Black Freedom Beyond Borders: Memories of Abolition Day
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Sonoma-Marin Fair Announces 2019 Concert Series Loverboy, Sammy Kershaw, Aaron Tippin, Collin Raye, Lifehouse, and David Lee Murphy!
Contact: Christy Gentry [email protected] (707) 326-5058 FOR IMMEDIATE RELEASE Artist Photos: https://goo.gl/B3Q2UY Sonoma-Marin Fair Announces 2019 Concert Series Loverboy, Sammy Kershaw, Aaron Tippin, Collin Raye, Lifehouse, and David Lee Murphy! PETALUMA, CA – March 8, 2019 – For eighty years the Sonoma-Marin Fair has been rocking Petaluma with its summer concert series and this year’s line-up of award-winning artists is the perfect group for the big celebration. Join fellow fairgoers for everything from throwback hits to collaborative jams from June 19-23 on the Petaluma Stage each night at 8 p.m. This year’s artists include Loverboy, Sammy Kershaw, Aaron Tippin, Collin Raye, Lifehouse, and David Lee Murphy. Hitting the Petaluma Stage on opening night is award-winning Loverboy ready to rock the crowd on Wednesday, June 19. With their trademark red leather pants, bandannas, big rock sound and high-energy live shows, Loverboy has sold more than 10 million albums, earning four multi-platinum plaques, including the four-million-selling “Get Lucky”, and a trio of double-platinum releases in their self-titled 1980 debut, “Keep It Up” and “Lovin’ Every Minute of It.” Their string of hits includes, in addition to the anthem “Working for the Weekend,” arena rock staples as “Lovin’ Every Minute of It,” “This Could Be the Night,” “Hot Girls in Love,” “The Kid is Hot Tonite,” and “Turn Me Loose.” Loverboy still holds a record of six Juno awards and since 1992; the band has maintained a steady road presence. In March 2009, the group was inducted into the Canadian Music Hall Of Fame. -
Issue 3: Take This Job
The broken C I Prose Poetry Photography Art Music T Y Issue 3: Take this job... W i n t e r 2 0 0 8 ISSN 1916-3304 Cover Illustration: W i n t e r 2 0 0 8 Mouki K. Butt I s s u e 3 The Broken City, ISSN 1916-3304, is published semi- a concentration in illustration, and has already been annually out of Toronto, Ontario, Canada, appearing accepted to several colleges and universities. Born in 1988 in Calgary, Alberta, she currently resides in New sporadically in print, but always at: England with her husband Peter and their two cats. www.thebrokencitymag.com. Submission guidelines Check out her website at: www.juliekitzes.tyreus.com. can be found at that site and submissions can be sent Despite speaking and writing in his mother tongue, to: [email protected]. Questions about The Christian Martius lives far away from the country he used Broken City or its policies can be directed to Editor-in- to call home. Recently, he has started using words like “kinda” in his sentences and now calls trousers pants chief Scott Bryson at [email protected]. Rights and pants underpants. His short stories have appeared to individual works published in The Broken City remain online andEye in printWeekly in Vancouver,Discorder TorontoCapital and Mag London. He the property of the author and cannot be reproduced also writes articles for various magazines and websites, including , and . Samples without their consent. All other materials © 2008. All of his work can be found at www.christianmartius.com. -
The Life & Rhymes of Jay-Z, an Historical Biography
ABSTRACT Title of Dissertation: THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 Omékongo Dibinga, Doctor of Philosophy, 2015 Dissertation directed by: Dr. Barbara Finkelstein, Professor Emerita, University of Maryland College of Education. Department of Teaching and Learning, Policy and Leadership. The purpose of this dissertation is to explore the life and ideas of Jay-Z. It is an effort to illuminate the ways in which he managed the vicissitudes of life as they were inscribed in the political, economic cultural, social contexts and message systems of the worlds which he inhabited: the social ideas of class struggle, the fact of black youth disempowerment, educational disenfranchisement, entrepreneurial possibility, and the struggle of families to buffer their children from the horrors of life on the streets. Jay-Z was born into a society in flux in 1969. By the time Jay-Z reached his 20s, he saw the art form he came to love at the age of 9—hip hop— become a vehicle for upward mobility and the acquisition of great wealth through the sale of multiplatinum albums, massive record deal signings, and the omnipresence of hip-hop culture on radio and television. In short, Jay-Z lived at a time where, if he could survive his turbulent environment, he could take advantage of new terrains of possibility. This dissertation seeks to shed light on the life and development of Jay-Z during a time of great challenge and change in America and beyond. THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 An historical biography: 1969-2004 by Omékongo Dibinga Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2015 Advisory Committee: Professor Barbara Finkelstein, Chair Professor Steve Klees Professor Robert Croninger Professor Derrick Alridge Professor Hoda Mahmoudi © Copyright by Omékongo Dibinga 2015 Acknowledgments I would first like to thank God for making life possible and bringing me to this point in my life. -
Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time. -
Karaoke Book
10 YEARS 3 DOORS DOWN 3OH!3 Beautiful Be Like That Follow Me Down (Duet w. Neon Hitch) Wasteland Behind Those Eyes My First Kiss (Solo w. Ke$ha) 10,000 MANIACS Better Life StarStrukk (Solo & Duet w. Katy Perry) Because The Night Citizen Soldier 3RD STRIKE Candy Everybody Wants Dangerous Game No Light These Are Days Duck & Run Redemption Trouble Me Every Time You Go 3RD TYME OUT 100 PROOF AGED IN SOUL Going Down In Flames Raining In LA Somebody's Been Sleeping Here By Me 3T 10CC Here Without You Anything Donna It's Not My Time Tease Me Dreadlock Holiday Kryptonite Why (w. Michael Jackson) I'm Mandy Fly Me Landing In London (w. Bob Seger) 4 NON BLONDES I'm Not In Love Let Me Be Myself What's Up Rubber Bullets Let Me Go What's Up (Acoustative) Things We Do For Love Life Of My Own 4 PM Wall Street Shuffle Live For Today Sukiyaki 110 DEGREES IN THE SHADE Loser 4 RUNNER Is It Really Me Road I'm On Cain's Blood 112 Smack Ripples Come See Me So I Need You That Was Him Cupid Ticket To Heaven 42ND STREET Dance With Me Train 42nd Street 4HIM It's Over Now When I'm Gone Basics Of Life Only You (w. Puff Daddy, Ma$e, Notorious When You're Young B.I.G.) 3 OF HEARTS For Future Generations Peaches & Cream Arizona Rain Measure Of A Man U Already Know Love Is Enough Sacred Hideaway 12 GAUGE 30 SECONDS TO MARS Where There Is Faith Dunkie Butt Closer To The Edge Who You Are 12 STONES Kill 5 SECONDS OF SUMMER Crash Rescue Me Amnesia Far Away 311 Don't Stop Way I Feel All Mixed Up Easier 1910 FRUITGUM CO. -
Hypersphere Anonymous
Hypersphere Anonymous This work is licensed under a Creative Commons Attribution 4.0 International License. ISBN 978-1-329-78152-8 First edition: December 2015 Fourth edition Part 1 Slice of Life Adventures in The Hypersphere 2 The Hypersphere is a big fucking place, kid. Imagine the biggest pile of dung you can take and then double-- no, triple that shit and you s t i l l h a v e n ’ t c o m e c l o s e t o o n e octingentillionth of a Hypersphere cornerstone. Hell, you probably don’t even know what the Hypersphere is, you goddamn fucking idiot kid. I bet you don’t know the first goddamn thing about the Hypersphere. If you were paying attention, you would have gathered that it’s a big fucking 3 place, but one thing I bet you didn’t know about the Hypersphere is that it is filled with fucked up freaks. There are normal people too, but they just aren’t as interesting as the freaks. Are you a freak, kid? Some sort of fucking Hypersphere psycho? What the fuck are you even doing here? Get the fuck out of my face you fucking deviant. So there I was, chilling out in the Hypersphere. I’d spent the vast majority of my life there, in fact. It did contain everything in my observable universe, so it was pretty hard to leave, honestly. At the time, I was stressing the fuck out about a fight I had gotten in earlier. I’d been shooting some hoops when some no-good shithouses had waltzed up to me and tried to make a scene. -
K-Pop in Latin America: Transcultural Fandom and Digital Mediation
International Journal of Communication 11(2017), 2250–2269 1932–8036/20170005 K-Pop in Latin America: Transcultural Fandom and Digital Mediation BENJAMIN HAN Concordia University Wisconsin, USA This article examines the transnational popularity of K-pop in Latin America. It argues K- pop as a subculture that transforms into transcultural fandom via digital mediation, further resulting in its accommodation into Latin American mass culture. The article further engages in a critical analysis of K-pop fan activism in Latin America to explore the transcultural dynamics of K-pop fandom. In doing so, the article provides a more holistic approach to the study of the Korean Wave in Latin America within the different “scapes” of globalization. Keywords: K-pop, fandom, Latin America, digital culture, Korean Wave The popularity of K-pop around the globe has garnered mass media publicity as Psy’s “Gangnam Style” reached number two on the Billboard Charts and became the most watched video on YouTube in 2012. Although newspapers, trade journals, and scholars have examined the growing transnational popularity of K-pop in East Asia, the reception and consumption of K-pop in Latin America have begun to receive serious scholarly consideration only in the last few years. Numerous reasons have been explicated for the international appeal and success of K-pop, but it also is important to understand that the transnational and transcultural fandom of K-pop cannot be confined solely to its metavisual aesthetics that creatively syncretize various genres of global popular music such as Black soul and J-pop. K-pop as hybrid music accentuated with powerful choreography is a form of visual spectacle but also promotes a particular kind of lifestyle represented by everyday modernity in which social mobility in the form of stardom becomes an important facet of the modernization process in Latin America. -
Abstract Birds, Children, and Lonely Men in Cars and The
ABSTRACT BIRDS, CHILDREN, AND LONELY MEN IN CARS AND THE SOUND OF WRONG by Justin Edwards My thesis is a collection of short stories. Much of the work is thematically centered around loneliness, mostly within the domestic household, and the lengths that people go to get out from under it. The stories are meant to be comic yet dark. Both the humor and the tension comes from the way in which the characters overreact to the point where either their reality changes a bit to allow it for it, or they are simply fooling themselves. Overall, I am trying to find the best possible way to describe something without actually describing it. I am working towards the peripheral, because I feel that readers believe it is better than what is out in front. BIRDS, CHILDREN, AND LONELY MEN IN CARS AND THE SOUND OF WRONG A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of English by Justin Edwards Miami University Oxford, Ohio 2008 Advisor:__________________________ Margaret Luongo Reader: ___________________________ Brian Roley Reader:____________________________ Susan Kay Sloan Table of Contents Bailing ........................................................................1 Dating ........................................................................14 Rake Me Up Before You Go ....................................17 The Way to My Heart ................................................26 Leaving Together ................................................27 The End -
“Year's End,” by Jhumpa...Pdf“Year's...Pdf
12/30/2020 “Year’s End,” by Jhumpa Lahiri | The New Yorker Fiction December 24 & 31, 2007 Issue Year’s End By Jhumpa Lahiri December 17, 2007 Photographs (left to right) by Mark Guthrie / Millennium Images, UK; Bharat Sikka (2002) did not attend my father’s wedding. I did not even know there had been a wedding until my father called early one Sunday I during my nal year at Swarthmore. I was roused from sleep by a pounding on my door, followed by the voice of one of my hallmates saying my last name. I knew before answering that it was my father; there was no one else who would have called me before nine. My father had always been an early riser, believing that the hours between ve and seven were the most protable part of the day. He would use that time to read the newspaper and then go for a walk, along Marine Drive when we lived in Bombay and on the quiet roads of our town on the North Shore of Massachusetts, where we moved when I was sixteen, after my mother got sick. As much as he used to encourage my mother and me to join him, I knew he preferred being alone. Things were different now, of course; those solitary hours he’d once savored had become a prison for him, a commonplace. I knew that he no longer bothered to go for walks and that since my mother’s death he hardly slept at all. I had not spoken to my father in several weeks. -
Electrification and the Ideological Origins of Energy
A Dissertation entitled “Keep Your Dirty Lights On:” Electrification and the Ideological Origins of Energy Exceptionalism in American Society by Daniel A. French Submitted to the Graduate Faculty as partial fulfillment of the requirements for the Doctor of Philosophy Degree in History _________________________________________ Dr. Diane F. Britton, Committee Chairperson _________________________________________ Dr. Peter Linebaugh, Committee Member _________________________________________ Dr. Daryl Moorhead, Committee Member _________________________________________ Dr. Kim E. Nielsen, Committee Member _________________________________________ Dr. Patricia Komuniecki Dean College of Graduate Studies The University of Toledo December 2014 Copyright 2014, Daniel A. French This document is copyrighted material. Under copyright law, no parts of this document may be reproduced without the express permission of the author. An Abstract of “Keep Your Dirty Lights On:” Electrification and the Ideological Origins of Energy Exceptionalism in American Society by Daniel A. French Submitted to the Graduate Faculty as partial fulfillment of the requirements for the Doctor of Philosophy Degree in History The University of Toledo December 2014 Electricity has been defined by American society as a modern and clean form of energy since it came into practical use at the end of the nineteenth century, yet no comprehensive study exists which examines the roots of these definitions. This dissertation considers the social meanings of electricity as an energy technology that became adopted between the mid- nineteenth and early decades of the twentieth centuries. Arguing that both technical and cultural factors played a role, this study shows how electricity became an abstracted form of energy in the minds of Americans. As technological advancements allowed for an increasing physical distance between power generation and power consumption, the commodity of electricity became consciously detached from the steam and coal that produced it. -
Yan Can Cook: Spice Kingdom KQED Perks SF Tribal and Textile Art Show
Member Magazine FEB 2018 Yan Can Cook: Spice Kingdom KQED Perks SF Tribal and Textile Art Show The San Francisco Tribal and Textile Art Show is celebrating its 34th year, February 8–11, at the Fort Mason Center for Arts & Culture. The show brings together collectors, designers and art aficionados for a celebration of global ethnographic arts, including work by tribal cultures and indigenous peoples of the Americas, Asia, Oceania, Australia, Polynesia, the Middle East and Africa. This year also features a special exhibition of new works by Australian Aboriginal artists. KQED members receive 50% off admission when you present a current KQED MemberCard at the box office. For more info, visit sanfranciscotribalandtextileartshow.com. Two-for-One Tickets to PHOTOFAIRS Don’t miss PHOTOFAIRS | San Francisco — the cutting-edge contemporary art fair dedicated to the photographic medium — returning to Fort Mason Center’s Festival Pavilion February 22–25. The fair’s international focus and boutique curation create an excellent environment for discovering and collecting innovative works of art. KQED Members enjoy a special 2-for-1 ticket offer using the promotional code KQED2FOR1. For tickets, visit photofairs.org. Cinequest Film and VR Festival Voted the Best Film Festival by USA Today readers, Cinequest Film & VR Festival is a celebration of creativity and innovation. Cinequest’s impact comes through the discovery of the best new films, connection with fabulous people at events and parties, inspiration from legends, immersion in virtual reality and celebration of art, technology and each other. Running February 27–March 11 in downtown San Jose and Redwood City theaters, Cinequest presents more than 100 world and U.S. -
The Marvel Universe: Origin Stories, a Novel on His Website, the Author Places It in the Public Domain
THE MARVEL UNIVERSE origin stories a NOVEL by BRUCE WAGNER Press Send Press 1 By releasing The Marvel Universe: Origin Stories, A Novel on his website, the author places it in the public domain. All or part of the work may be excerpted without the author’s permission. The same applies to any iteration or adaption of the novel in all media. It is the author’s wish that the original text remains unaltered. In any event, The Marvel Universe: Origin Stories, A Novel will live in its intended, unexpurgated form at brucewagner.la – those seeking veracity can find it there. 2 for Jamie Rose 3 Nothing exists; even if something does exist, nothing can be known about it; and even if something can be known about it, knowledge of it can't be communicated to others. —Gorgias 4 And you, you ridiculous people, you expect me to help you. —Denis Johnson 5 Book One The New Mutants be careless what you wish for 6 “Now must we sing and sing the best we can, But first you must be told our character: Convicted cowards all, by kindred slain “Or driven from home and left to die in fear.” They sang, but had nor human tunes nor words, Though all was done in common as before; They had changed their throats and had the throats of birds. —WB Yeats 7 some years ago 8 Metamorphosis 9 A L I N E L L Oh, Diary! My Insta followers jumped 23,000 the morning I posted an Avedon-inspired black-and-white selfie/mugshot with the caption: Okay, lovebugs, here’s the thing—I have ALS, but it doesn’t have me (not just yet).