3. From Ani DiFranco to Coyote Grace: A Queer and Feminist Blender of Politics, Gender, Genre, Sex, and Desire_______49 4. The Muses of Mustached ElectroLovers: Homos and Queer Punks, Angry Grrrl Feminists, and Lesbionic Dykes____________65 5.
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The Shondes Most Popular by Gavin Paul Giovagnoli on January 18, 2008 2:39 AM Comment NEWS PHOTOS
iPAD APP DIGITAL MAGAZINE LOGIN WITH: THE Grammy Highs! Bon Iver: Exclusive SPIN's 5 Best New Award Tour: 21 Times DAILY Grammy Lows! Grammy Q&A Artists for February the Grammys Saluted SHUFFLE Photos of Music's Big '12 the Underground Night1 of 12 2 of 12 3 of 12 4 of 12 Artist of the Day The Shondes Most Popular By Gavin Paul Giovagnoli on January 18, 2008 2:39 AM Comment NEWS PHOTOS REVIEWS SHARE 0 0 Facebook Twitter 25 Winter Albums You Gotta Hear 5 Best New Artists for February '12 50 Best Albums of 2011 20 Best Songs of 2011 Free! 24 Tracks From SPIN's Best of 2011 Issue Who? Elijah Oberman (fiddle), Ian Brannigan (guitar), Louisa Rachel Solomon (bass) and Temim Fruchter 25 Best Live Photos of 2011 (drums) is a band bent on putting politics back in punk. Just a year out from their union in college, the SPIN's 40 Best Rap Albums of 2011 foursome caught the crest of a foamy blogger-hype wave without so much as a single pressed. Their self- released LP, The Red Sea, is out now. 40 Greatest Comedy Albums of All Time 125 Best Albums of the Past 25 Years What's the Deal? Shonde is Yiddish for 'shame', or a 'disgrace', a concept of which they readily embrace, twist and reincorporate in their tales of queer and Jewish identity trappings. "Being something 'shameful,' to your family, to your culture or whatever for your identity or your beliefs, that's something that's pretty real for each of us…and a lot of people out there.
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NYC TOHP Transcript 072 Eli Oberman
1 NEW YORK CITY TRANS ORAL HISTORY PROJECT https://www.nyctransoralhistory.org/ http://oralhistory.nypl.org/neighborhoods/trans-history INTERVIEW TRANSCRIPT ELI OBERMAN Interviewer: M. Henry Milks Date of Interview: February 18, 2017 Location of Interview: Eli’s home, Brighton Beach, Brooklyn, NY Interview Recording URL: http://oralhistory.nypl.org/interviews/eli-oberman-htgfs0 Transcript URL: https://s3.amazonaws.com/oral- history/transcripts/NYC+TOHP+Transcript+072+Eli+Oberman.pdf Transcribed by Kelsi Davis (volunteer) NYC TOHP Interview Transcript #072 RIGHTS STATEMENT The New York Public Library has dedicated this work to the public domain under the terms of a Creative Commons CC0 Dedication by waiving all of its rights to the work worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law. Though not required, if you want to credit us as the source, please use the following statement, "From The New York Public Library and the New York City Trans Oral History Project." Doing so helps us track how the work is used and helps justify freely releasing even more content in the future. NYC TOHP Transcript #072: Eli Oberman - Page 2 (of 22) M. Henry Milks: Hello, my name is M. Henry Milks and I am having a conversation with Eli Oberman for the New York City Trans Oral History Project in collaboration with the New York Public Library’s Community Oral History Project. This is an oral history project centered on the experiences of trans-identifying people. It is Saturday, February 18, 2017, and this is being recorded at Eli’s home in Brighton Beach, Brooklyn.
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The Nation's Biggest LGBT Pride Entertainment Lineup 44410 3N
2010 OFFICIAL PRIDE GUIDE 11, glow fa SPECIAL EDITION VOLUME 17 May 28 June 14, 2010 The Nation's 4. Biggest LGBT Pride Entertainment Lineup 44410 3N it, Patti LaBelle, Joan Rivers Lena Katina from t ATu Bruce Vilanch Melissa Ferrick Charice Kaci Battaglia Otep Jeffree Star Amanda Lepore Snap! Robert Verdi DJ Ralphi Rosario Over 150 Acts Performing Live! LET US STIMULATE YOUR SENSES... AT MILWAUKEE'S NEWEST GAY 41M01) COMBINING THE INTIMACY OF A Leo UNGE WITtHE HEAf ENERGY OF A IMURTSP/ 11v( TEMer COMPLIMENTARY COCKTAIL 1D ) WITH THISAD NAME: DOORS OPEN AT 7:30 EMAIL: 324 E. Mason St. • Milwaukee, WI 53202 • 414-221-0228 WELCOME TO PRIDEFEST 2010 Get the VIP experienceexperience at PrideFest! From -1- 1 day day to to 3 3-day-day Ultimate Ultimate VIP, VIP, PrideFest PrideFest has has a a A letterletter from PriPrideFestest President Scott Gunkel special experience forfor you:you: 11-Day-Day VIPVip --$100 $100 33-Day-Day VIP -- $225 Dear FestivalFestivalGcers,-Goers, VIPVip Ultimate w/ MeetMeet && Greet Greet $350-$500$350-$500 depending onon andst. artist. WeareextiendyexcitedaboutthelinoupOfentertainers,vendorsandadi\ifesthatwe'reoiferingatthisysar'sWe are extremely excited about the lineup of entertainers, vendors and activities that we're offering at this year's (1(1-Day -Day VIP VIP also also available available at at gate gate duringduring weekend) PrideFest,PrideFest and and look look fonMard forward to to celebrating oelebratng ourour communitycommunfty with wth you you on on June June 11-13,11-13, 2010.2010. These VIP tickets help support the festival's mission and Unfortunately,urferdmafely,thereisashadowhangingoverusthisyear.In2009,ourcommunftyloggedaterriblerrilestone: there is a shadow hanging over us this year.
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Brooklyn Votes
COLLECTORS EDITION Brooklyn Paper Editor Gersh Kuntzman is used to covering Brook- lyn, but this week was different. He headed 1,000 miles west to re- port on the presidential caucuses in Brooklyn, Iowa, population 1,300. “As I’ve always said, ‘Nobody covers Brooklyn like The Brooklyn Paper.’ Fortunately, I’ve never specified the state,” said Kuntzman, who scored his first inter-Brooklyn exclusive when May- or Loren Rickard, a Republican, confessed that he would break with his party to support Illinois Democratic Sen. Barack Obama. See Gersh’s video reports from Brooklyn, Iowa, at BrooklynPaper.com. Brooklyn’s Real Newspaper BrooklynPaper.com • (718) 834–9350 • Brooklyn, NY • ©2008 BROOKLYN HTS–CGARDENS-DTOWN-FT GREENE-WMSBRG AWP/16 pages • Vol. 31, No. 1 • Saturday, Jan. 5, 2008 • FREE INCLUDING DUMBO, COBBLE HILL, BOERUM HILL, CLINTON HILL, GREENPOINT, BUSHWICK BROOKLYN VOTES At Iowa caucus, our sister city backs Edwards / Gersh Kuntzman and Huckabee; Obama tops Clinton statewide Paper The Brooklyn By Gersh Kuntzman The Brooklyn Paper BROOKLYN, IOWA — Former Sen. John Edwards Inside the Brooklyn caucus emerged a narrow winner in this rural town of 1,300, fight- ing off a last-minute visit by BROOKLYN, IOWA — nothings in his ear — Delaware Sen. Joe Biden, and with Dodd-backer Keefe. Lin- former President Bill Clinton Philip Ryan honestly didn’t THE BROOKLYN and pages from the candidate’s 60-page den ended up with Obama, cit- and a strong surge by younger know what to do. By Gersh ANGLE Kuntzman policy book. Mary Jo ing his fresh approach. He also voters for Barack Obama in a A strong supporter of Con- and Dave Collum cited a need for a strong whis- raucous, only-in-Iowa caucus.
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