Corbyn Pledges More Public Ownership Inside: a Year of Strikes NATIONALISE in Iran
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The New Fillmore
RETAIL REPORT FOOD & DRINK REAL ESTATE New shops, A new bar, and Home sells for medspa open it’s a long one under a million PAGES 5 - 7 PAGE 10 PAGE 14 New FILLMORE SAN FRANCISCO ■ AUGUST 2008 A Good Egg For 40 years, Phil Dean and drives along Golden Gate Park as he makes his way back to Fillmore Street. was Fillmore Hardware. He retired two and a half years ago, He’s retired now, but he but he’s never really gotten away from the neighborhood where he worked for most still delivers fresh eggs of his adult life. As he looks for a parking on Friday afternoon. space near Fillmore and Pine, he can glance out the window and see his fi ngerprints B B K R on nearly every Victorian on the block T R — lumber he sold, paint he mixed, repairs made according to advice he dispensed. ’ on a Friday afternoon, For an hour on Friday afternoon, just and Phil Dean, longtime manager before closing time, he’s back behind the of Fillmore Hardware, gets into counter of the hardware store, still greeting his truck in Pacifi ca and makes the customers and occasionally giving advice or drive he’s made so many times: up cutting keys — and delivering eggs, some ISkyline Drive, onto the Great Highway, of them gathered from his henhouse earlier S B past Ocean Beach. He turns right on Fulton that day. TO PAGE 8 4 LOCALS NEIGHBORHOOD NEWS Good Riddance, Say Locals, as Redevelopment Ends B D G “In the early days,” said executive di- But by this time, the African American destroyed a community, a way of life.” rector Fred Blackwell, “there is much that community had had enough. -
Ink Knows No Borders • a Teaching Guide
INK KNOWS POEMSNO OF THE IMMIGRANTBORDERS AND REFUGEE EXPERIENCE Patrice Vecchione Patrice A TEACHING GUIDE created by EDITED BY PATRICE VECCHIONE AND ALYSSA RAYMOND FOREWORD BY JAVIER ZAMORA AFTERWORD BY EMTITHAL MAHMOUD This curriculum guide was created by Patrice Vecchione, co-editor of Ink Knows No Borders. triangle square books for young readers an imprint of seven stories press New York • Oakland • London 140 Watts Street New York, NY 10013 www.sevenstories.com @7storiespress facebook.com/trianglesquarebooks For further information or to request a desk copy, please contact [email protected] Praise for Ink Knows No Borders “I was moved again and again by the poems in this brave, beautiful and neces- sary collection. I found echoes of myself in many of the pieces, and I know so many young immigrants and Americans will find themselves, too. But it goes beyond that. I wish this book would be taught in homogenous communities, too, so readers with little understanding of immigration will have the chance to see its humanity. This is the most important book we will read this year.” —Matt de la Peña, NY Times bestselling and Newbery Award winning author * “This collection cuts right to the heart of the matter at a time when it is most relevant. But as these pieces—originally published between 1984 and 2018— show, immigration stories are perennially relevant. Authors take their pain and use it to paint gripping accounts of racism, culture shock, separation from family, and the splitting of one’s self that so often occur when dwelling within, outside, and along borders. -
Borders by Consent
Borders by Consent: A Proposal for Reducing Two Kinds of Violence in Immigration Practice Richard Delgado* Jean Stefancic** ABSTRACT We describe a new consensual theory of borders and immigration that reverses Peter Schuck’s and Rogers Smith’s notion of citizenship by consent and posits that borders are legitimate—and make sense—only if they are products of consent on the part of both countries on opposite sides of them. Our approach, in turn, leads to differential borders that address the many sovereignty and federalist problems inherent in border design by a close examination of the policies that different borders—for example, the one between California and Mexico—need to serve in light of the populations living nearby. We build on our work on border laws as examples of Jacques Derrida’s originary violence. We assert that laws that exhibit a high degree of originary violence lead, almost ineluctably, to actual violence and cruelty, such as that perpetrated by Donald Trump’s child-separation policy, and that consensual and relatively open borders are the most promising way to minimize both forms of violence, originary and actual. 338 ARIZONA STATE LAW JOURNAL [Ariz. St. L.J. INTRODUCTION Suppose that the underlying basis for a significant area of social regulation fails badly when viewed from the perspective of any of the leading theories of human organization and only holds appeal to those who are indifferent about perpetrating pain and hardship on fellow humans and need a plausible justification for doing so—namely that “they broke the law.”1 Consider current U.S. -
Conference Abstracts
SEMSCHC 2020 Abstracts Saturday, February 8 8:30-10:30 Session 1A: Queer Studies in Music (INTS 1113) Chair: Matthew Leslie Santana, UCSD Queerness as the Missing Note: The Agency of Gay Men Khrueang Sai Musicians through the Aesthetics of Naaphaat Music Nattapol Wisuttipat, UC Riverside Naaphaat is among the revered repertoire in Thai classical music. They are used in various contexts, most notably theatrical accompaniment and wai khruu, a teacher-honoring ritual. Because of its association with Thai cosmology, naaphaat operates within rigid conditions including strict ritual permissions and players’ identity. It is ideally performed by piiphaat ensembles, preferably with male musicians. In the past few years, however, the norms of naaphaat face an unprecedented development. The repertoire is increasingly played by an ensemble of string instruments that only performs secular entertainment music, and by gay musicians. This challenges not only the strict instrumental demarcation of naaphaat performance but also the binarily gendered practices behind Thai classical music. What does it mean for gay musicians to play such a highly regarded musical category on unconventional – or even incorrect – instruments? What are they trying to do? How might the sexuality of these musicians tell us about the underlying heteromasculinity in Thai culture? With these questions, I examine the aesthetics behind the nonconforming performances of naaphaat repertoire. Drawing on semiotics as filtered through Thomas Turino and queer theories through Gregory Barz, I argue that the performance is a site of non-heteronormative erotics and naaphaat an agentive tool for the gender nonconforming musicians to leverage their otherwise subversive sexuality. This paper is aimed to present a fresh but not new ethnomusicological perspective on identity politics to nuance the study of Thai classical music and to resituate the subject within contemporary discourse both in Thai and Southeast Asian Studies. -
The Top 7000+ Pop Songs of All-Time 1900-2017
The Top 7000+ Pop Songs of All-Time 1900-2017 Researched, compiled, and calculated by Lance Mangham Contents • Sources • The Top 100 of All-Time • The Top 100 of Each Year (2017-1956) • The Top 50 of 1955 • The Top 40 of 1954 • The Top 20 of Each Year (1953-1930) • The Top 10 of Each Year (1929-1900) SOURCES FOR YEARLY RANKINGS iHeart Radio Top 50 2018 AT 40 (Vince revision) 1989-1970 Billboard AC 2018 Record World/Music Vendor Billboard Adult Pop Songs 2018 (Barry Kowal) 1981-1955 AT 40 (Barry Kowal) 2018-2009 WABC 1981-1961 Hits 1 2018-2017 Randy Price (Billboard/Cashbox) 1979-1970 Billboard Pop Songs 2018-2008 Ranking the 70s 1979-1970 Billboard Radio Songs 2018-2006 Record World 1979-1970 Mediabase Hot AC 2018-2006 Billboard Top 40 (Barry Kowal) 1969-1955 Mediabase AC 2018-2006 Ranking the 60s 1969-1960 Pop Radio Top 20 HAC 2018-2005 Great American Songbook 1969-1968, Mediabase Top 40 2018-2000 1961-1940 American Top 40 2018-1998 The Elvis Era 1963-1956 Rock On The Net 2018-1980 Gilbert & Theroux 1963-1956 Pop Radio Top 20 2018-1941 Hit Parade 1955-1954 Mediabase Powerplay 2017-2016 Billboard Disc Jockey 1953-1950, Apple Top Selling Songs 2017-2016 1948-1947 Mediabase Big Picture 2017-2015 Billboard Jukebox 1953-1949 Radio & Records (Barry Kowal) 2008-1974 Billboard Sales 1953-1946 TSort 2008-1900 Cashbox (Barry Kowal) 1953-1945 Radio & Records CHR/T40/Pop 2007-2001, Hit Parade (Barry Kowal) 1953-1935 1995-1974 Billboard Disc Jockey (BK) 1949, Radio & Records Hot AC 2005-1996 1946-1945 Radio & Records AC 2005-1996 Billboard Jukebox -
2. Do Plant Have to Eat? 3. Everything Gets Split up 4
A.1.10 16 MM FILMS 1. Did Someone Say Cold Blooded? 2. Do Plant Have to Eat? 3. Everything Gets Split Up 4. Some Place for Everything 5. Sunlight In Our Lives 6. What Goes Up In Smoke 7. Things With A Lot Of Pick-up 8. Up From The Valleys 9. What Good Are Electrons A.1.11 SLIDES 1. Eskaya 2. Humanities 3. Picasso Paintings 4. Voyager 1 Encounters Saturn 5. Abortion How It Is? 6. Christ in Prophecy 7. Christmas Is 8. Great Thanksgiving 9. Mysteries of the Rosary 10. Nasa Dios Ang Awa, Nasa Tao Ang Gawa 11. Qou Vadis 12. Religious Vocation 13. Thy Kingdome Come 14. Till Death Do Us Part 15. What Is Retreat? 16. Filing Secretary 17. Divine Word College Library 18. SVD 75 Years 19. God Helps people 20. Huwag Kang Papatay 21. Love (1 Corinthian) 22. Marriage 23. Reaching You 24. The Way 30 A.1.12 TRANSPARENCIES 1. Animal Structure Part 1 & 2 2. Human Structure Part 1 & 2 3. Plant Structure Part 1 & 2 4. Animal Resources 5. Our Plant Resources 6. Our Water Resources 7. Soil Resources 8. The LAND That 9. Problem of Air Pollution 10. Problem of Erosion 11. Problem of Noise Pollution 12. Problem of Water Pollution 13. Basic Writing 14. Chemical Bonding 15. Geologic Formation and Processes 16. Star Constellation Recognition 17. The Earth 18. The Moon 19. Weather 20. Filing for Secretary 21. Marketing 22. Financial Accounting 23. Clothing 24. Food A.1.13 CASSETTE TAPES Successful Achievement Program. Narrated by Gene McKay. -
Remembering Hugh Masekela: the Horn Player with a Shrewd Ear for Music of the Day
1/24/2018 Remembering Hugh Masekela: the horn player with a shrewd ear for music of the day Academic rigour, journalistic flair Remembering Hugh Masekela: the horn player with a shrewd ear for music of the day October 29, 2017 1.12pm SAST •Updated January 23, 2018 10.13am SAST Hugh Masekela performing during the 16th Cape Town International Jazz Festival. Esa Alexander/The Times Trumpeter, flugelhorn-player, singer, composer and activist Hugh Ramapolo Masekela Author has passed away after a long battle with prostate cancer. When he cancelled his appearance last year at the Johannesburg Joy of Jazz Festival, taking time out to deal with his serious health issues, fans were forced to return to his recorded opus for reminders of his unique work. Listening through that half-century of Gwen Ansell Associate of the Gordon Institute for disks, the nature and scope of the trumpeter’s achievement becomes clear. Business Science, University of Pretoria Masekela had two early horn heroes. The first was part-mythical: the life of jazz great Bix Biederbecke filtered through Kirk Douglas’s acting and Harry James’s trumpet, in the 1950 movie “Young Man With A Horn”. Masekela saw the film as a schoolboy at the Harlem Bioscope in Johannesburg’s Sophiatown. The erstwhile chorister resolved “then and there to become a trumpet player”. The second horn hero, unsurprisingly, was Miles Davis. And while Masekela’s accessible, storytelling style and lyrical instrumental tone are very different, he shared one important characteristic with the American: his life and music were marked by constant reinvention. -
Thesis Final Draftx
ANTECEDENTS AND ADAPTATIONS IN THE BORDERLANDS: A SOCIAL HISTORY OF INFORMAL SOCIO-ECONOMIC ACTIVITIES ACROSS THE RHODESIA-MOZAMBIQUE BORDER WITH PARTICULAR REFERENCE TO THE CITY OF UMTALI, 1900-1974 A thesis submitted to the Faculty of Humanities of the University of the Witwatersrand, Johannesburg, in fulfillment of the requirements for the degree of Doctor of Philosophy in History Supervisor: Dr. Muchaparara Musemwa Fidelis Peter Thomas Duri University of the Witwatersrand, Johannesburg, Republic of South Africa 2012 i CONTENTS Declaration ...................................................................................................................................... i Abstract ............................................................................................................................ ………..ii Acknowledgements ...................................................................................................................... iii List of acronyms ........................................................................................................................... iv Glossary of terms ...........................................................................................................................v List of illustrations ..................................................................................................................... viii CHAPTER 1: INTRODUCTION 1.1 Background ..............................................................................................................................1 -
MUSIC TRADE MAGAZINE KAY KNIGHT Nashville Editor Editorial KAREN WOODS, Assoc
MAGAZINE TRADE MUSIC THE 9 STAFF BOX GEORGE ALBERT President and Polisher ROBERT LONG VOL Ull, NO. #6, JUNE 23, 1990 Vice PresidentAJrban Marketing KEITH ALBERT Vice President/General Manager JIM SHARP Director, Nashville Operations PASIG CAMILLE COM j Director, Coin Machine Operations Marketing JIM WARSINSKE (LA.) MIKE GORDON (LA ) KEITH GORMAN Editor LEEJESKE BOX New York Editor THE MUSIC TRADE MAGAZINE KAY KNIGHT Nashville Editor Editorial KAREN WOODS, Assoc. Ed. (N. Y.j 8 KIMMY WIX, Assoc. Ed. (Nash.) ERNEST HARDY, Assoc. Ed. (LA) TONYSABOURNIN, Assoc. Ed., Latin (N. Y.) SHELLY WEISS, Assoc. Ed., Publishing (LA.) BERNETTA GREEN (NX) CONTENTS WILMA MELTON (Nash.) ALEX HENDERSON (LA.) 8 MUSIC PUBLISHING 1990 SPECIAL ISSUE Chart Research Interviews with26the movers and shakers of the publishing industry, and more, so much more. SCOTT M. SALISBURY 27 BY SHELLY WEISS Coordinator (LA.) 28 JOHN DECKER (Nash.) 30 C J. (War Flower)(LAJ 31 TERESA CHANCE (Nash.) 32 COLUMNS JEFF KARP (LA.) NATHAN W.(DXF) HOLSEY (LA.) 4 East Coasting / To long-box or not to long-box, that is the question, and Karen Woods has the answer. Production 4 London Calling / Chrissy Iley, Dusty Springfield and a whole shirtload of cats, plus a catty comment about the JIM GONZALEZ Beach Ball. Art Director 5 Faces On Top, by Ernest Hardy; Child's Play, by Alex Henderson; Doug Stone, by Kay Knight. Circulation New / NINATREGUB, Manager 6 Retail News / Retail for the visually impaired, by C.J. and Jeff Karp. CYNTHIA BANTA ; 7 Indie Focus / Hey, chief, that's indie, not in die, with Alex Henderson. -
Drama THERE HAS BEEN a Decided Escalation of Black Theatre in This Country
Chapter Fifteen ARTS AND ENTERTAINMENT Drama THERE HAS BEEN a decided escalation of black theatre in this country. Theatre groups were moving away from the "traditional' Shakespeare theatre that has been holding stage all through the years. From theatre that spoke of their iUs and tribulations there evolved theatre that spoke to black people about ways and means that-could be employed to bring change to their situation. From theatre of hopeless murmurs it became theatre of determination - theatre that taught self-reliance and brought about a new awareness. Because of the new turn of events some theatre groups broke away completely from white management and patronage. Some groups like TECON even barred whites from attending their shows. On the Reef there was a big storm when Black and Blue was shown to white audiences first - the reason for the grumble being that this production was totally irrelevant and misplaced for a white audience. Black drama groups are catching on to the philosophy of Black Consciousness and Black Solidarity. This is the reason for productions like Requiem/or Bro/her X. The Coat and others in similar vein. Most drama groups are shedding the mantle of being mere entertainment and are now becoming agents of change. It has now become common to refer to black theatre as Theatre of Liberation. 202 Arts and entertainment South African Black Theatre Union (SABTU) Background The South African Black Theatre Union was formed in Durban on the 9 July, 1972, at the conclusion of the 2nd TECON Drama Festival. Its formation was a culmination of the realisation that black theatre needs to be organised and that black creativity and endeavour must be channelled towards the goals of the Black struggle. -
Hugh Masekela: the Long Journey 1959-1968
HUGH MASEKELA: THE LONG JOURNEY 1959-1968 By RICARDO CUEVA A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research written under the direction of Dr. Henry Martin and approved by ___________________________________ Newark, New Jersey October 2020 © 2020 Ricardo Cueva ALL RIGHTS RESERVED Abstract of the Thesis Hugh Masekela: The Long Journey By Ricardo Cueva Thesis Director: Henry Martin This thesis chronicles Masekela's transition from African refugee to Grammy nominated artist while also encompassing a musical analysis of his work before and including The Promise of the Future. This thesis will provide brief biographical information of Masekela’s life as well as a sociological analysis to give context to his place in US pop culture. This study discusses Masekela’s upbringing in South Africa and explores his transition into 1960s America. This thesis argues that Masekela faced an authenticity complex when breaking into the US market because he defied the expectations of what US audiences thought Africans to be. Masekela overcame this obstacle with the release of The Americanization of Ooga Booga (1966). A musical analysis and critique of the first three albums with an emphasis on Masekela’s breakthrough compositions will be part of this thesis. This thesis concludes with a brief analysis of the cultural and racial impact of Masekela’s work both in the United States and South Africa. ii Acknowledgements I would first and foremost like to thank my parents for their constant support and sacrifice. -
Songs with a Global Conscience Using Songs to Build International Understanding and Solidarity
The New Teacher Book - Rethinking Schools Online Page 1 of 7 Songs with a Global Conscience Using Songs to Build International Understanding and Solidarity The songs below are divided into the following categories: The Colonial Past Current North/South Global Realities Global Sweatshops Food and Agriculture Globalization on the Homefront Culture, Power and Environment Teaching and Organizing for Justice By Bob Peterson Songs, like poetry, are powerful tools to build consciousness and solidarity on global issues. We begin everyday in my classroom with our "song of the week." Students receive the song lyrics and keep them in their three-ring binders. The songs generally relate to topics of study. I allow students to bring in songs as well, although they must know the lyrics and have a reason for sharing the song with classmates. By the end of the week, students may not have memorized the words to the "song of the week," but they are familiar enough with the lyrics and music so that the song becomes "theirs." Even with some of the songs that I would imagine the children think poorly of — say, some of the slower folk songs — by the end of the week the children demand to hear them a second or third time each morning. When I introduce a song, I go over the geographical connections using a classroom map. I also explain any vocabulary words that might be difficult. Finally, and most importantly, I give the social context. Depending on whether I use the song at the beginning of a unit of study, or in the middle, the amount of "context setting" varies greatly.