DOCSLIB.ORG

Four Quarters Volume 4 Article 1 Number 2 Four Quarters: January 1955 Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Four Quarters Volume 4 Article 1 Number 2 Four Quarters: January 1955 Vol Four Quarters Volume 4 Article 1 Number 2 Four Quarters: January 1955 Vol. IV No. 2 1-15-1955 Four Quarters: January 1955 Vol. IV, No. 2 Follow this and additional works at: http://digitalcommons.lasalle.edu/fourquarters Recommended Citation (1955) "Four Quarters: January 1955 Vol. IV, No. 2," Four Quarters: Vol. 4 : No. 2 , Article 1. Available at: http://digitalcommons.lasalle.edu/fourquarters/vol4/iss2/1 This Complete Issue is brought to you for free and open access by the University Publications at La Salle University Digital Commons. It has been accepted for inclusion in Four Quarters by an authorized editor of La Salle University Digital Commons. For more information, please contact [email protected]. four Quarters In This Beginning • Page 1 A Story by Emilie Glen Europe From the Reformation ta the Revolution • Page 8 An Article by Christopher Dawson Chatzkel • Page 14 IS A Story by Charles Angoff O A Time to Die • Page 22 A Story by Daniel DePaola The Professor Steals the Show • Page 30 A Story by LeGarJe S. Doughty Poetry • Bronislarv Slawecki, Page 7; • Geoffrey Johnson, Page 21; • Stephen Morris, Page 28; • Raymond Roseliep, Back Cover January, 1955 vol. IV, no. 2 • fifty cents 1 Digitized by the Internet Archive in 2010 with funding from Lyrasis IVIembers and Sloan Foundation http://www.archive.org/details/fourquarters91unse Contrihutors i^HRlSTOPHER DAWSON, British sociologist-historiaH, continues his V^ study of European cultural forces. LeGARDE S. DOUGHTY, has con- tributed stories to Prairie Schooner, Arizona Quarterly, Decade, etc., and is honored in Martha Foley's most recent collection of The Best American Short Stones. EMILIE GLEN is widely published and has also beeA honored in Martha Foley's collections. CHARLES ANGOFF is a former editor of Ameri- can Mercury, besides being a prominent novelist. GEOFFREY JOHNSON, who lives in Dorset, England, has published verse in leading English, Ameri- can and Canadian periodicals. FATHER RAYMOND ROSELIEP, a frequent contributor to Spirit and America, is a member of the English Department of Loras College. STEPHEN MORRIS writes editorials for the Germantown Courier. BRONISLAW SLAWECKL graduated last June from LaSalle Col- lege, has appeared in four quarters a number of times. DANIEL DePAOLA is a new contributor. The block print (inside back cover) is by CARL MER- SCHEL, prominent Catholic ceramic artist and designer of the Catholic Chapel at the University of Chicago. Editor, E. Russell Naughton Associate Editor, John S. Penny Managing Editor, John F. McGlynn Business Manager, Brother G. Robert, F.S.C. Circulation Manager, John A. Glischard Editorial Associates: Max Guzikowski, Chairman AisTLN J. App, Bbothek E. Joseph, F.S.C, Daniel J. Rodden, Brotmer E. Patrick, F.S.C, Howard L. Hannum, Dennis J. McCarthy, Brother D. Matthew, F.S.C Circulation Secretary: Joseph I. Donohoe, Jr. Research: Tom Kimon Doulis Typographic Cover Design by Joseph Mintzer Manuscripts and other correspondence should be addressed to The Editor, FOUR QUARTERS, La Salle College, Philadelphia 41, Pa. Manuscripts should be typed double- spaced and should be accompanied by a stamped, self-addressed envelope. Annual Sub- scription: Two Dollars. " In This Beginning • Emilie Glen HURDY-GURDY of a dress- Artist, the great man had called ing-room piano dizzied Ker her artist, and she was ready for this nearer to the concert grand night if he said so. "Anyone else " out there . "Mozart to a T, Cori- handling her, their concert man- anne, except for one phrase. ..." ager had told Mama, "slae'd be Her teacher folded down his height booked at ten years old, but wini a hke a collapsible cane, pearhng his Matheson pupil, a debut has got to tones even on this unstrung instru- be sure and mature." ment. Hall filhng out there, fiOing with "Oughtn't the child's mind to he people who had come to hear her on the Scarlatti? ' said Mama, still play, come through wet snow turn- woofing at the great man after all ing to rain, rushed here in 6/8 time these years. "That's what she's through street noise and subway " playing first, you know. roar, come from cfuiet apartments on Poor Mama, in silvered lace for high, from furnished rooms on clam- the debut from mantilla to hem. orous courts, come to hear her play Given a fe^v more inches and a in this beginning. voice, she'd have played the diva. Mama sat her down at the mirror, Hands ice, and a fire all through and took the pins out of her hair for her. She stretched out her fingers a steenth re-do. Mirrors in dressing to the radiator, the dozing kitten rooms round the world if her debut steam hke the pipes at home, mak- went right. ing her not here, not there, not any- In the diamond fluorescence. where, spun around in space with- Mama's glasses, Mathie's, caught out knowing where she'd be when her in their crossbeams; they rayed the spinning stopped. out at her every waking minute, "No'— no. child," said Mathie, his tingled inside her hds at night. voice rough-neat as a glass-beaded "Dampness takes the life out of screen, "that radiator heat isn't good your hair, Corianne,' Mama was " for your hands. saying in her hard sauce voice. Mama rubbed them between hers. "Why did we have to have a wet "Ice, why they're ice. Debuts should snow on this night of nights? " All be in the spring hke I said. I the while brushing the slimsy brown wanted to see Corianne presented to stuff out of the white violet light. the pubhc while she was still six- Mama was wishing it \vould flea teen-— hop with red glints. "You couldn't "We know all about that, Mrs. object to a vegetable rinse, could Kalak. You'd rather exploit her as you?" she'd clamored at Mathie a prodigy than present her as a when he even thought nature's flame ' serious artist. a bit overdone, and puffing her own Four Quarters hennaed hair over balding spots, tips like tiny beating wings. Mama, ' had persisted, "It washes right out. Mathie, they were beaming their Mama spread the brushed b^o^vn glasses like deadly rays. You're to a cape about her shoulders. both making me so nervous I can't "LooI<, Mr. Matheson," she said in stand it—I just can't stand it" . her plushiest tones, "isn't this better own voice jerked out like a sound than pihng it on the poor child's strip under quick thumbnail. >?" head? That hair will twine about "VVhere is your po ise, Cc the hearts of the critics." Its just temperament,' Mama "Then of what value, their criti- t\vaddled. "Doesn't the child have cism? She is not a child to be ex- a right to nerves on her debut ploited with hiked skirts and trainng night?" hair. Her unobtrusive black velvet "Nerves perhaps, but not hyster- " is jeune jille enough." ics. With her hair bundled up, the "Leave me^-please leave me'—" way Mama used to get it off her "We'll leave, but only because neck on perspiry practice afternoons, it's time. A concert artist must al- her features seemed poorly phrased, ways have a moment of quiet before the dimple in her chin, an over- going on.' accented passing note. "Oh no, I didn't mean—please "Mrs. Kalak, what are you don't leave me—please don't. Walk ' doing?" . Mama palming that jar with me to the stage^- of iridescent eyeshadow^ as if her "No more of this. You're making eyes weren't big enough with debut. an unholy sho\v of yourself. If I ' . "Not eyeshadow on that child? don't leave, how can I be down in "You said yourself she's a young front vt^here you can see me when lady tonight. Her little face needs you come on? Think harpsichord touches to show^ up across the foot- throughout the Scarlatti— strings not lights." percussion. "They're not footlights. This is "Be sure to rub talcum powder on " no vaudeville stage . his voice your fingers or they might squeak was pulling thin . "It's her hands, along the keys," Mama said with a Mrs. Kalak, the emphasis is on her hug before the two receded from her, hands." their steps at odds down the cor- Hands they all but kept in a jewel ridor. box, hands only for the keys—no Scarlatti, she must think Scar- tennis racket, no oars, not so much latti. Her hands sweated cold; her as the lifting of a window. Any- throat felt charred. She poured a one would think they were delicate glass of water that went down like as white violets instead of her one rocks; no amount of it could quench strength — better cushioned than her thirst. Mathie's tapers, a bigger reach. All "Time, Miss Kalak," the attend- her growth gone to hands, the rest ant called into her, easy throated. of her slurred over. Powered hands; In his irregular step along the hall yet that unreadiness in her finger- without wanting to be, she lost off In This Beginning his beat at tKe entrance. Coming fingers, the grand, the stage, the hall out on tKe oil-smooth stage, she —piano tones—and she couldn't get hfted her head against the weight outside the atom whirl to hear how of piled-up hair, the audience in she was playing except too fast, way blue mist as if the talcum she'd too fast. dusted on her hands had clouded Applause—applause lifting her on out to them.
Load more

Recommended publications
  • The Fourth Vow in Its Ignatian Context
    in the Spirituality of Jesuits The Fourth Vow in Its Ignatian Context A Historical Study ^ ^ by John W. O'Malley, S.J. Published by the American Assistancy Seminar on Jesuit Spirituality, especially for American Jesuits working out their aggiornamento in the spirit of Vatican II To/ Council THE AMERICAN ASSISTANCY SEMINAR ON JESUIT SPIRITUALITY consists of a group of Jesuits from various provinces who are listed below. The members were appointed by the Fathers Provincial of the United States. The Purpose of the Seminar is to study topics pertaining to the spir- itual doctrine and practice of Jesuits, especially American Jesuits, and to communicate the results to the members of the Assistancy. The hope is that this will lead to further discussion among all American Jesuits--in private, or in small groups, or in community meetings. All this is done in the spirit of Vatican Council II f s recommendation to religious institutes to recapture the original charismatic inspiration of their founders and to adapt it to the changed circumstances of modern times. The members of the Seminar wel- come reactions or comments in regard to the topics they publish. To achieve these purposes, especially amid today's pluralistic cul- tures, the Seminar must focus its direct attention sharply, frankly, and specifically on the problems, interests, and opportunities of the Jesuits of the United States. However, many of these interests are common also to Jes- uits of other regions, or to other priests, religious men or women, or lay men or women. Hence the studies of the Seminar, while meant especially for American Jesuits, are not exclusively for them.
    [Show full text]
  • The Catholic Reformation 1545
    10$ THE CATHOLIC REFORMATION $ 1545 - 1648AD In this article, we will look at: Hadrian (1459-1523), sometimes called Adrian, succeeds Pope Leo X. He is a respected scholar and • Catholic reform prior to the Council of Trent former teacher of Erasmus. This Dutchman is the • Council of Trent last non-Italian pope until the election of John Paul II • Implementing the Council in 1978. He is in Spain when elected pope. But • The Jesuits before leaving for Rome, he writes a stern letter to • Catholic mystics and activists the College of Cardinals stating that he is coming not to celebrate with them but to chastise and correct • Enduring legacy of Trent them. He also writes to secular leaders throughout There is no doubt that the Catholic Church is in dire the Empire, criticizing them for creating a culture need of reform when Martin Luther posts his Ninety- prone to clerical corruption. Five Theses on the door of the church in Wittenberg in 1517. Many of the popes and other church leaders In one such letter to a Prince, Hadrian said: “All of lead scandalous lives and neglect the pastoral care of us, prelates and clergy, have turned aside from the their people. road of righteousness and for a long time now there has been not even one who did good…. You must Having said that, some people within the Church try therefore promise in our name that we intend to exert to bring reform. Cardinal de Cisneros, a Catholic ourselves so that, first of all, the Roman Curia, from leader in Spain from 1495 to1517, brings about many which perhaps all this evil took its start, may be reforms in his country, which is the main reason improved.
    [Show full text]
  • Governs the Making of Photocopies Or Other Reproductions of Copyrighted Materials
    Warning Concerning Copyright Restrictions The Copyright Law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be used for any purpose other than private study, scholarship, or research. If electronic transmission of reserve material is used for purposes in excess of what constitutes "fair use," that user may be liable for copyright infringement. University of Nevada, Reno Fathom: A Collection of Short Stories A thesis submitted in partial fulfillment of the requirements for the degree of BACHELOR OF ARTS IN ENGLISH—WRITING AND THE HONORS PROGRAM by IRIS SALTUS Susan Palwick, Ph.D., Thesis Advisor May, 2013 UNIVERSITY OF NEVADA THE HONORS PROGRAM RENO We recommend that the thesis prepared under our supervision by IRIS SALTUS entitled Fathom: A Collection of Short Stories be accepted in partial fulfillment of the requirements for the degree of BACHELOR OF ARTS IN ENGLISH—WRITING AND THE HONORS PROGRAM ______________________________________________ Susan Palwick, Ph.D., Thesis Advisor ______________________________________________ Tamara Valentine, Ph.D., Director, Honors Program May, 2013 i ABSTRACT This collection of short stories explores four different psychological disorders: post-traumatic stress disorder, impulse control disorder, substance abuse disorder, and bipolar disorder. The goal of this exploration is to expose a narrative of each disorder. By going into the lives of the different characters portrayed in the short stories, an insight into these disorders is presented to the reader.
    [Show full text]
  • Lisa Malberg Ruhr University Bochum Theatine Churches in Naples and Rome: Sacred Space Between Religious Identity and Local Self
    Lisa Malberg Ruhr University Bochum Theatine Churches in Naples and Rome: Sacred space between religious identity and local self-assertion in the age of Counter-Reformation My doctoral thesis explores the earliest architectural manifestation of the Theatine order in the urban contexts of Naples and Rome, and is dedicated in particular to different aspects of sacred space in the order’s building practice. The doctoral project does not claim to analyze the architectural production of this Counter-Reformation order and their typological formation of sacred space in the whole Italian region, but focuses instead on spatial distribution, architectural typology, and liturgical topology in Theatine church architecture in Naples and Rome as well as their use of and alignment with specific social environments and the incorporation of local models and traditions. Furthermore, I am interested in the sociocultural processes and dynamics of the cities as a background for the Theatines’ architectural ambitions and visual representation, as well as different liturgical aspects of their building practice. The first Theatine religious buildings erected in Naples and Rome during the late 16th and early 17th centuries are especially relevant to gain a further understanding of the order’s Anspruchsniveau or “level of sophistication” (a definition derived from Martin Warnke’s 1996 essay “Bau und Gegenbau”), strategies of self-representation within the urban context and the order’s role as a specific social actor in Neapolitan society in the Early Modern period. In addition, this line of research aims to achieve a better understanding of Theatine building practice in general. Moreover, it may help ascertain whether a consolidated tradition of building practice or the formation of corporate consciousness in matters of architecture were important factors for the Theatine order.
    [Show full text]
  • Williams, Justin A. (2010) Musical Borrowing in Hip-Hop Music: Theoretical Frameworks and Case Studies
    Williams, Justin A. (2010) Musical borrowing in hip-hop music: theoretical frameworks and case studies. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11081/1/JustinWilliams_PhDfinal.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A.
    [Show full text]
  • "Authenticity" in Rap Music by Consumers."
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2010 "Rapping About Authenticity": Exploring the Differences in Perceptions of "Authenticity" in Rap Music by Consumers." James L. Wright UTK, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Critical and Cultural Studies Commons, Ethnomusicology Commons, Social Psychology and Interaction Commons, and the Sociology of Culture Commons Recommended Citation Wright, James L., ""Rapping About Authenticity": Exploring the Differences in Perceptions of "Authenticity" in Rap Music by Consumers.". " PhD diss., University of Tennessee, 2010. https://trace.tennessee.edu/utk_graddiss/760 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by James L. Wright entitled ""Rapping About Authenticity": Exploring the Differences in Perceptions of "Authenticity" in Rap Music by Consumers."." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Sociology. Suzaanne B. Kurth, Major Professor We have read this dissertation and recommend its acceptance: Robert Emmet Jones; Hoan Bui; Debora Baldwin Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation written by James L.
    [Show full text]
  • 1593-1610 Presented to the Graduate Council of the North Texas State
    379 THE CATHOLIC HENRI IV AND THE PAPACY 1593-1610 THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of I MASTER OF ARTS By William Jackson Fling, III, B. A. Denton, Texas August, 1977 I/7 Fling, William J., III, The Catholic Henri IV and the Papacy 1593-1610. Master of Arts (History), August, 1977, 130 pp., bibliography, 40 titles. This study explores Franco-Papal relations, and their effect on the French Church and State, from Henri IV's conver- sion to Roman Catholicism in 1593 until his death in 1610. Because Henri IV's primary concern, even in matters involving the Papacy or the Gallican Church, was to protect his kingdom from Habsburg encroachment, he was willing either to abandon his Protestant allies abroad, or to adopt reform measures, such as the decrees of the Council of Trent, that might weaken his own authority or disturb the peace of his kingdom. This caused repeated conflicts with the Counter-Reformation Popes Clement VIII and Paul V, to whom the primary enemy was always the infidel and the heretic. Nevertheless both sides realized that they needed each other to maintain their independence of Spain. TABLE OF CONTENTS Page INTRODUCTION ................ .*................. 1 Chapter I. HENRI IV AND THE PAPACY TO 1593: RELIGION AND POLITICS ..... ..... 5 II. HENRI IV AND CLEMENT VIII: THE PACIFICATION OF FRANCE (1593-98) . 40 III. HENRI IV AND CLEMENT VIII: 0. 76 CONTAINING THE HABSBURGS (1599-1605) . IV. HENRI IV AND PAUL V: RELIGION AND POLITICS (1605-1610) 105 CONCLUSION..........
    [Show full text]
  • Denver Named Os Headquarters for Theatines' New Province
    Anna Reinsrt Begueatha SSOfiOO to Catholic Causes Member of Audit Bureau of Cireulatlon Whose Ox ' ContenU Copyright by the Catholic Pren Sodety, Inc., 19N — Permission to Reproduce, Except Is Being Regis, 2 Parishes Split $30,000 On A rades Otherwise Marked. Given After 12 M. Friday Following Issue Gored Dept. library fund of Creighton Uni- moved to- St. Francis Con­ five years of her life the was •y Viwk Mtrriw Thlrty-tbougand dollars has been divided equally vertl^, Omaha, of which the valescent Hospital in Denver. blind. The couple left no chil­ “Although «« do not ai Very Rev. Carl H. Relnert, A year later she moved to a dren or relatives of direct DENVER CATHaiC churchmen desire to give pub­ between Regis College, SJ„ another ton of Frsncis Boulder tanilarium. The lut line. lic endocMineiit to eny perttcu- Denver, and two parishei of Relnert, is president; and ler cauHdete, we do wiat to the Denver Archdiocese, un­ $3,000 to the Kapaun Mem­ register our der the will of the late Anna orial High Schod, Wichita, iM B iR DAYS c o n c e r n that the principal of which Is the The remaining Ember Days between the ages of seven and religkKu coo- B. Reinert of Longmont. An­ Rev. James A. Rdnert, SJ., this week are Friday and Sat­ 59 who are not obliged to vietiene sin- other $30,000 has been l«ft the a third son of Mr. Reioert. urday, March II and 12. fast are restricted to the eat­ REGISTER eerelr held I cause o f Catholic education.
    [Show full text]
  • Diocesan Directory 2017
    COLORADO Diocesan Directory 2017 INDEX Abbreviations of Orders & Priestly fraternities………………………………..31-37 Catholic Charities…………………………...26 Chancery……………………………………...4 Councils/Commissions……………...…..….29 Deacons………………………………….21-23 Deaneries……………………………………..3 Deanery Map………………………………….2 Diocesan Institutions……………………26-28 Hospitals…………………………………..…26 Mission & Vision of the Diocese…………....1 Parishes & Missions…………………….10-15 Parish Office Quick Reference………......5-9 Priests………………………………….…17-20 Province Dioceses……………………….….30 Rel. Communities of Men/Women..……....26 Rel. Orders & Priestly Fraternities...…..….26 Retired Deacons………………………….,..23 Retired Priests…………………………,…...20 Schools……………………………………,...27 Sisters……………………………………24-25 . MISSION Catholics of Southern Colorado Missionary Disciples of Jesus Christ, evangelizing a diversity of cultures by proclaiming the Gospel, celebrating the Sacraments and promoting Justice & Charity, in service to the people entrusted to our care. VALUES Respect: Every human life has value and dignity Faithfulness: Living the Tradition of the Catholic faith Communicating the Faith: Preaching, teaching and celebrating Generosity: Responding to God’s Grace with gratitude VISION By 2021 we will be a self-sufficient and well-informed Diocese, rooted in prayer with a clear understanding of the teachings of the Church, living a Sacramental life, looking to build the future of the Church in Southern Colorado, sharing our ministries and gifts. GOALS Communication: Bridging gaps and building relationships through effective, two-way, consistent communication. Youth: Engaging and forming youth for lifelong relationship with Christ and the Church. Finances: Creatively seeking, gratefully receiving and prudently managing funds and resources across Parish boundaries of the sake of the mission. Priests: More intentionally fostering, forming, building fraternity among and caring for our Priests to insure the future of the Church in Southern Colorado.
    [Show full text]
  • 0 Musical Borrowing in Hip-Hop
    MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. Williams, BA, MMus Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2009 0 Musical Borrowing in Hip-hop Music: Theoretical Frameworks and Case Studies Justin A. Williams ABSTRACT ‗Musical Borrowing in Hip-hop‘ begins with a crucial premise: the hip-hop world, as an imagined community, regards unconcealed intertextuality as integral to the production and reception of its artistic culture. In other words, borrowing, in its multidimensional forms and manifestations, is central to the aesthetics of hip-hop. This study of borrowing in hip-hop music, which transcends narrow discourses on ‗sampling‘ (digital sampling), illustrates the variety of ways that one can borrow from a source text or trope, and ways that audiences identify and respond to these practices. Another function of this thesis is to initiate a more nuanced discourse in hip-hop studies, to allow for the number of intertextual avenues travelled within hip-hop recordings, and to present academic frameworks with which to study them. The following five chapters provide case studies that prove that musical borrowing, part and parcel of hip-hop aesthetics, occurs on multiple planes and within myriad dimensions. These case studies include borrowing from the internal past of the genre (Ch. 1), the use of jazz and its reception as an ‗art music‘ within hip-hop (Ch. 2), borrowing and mixing intended for listening spaces such as the automobile (Ch. 3), sampling the voice of rap artists posthumously (Ch. 4), and sampling and borrowing as lineage within the gangsta rap subgenre (Ch.
    [Show full text]
  • Musical Segregation in American College Football
    Journal of the Society for American Music (2020), Volume 14, Number 3, pp. 337–363 © The Society for American Music 2020 doi:10.1017/S175219632000022X “This Is Ghetto Row”: Musical Segregation in American College Football JOHN MICHAEL MCCLUSKEY Abstract A historical overview of college football’s participants exemplifies the diversification of main- stream American culture from the late nineteenth century to the twenty-first. The same can- not be said for the sport’s audience, which remains largely white American. Gerald Gems maintains that football culture reinforces the construction of American identity as “an aggres- sive, commercial, white, Protestant, male society.” Ken McLeod echoes this perspective in his description of college football’s musical soundscape, “white-dominated hard rock, heavy metal, and country music—in addition to marching bands.” This article examines musical segregation in college football, drawing from case studies and interviews conducted in 2013 with university music coordinators from the five largest collegiate athletic conferences in the United States. These case studies reveal several trends in which music is used as a tool to manipulate and divide college football fans and players along racial lines, including special sections for music associated with blackness, musical selections targeted at recruits, and the continued position of the marching band—a European military ensemble—as the musical representative of the sport. These areas reinforce college football culture as a bastion of white strength despite the diversity among player demographics. College football is one of the many public stages on which mainstream American culture diversified between the late nineteenth and the twenty-first centuries.
    [Show full text]
  • Woody Loves Ingmar
    1 Woody loves Ingmar Now that, with Blue Jasmine , Woody Allen has come out … … perhaps it’s time to dissect all his previous virtuoso creative adapting. I’m not going to write about the relationship between Vicky Christina Barcelona and Jules et Jim . ————— Somewhere near the start of Annie Hall , Diane Keaton turns up late for a date at the cinema with Woody Allen, and they miss the credits. He says that, being anal, he has to see a film right through from the very start to the final finish, so it’s no go for that movie – why don’t they go see The Sorrow and the Pity down the road? She objects that the credits would be in Swedish and therefore incomprehensible, but he remains obdurate, so off they go, even though The Sorrow and the Pity is, at over four hours, twice the length of the film they would have seen. 2 The film they would have seen is Ingmar Bergman’s Face to Face , with Liv Ullmann as the mentally-disturbed psychiatrist – you see the poster behind them as they argue. The whole scene is a gesture. Your attention is being drawn to an influence even while that influence is being denied: for, though I don’t believe Bergman has seen too much Allen, Allen has watched all the Bergman there is, several times over. As an example: you don’t often hear Allen’s early comedy Bananas being referred to as Bergman-influenced: but not only does its deranged Fidel Castro-figure proclaim that from now on the official language of the revolutionised country will be Swedish, but in the first reel there’s a straight Bergman parody.
    [Show full text]