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“Rat Girl”, De Kristin Hersh
DARE TO BE ONE OF US, GIRL Inicio About ← Music Mon: KAREN O Arty Wed: FRANCES HA → Buscar Book Tues: “RAT GIRL”, DE KRISTIN HERSH OUR SHIT Publicado el septiembre 2, 2014 ARTY EXTRA Mirar hacia atrás y releer tus diarios tiene tanto de pornográfica vergüenza como de LITERATURA fascinante prueba del delito. Comprobar cómo se pueden ser diferentes personas en una MÚSICA MURCIA misma vida es la evidencia de crecer y aceptar que al final todo cambia. ¿Cómo serían esos OPINIÓN recuerdos si has tenido una infancia hippie chupando brotes de soja en lugar de potitos y tu personalidad adolescente se moldea gracias a los compañeros de tu banda punk? “Rat Girl” our shit here Elegir mes es el diario de Kristin Hersh, y os podemos asegurar no habla de vampiros enamorados. Fuckin like us! Dare to be one of us, girl Me gusta 443 Kristin Hersh (Atlanta, 1966) es la líder de la banda de culto “Throwing Muses” y posteriormente artista en solitario. Eran mediados de los 80 cuando, con apenas edad para que les permitieran entrar a sus propios conciertos, el grupo empezara a despuntar y finalmente fichara por 4AD (que después tendrían a los Pixies). Fue justo entonces cuando descubrió que sus manías, su insomnio y su psicodélico proceso de creación tenían detrás a un diagnosticado síndrome bipolar. Las cosas no fueron mejor al quedarse embarazada con un disco por grabar y un contrato sobre la mesa. Estas son las fascinantes memorias de Hersh, una bildungsroman personal de sótano mohoso y acordes desafinados a un volumen de tímpanos sangrantes, pura realidad tomada directamente de sus diarios de la época, ordenados y reescritos con la distancia del tiempo. -
Sonic Necessity-Exarchos
Sonic Necessity and Compositional Invention in #BluesHop: Composing the Blues for Sample-Based Hip Hop Abstract Rap, the musical element of Hip-Hop culture, has depended upon the recorded past to shape its birth, present and, potentially, its future. Founded upon a sample-based methodology, the style’s perceived authenticity and sonic impact are largely attributed to the use of phonographic records, and the unique conditions offered by composition within a sampling context. Yet, while the dependence on pre-existing recordings challenges traditional notions of authorship, it also results in unavoidable legal and financial implications for sampling composers who, increasingly, seek alternative ways to infuse the sample-based method with authentic content. But what are the challenges inherent in attempting to compose new material—inspired by traditional forms—while adhering to Rap’s unique sonic rationale, aesthetics and methodology? How does composing within a stylistic frame rooted in the past (i.e. the Blues) differ under the pursuit of contemporary sonics and methodological preferences (i.e. Hip-Hop’s sample-based process)? And what are the dynamics of this inter-stylistic synthesis? The article argues that in pursuing specific, stylistically determined sonic objectives, sample-based production facilitates an interactive typology of unique conditions for the composition, appropriation, and divergence of traditional musical forms, incubating era-defying genres that leverage the dynamics of this interaction. The musicological inquiry utilizes (auto)ethnography reflecting on professional creative practice, in order to investigate compositional problematics specific to the applied Blues-Hop context, theorize on the nature of inter- stylistic composition, and consider the effects of electronic mediation on genre transformation and stylistic morphing. -
From: Reviews and Criticism of Vietnam War Theatrical and Television Dramas ( Compiled by John K
From: Reviews and Criticism of Vietnam War Theatrical and Television Dramas (http://www.lasalle.edu/library/vietnam/FilmIndex/home.htm) compiled by John K. McAskill, La Salle University ([email protected]) W2835 WATCHMEN (USA, 2009) Credits: director, Zack Snyder ; writers, David Hayter, Alex Tse ; graphic novel, Alan Moore, Dave Gibbons. Cast: Malin Akerman, Billy Crudup, Matthew Goode, Jackie Earle Haley, Jeffrey Dean Morgan, Patrick Wilson, Carla Gugino. Summary: Science fiction/superhero film based on the graphic novel written by Alan Moore and illustrated by Dave Gibbons. Set in an alternative 1985 US governed by Richard Nixon with occasional flashbacks to prior events. Masked superheroes were a normal part of American life through the 1960s. In Vietnam, the Comedian (Morgan) wields a flame thrower and engages in ground combat operations until the radioactive blue giant Dr. Manhattan (Crudup) arrives, at the behest of President Nixon, and ends the war in a matter of weeks. A formation of surrendering Viet Cong bow down to the Dr. like a god. In a Saigon bar shortly thereafter, the Comedian is confronted by his pregnant Vietnamese mistress about the future of their unborn child and he calmly shoots her. After Vietnam, masked superheroes were forced into retirement. However, as Cold War tensions between the US and the Soviet Union begin to rise, a washed up but no less determined masked vigilante named Rorschach (Haley) discovers a plot to kill and discredit all past and present superheroes. As Rorschach and his small group of retired superheroes investigate, they discover a deeper conspiracy with links to their shared past and catastrophic consequences for the future. -
Report Draws from Written Responses Provided by the Companies in Response to This Investigation
Table of Contents Executive Summary Findings in Brief 1 Recommendations 3 Background 4 Investigation 8 Findings 9 Finding 1: Many surveyed e-cigarette companies are promoting their products through sponsorship of youth-oriented events, and some companies are offering free samples of e-cigarettes. 9 Finding 2: Surveyed e-cigarette companies market e-cigarettes in flavors that appear to be designed to appeal to youth. 11 Finding 3: E-cigarettes are available for purchase in stores and online by children and teenagers. 13 Finding 4: Surveyed e-cigarette manufacturers have significantly increased marketing expenditures. 15 Finding 5: Many surveyed e-cigarette companies air television and radio advertisements, often with celebrity spokespeople, including during events and programs with youth viewership. 16 Finding 6: Surveyed e-cigarette companies extensively utilize social media and product websites to promote their products. 18 Finding 7: E-cigarette product warning labels lack uniformity and may confuse or mislead consumers. 21 Finding 8: Most surveyed e-cigarette companies support some form of regulation. 22 Conclusions and Recommendations 23 List of Tables and Figures Table 1: Comparison of Federal Restrictions on Cigarettes and E-Cigarettes 5 Table 2: E-Cigarette Manufacturers Surveyed 8 Figure 1: Freedom Project poster 9 Figure 2: Photo of White Cloud team and models passing out Flings at the 2012 Red Bull Wake Open 10 Figure 3: Image featuring White Cloud peach pit flavor 11 Figure 4: Image featuring Green Smoke vanilla flavor 11 Table -
Living Blues 2021 Festival Guide
Compiled by Melanie Young Specific dates are provided where possible. However, some festivals had not set their 2021 dates at press time. Due to COVID-19, some dates are tentative. Please contact the festivals directly for the latest information. You can also view this list year-round at www.LivingBlues.com. Living Blues Festival Guide ALABAMA Foley BBQ & Blues Cook-Off March 13, 2021 Blues, Bikes & BBQ Festival Juneau Jazz & Classics Heritage Park TBA TBA Foley, Alabama Alabama International Dragway Juneau, Alaska 251.943.5590 2021Steele, Alabama 907.463.3378 www.foleybbqandblues.net www.bluesbikesbbqfestival.eventbrite.com jazzandclassics.org W.C. Handy Music Festival Johnny Shines Blues Festival Spenard Jazz Fest July 16-27, 2021 TBA TBA Florence, Alabama McAbee Activity Center Anchorage, Alaska 256.766.7642 Tuscaloosa, Alabama spenardjazzfest.org wchandymusicfestival.com 205.887.6859 23rd Annual Gulf Coast Ethnic & Heritage Jazz Black Belt Folk Roots Festival ARIZONA Festival TBA Chandler Jazz Festival July 30-August 1, 2021 Historic Greene County Courthouse Square Mobile, Alabama April 8-10, 2021 Eutaw, Alabama Chandler, Arizona 251.478.4027 205.372.0525 gcehjazzfest.org 480.782.2000 blackbeltfolkrootsfestival.weebly.com chandleraz.gov/special-events Spring Fling Cruise 2021 Alabama Blues Week October 3-10, 2021 Woodystock Blues Festival TBA May 8-9, 2021 Carnival Glory Cruise from New Orleans, Louisiana Tuscaloosa, Alabama to Montego Bay, Jamaica, Grand Cayman Islands, Davis Camp Park 205.752.6263 Bullhead City, Arizona and Cozumel, -
WORD Kristin 3
For immediate release !15 July, 2014 Music is the WORD - Rock Musician Kristin Hersh Headlines !Christchurch Literary Festival Seminal indie-rock musician Kristin Hersh is coming to New Zealand to share her music and prose !at the WORD Christchurch Writers & Readers Festival, presented in association with The Press. Hersh will join literary heavyweights such as Eleanor Catton, Ruth Reichl and Meg Wolitzer at the multi-day festival, which runs from 27—31 August. She will perform her solo show WORDS + MUSIC on 30 August at the magnificent Transitional Cathedral and will make several other !appearances throughout the festival. WORD Christchurch’s Literary Director Rachael King, herself an ex-bass player with several Flying !Nun bands, has been a fan since she was 17. “I am thrilled to bring Kristin to Christchurch to help us redefine the parameters of what a literary festival can be. I had recently read her brilliant memoir, and saw that she was actively touring overseas, promoting both her music and her book. So I sent an invitation to New Zealand and !was overjoyed when she accepted.” In 1986, Throwing Muses was the first American band signed to the legendary label 4AD, which went on to acquire the Muses’ contemporaries, the Pixies and the Breeders. Since then, Hersh has forged a solo career, beginning with 1994’s Hips and Makers, formed 50 Foot Wave, and continued to play with the Throwing Muses; their latest album, Purgatory/Paradise, is !accompanied by a book of photos, essays, stories and lyrics. Hersh’s memoir Paradoxical Undressing tells the remarkable story of a year in her life when she was 17, playing in Throwing Muses, and was diagnosed with bi-polar disorder. -
Sly & Robbie – Primary Wave Music
SLY & ROBBIE facebook.com/slyandrobbieofficial Imageyoutube.com/channel/UC81I2_8IDUqgCfvizIVLsUA not found or type unknown en.wikipedia.org/wiki/Sly_and_Robbie open.spotify.com/artist/6jJG408jz8VayohX86nuTt Sly Dunbar (Lowell Charles Dunbar, 10 May 1952, Kingston, Jamaica, West Indies; drums) and Robbie Shakespeare (b. 27 September 1953, Kingston, Jamaica, West Indies; bass) have probably played on more reggae records than the rest of Jamaica’s many session musicians put together. The pair began working together as a team in 1975 and they quickly became Jamaica’s leading, and most distinctive, rhythm section. They have played on numerous releases, including recordings by U- Roy, Peter Tosh, Bunny Wailer, Culture and Black Uhuru, while Dunbar also made several solo albums, all of which featured Shakespeare. They have constantly sought to push back the boundaries surrounding the music with their consistently inventive work. Dunbar, nicknamed ‘Sly’ in honour of his fondness for Sly And The Family Stone, was an established figure in Skin Flesh And Bones when he met Shakespeare. Dunbar drummed his first session for Lee Perry as one of the Upsetters; the resulting ‘Night Doctor’ was a big hit both in Jamaica and the UK. He next moved to Skin Flesh And Bones, whose variations on the reggae-meets-disco/soul sound brought them a great deal of session work and a residency at Kingston’s Tit For Tat club. Sly was still searching for more, however, and he moved on to another session group in the mid-70s, the Revolutionaries. This move changed the course of reggae music through the group’s work at Joseph ‘Joe Joe’ Hookim’s Channel One Studio and their pioneering rockers sound. -
Data Breach Reports
CONTENTS Information & Background on ITRC ........... 2 Methodology .............................................. 3 ITRC Breach Stats Report Summary .......... 4 ITRC Breach Stats Report ..........................5 ITRC Breach Report ................................ 42 Information and Background on ITRC Information management is critically important to all of us - as employees and consumers. For that reason, the Identity Theft Resource Center has been tracking security breaches since 2005, looking for patterns, new trends and any information that may better help us to educate consumers and businesses on the need for understanding the value of protecting personal identifying information. What is a breach? The ITRC defines a data breach as an incident in which an individual name plus a Social Security number, driver’s license number, medical record or financial record (credit/ debit cards included) is potentially put at risk because of exposure. This exposure can occur either electronically or in paper format. The ITRC will also capture breaches that do not, by the nature of the incident, trigger data breach notification laws. Generally, these breaches consist of the exposure of user names, emails and passwords without involving sensitive personal identifying information. These breach incidents will be included by name but without the total number of records exposed. There are currently two ITRC breach reports which are updated and posted on-line on a weekly basis. The ITRC Breach Report presents detailed information about data exposure events along with running totals for a specific year. Breaches are broken down into five categories, as follows: business, banking/credit/financial, educational, Government/Military and medical/healthcare. The ITRC Breach Stats Report provides a summary of this information by category. -
Fresh Dressed
PRESENTS FRESH DRESSED A CNN FILMS PRODUCTION WORLD PREMIERE – DOCUMENTARY PREMIERE Running Time: 82 Minutes Sales Contact: Dogwoof Ana Vicente – Head of Theatrical Sales Tel: 02072536244 [email protected] 1 SYNOPSIS With funky, fat-laced Adidas, Kangol hats, and Cazal shades, a totally original look was born— Fresh—and it came from the black and brown side of town where another cultural force was revving up in the streets to take the world by storm. Hip-hop, and its aspirational relationship to fashion, would become such a force on the market that Tommy Hilfiger, in an effort to associate their brand with the cultural swell, would drive through the streets and hand out free clothing to kids on the corner. Fresh Dressed is a fascinating, fun-to-watch chronicle of hip-hop, urban fashion, and the hustle that brought oversized pants and graffiti-drenched jackets from Orchard Street to high fashion's catwalks and Middle America shopping malls. Reaching deep to Southern plantation culture, the Black church, and Little Richard, director Sacha Jenkins' music-drenched history draws from a rich mix of archival materials and in-depth interviews with rappers, designers, and other industry insiders, such as Pharrell Williams, Damon Dash, Karl Kani, Kanye West, Nasir Jones, and André Leon Talley. The result is a passionate telling of how the reach for freedom of expression and a better life by a culture that refused to be squashed, would, through sheer originality and swagger, take over the mainstream. 2 ABOUT THE FILMMAKERS SACHA JENKINS – Director Sacha Jenkins, a native New Yorker, published his first magazine—Graphic Scenes & X-Plicit Language (a ‘zine about the graffiti subculture)—at age 17. -
My Beloved Is a Bass Line: Musical, De-Colonial Interventions in Song Criticism and Sacred Erotic Discourse
THE BIBLE & CRITICAL THEORY My Beloved is a Bass Line: Musical, De-colonial Interventions in Song Criticism and Sacred Erotic Discourse Heidi Epstein, University of Saskatchewan Abstract How might musical settings of the Song of Songs provide critical interventions in the politics of love? This case study builds a womanist intertextual matrix for the Song such that its amatory and horticultural language can be reinterpreted as irreducibly “de-colonial.” Reread through Chela Sandoval’s model of love, Alice Walker’s search for her foremothers’ and foresisters’ gardens, and Toni Morrison’s “commentary” on the Song (Beloved), the biblical text circulates de-colonial energies. And, given that music figures centrally in these womanists’ genealogies of love, a de-colonial reading of the Song mandates deconstruction of a subaltern musical archive within the Eurocentric discourse of sacred eroticism, a discourse that the Song sustains as an Ur-text. If the biblical female protagonist’s longing and seeking are reread as de-colonial and trickster-esque, she begets a subaltern musical family tree—audible today in the “Shulammitic” bass playing and protest singing of Meshell Ndegeocello. Key words Meshell Ndegeocello; Song of Songs; Bible and music; love; de-colonial theory; Toni Morrison; Alice Walker Introduction What meanings might be produced from the Song of Song’s amatory and horticultural language if it is read with a sense of love as irreducibly “de-colonial”? Some of these meanings shall emerge over the course of this article as I re-read the Song of Song’s imagery and its musicality in four phases through womanist intertexts by Chela Sandoval, Toni Morrison, Alice Walker, and Meshell Ndegeocello. -
Event Transcript
The Walt Disney Company Q2 FY11 Earnings Conference Call MAY 10, 2011 Disney Speakers: Bob Iger President and Chief Executive Officer Jay Rasulo Senior Executive Vice President and Chief Financial Officer Moderated by, Lowell Singer Senior Vice President, Investor Relations PRESENTATION Operator Good day, ladies and gentlemen, and welcome to the second-quarter 2011 Walt Disney Company earnings conference call. My name is Stacy and I will be your conference moderator for today. At this time, all participants are in a listen-only mode. We will conduct a question- and-answer session towards the end of the conference. (Operator Instructions). As a reminder, this conference call is being recorded for replay purposes. Page 1 The Walt Disney Company Q2 FY11 Earnings May 10, 2011 Conference Call I would now like to turn the presentation over to your host for today, to Mr. Lowell Singer, Senior Vice President of Investor Relations. Please proceed. Lowell Singer – Senior Vice President, Investor Relations, The Walt Disney Company Okay. Thank you, and good afternoon, everyone. Welcome to The Walt Disney Company's second quarter earnings call. Our press release was issued almost an hour ago. It's now available on our website at www.Disney.com/investors. Today's call is also being webcast and the webcast will be on the website after the call. Finally, a replay and transcript of today's remarks will be available on the website as well. Joining me in Burbank for today's call are Bob Iger, Disney's President and Chief Executive Officer, and Jay Rasulo, Senior Executive Vice President and Chief Financial Officer. -
Lil Peep Full Album Downloads CASTLES II
lil peep full album downloads CASTLES II. Newly released on streaming services, the pair of mixtapes Peep and Tracy put out on SoundCloud five years ago capture the instinctive way their voices blend and break over each other. Five minutes after Lil Peep and Lil Tracy met, they hatched plans to make music together. Peep told Tracy he had a verse open for him, and the song they recorded that day is a frenetic collision, excavating a tender beat from a Postal Service song and frothing over it with half-sung raps about switchblades and taking a girl home to “connect like WiFi.” It’s close to perfect. Tracy said later he had never connected like that with anyone. The two collaborated for a too-brief period, culminating in a bitter, public fall-out over Peep’s management and the way the media—and sometimes Peep himself—erased Tracy from the narrative around Gothboiclique and the rise of so-called “emo-rap.” They were barely speaking in 2017 when Peep died on a tour bus in Tucson, Arizona. The posthumous Peep projects that have trickled out since then have been gifts to fans, shrapnels of his legacy. castles and CASTLES II , the pair of mixtapes Peep and Tracy put out on SoundCloud five years ago, are time capsules for their collaboration. Newly released on streaming for the first time, these songs capture the instinctive way their voices blend and break over each other. These are bleary tracks, with a ragged mesh of rock and rap and blaring, ticking drums. It’s scratchy and sludgy and woozy; it sounds like it’s seeping into you.