Face Opposition with Humble Confidence 1 Peter 3:13-18A
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Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2017 Hippieland: Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood Kevin Mercer University of Central Florida Part of the History Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Mercer, Kevin, "Hippieland: Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood" (2017). Electronic Theses and Dissertations, 2004-2019. 5540. https://stars.library.ucf.edu/etd/5540 HIPPIELAND: BOHEMIAN SPACE AND COUNTERCULTURAL PLACE IN SAN FRANCISCO’S HAIGHT-ASHBURY NEIGHBORHOOD by KEVIN MITCHELL MERCER B.A. University of Central Florida, 2012 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer Term 2017 ABSTRACT This thesis examines the birth of the late 1960s counterculture in San Francisco’s Haight-Ashbury neighborhood. Surveying the area through a lens of geographic place and space, this research will look at the historical factors that led to the rise of a counterculture here. To contextualize this development, it is necessary to examine the development of a cosmopolitan neighborhood after World War II that was multicultural and bohemian into something culturally unique. -
Pachuau 1 the Use of Music and Song As a Medium of Human
Pachuau 1 The use of music and song as a medium of human expression has been prevalent throughout history. Music has been used to explore and to give vent to a whole range of emotions, feelings and concerns- from the joyful to the disheartening. Music is therefore, a revelatory medium of not just an individual concern, but that of society as well. Protest music, whether through lyrics, performance or context, gives us an insight into discontent, both personal and societal. Basically, a protest song is a song which is associated with a movement for social change. According to Elizabeth J.Kizer, ―to protest is to verbalize a dissatisfaction with the status quo‖, and as such, a protest song verbalizes discontent, either overtly or covertly and calls for a change or rectification. The song of dissent… may appear to represent the feelings of a sole lyricist, but if the discontent is widely felt, then the protest becomes a voice for and about many people. In some instances, the identity of the composer becomes of secondary importance, and the song is a collective cry for change. The originator, or message source, tends to be forgotten, to some extent, as the protest song evolves as a cultural message. No longer is the protest viewed as an individual message but as part of a larger, cultural or social one. (Kizer, np) As an expression of cultural and political resistance, protest music has been prevalent as far back as the Peasant‘s Revolt of 1381 in England, wherein there was a movement for the reform of feudalism and the oppression of the working classes. -
Guide to the Arnold Shaw Papers
Guide to the Arnold Shaw Papers This finding aid was created by Joyce Moore on July 06, 2018. Persistent URL for this finding aid: http://n2t.net/ark:/62930/f1dw3x © 2018 The Regents of the University of Nevada. All rights reserved. University of Nevada, Las Vegas. University Libraries. Special Collections and Archives. Box 457010 4505 S. Maryland Parkway Las Vegas, Nevada 89154-7010 [email protected] Guide to the Arnold Shaw Papers Table of Contents Summary Information ..................................................................................................................................... 3 Biographical Note on Arnold Shaw ................................................................................................................ 3 Scope and Contents Note ................................................................................................................................ 5 Arrangement .................................................................................................................................................... 6 Administrative Information ............................................................................................................................. 6 Related Materials ............................................................................................................................................. 7 Names and Subjects ....................................................................................................................................... -
Superfluous Physics
Superfluous Physics Evan Berkowitz,1, ∗ William Donnelly,2 and Sylvia Zhu3, 4 (Scientists Undertaking Preposterous Etymological Research Collaboration) 1Institut f¨ur Kernphysik and Institute for Advanced Simulation, Forschungszentrum J¨ulich, 54245 J¨ulich Germany 2Perimeter Institute for Theoretical Physics, 31 Caroline St. N. Waterloo, ON, N2L 2Y5, Canada 3Max Planck Institute for Gravitational Physics (Albert Einstein Institute), Callinstraße 38, 30167 Hannover Germany 4Leibniz Universit¨at Hannover, D-30167 Hannover, Germany (Dated: April 1, 2019) A superweapon of modern physics superscribes a wide superset of phenomena, ranging from supernumerary rainbows to superfluidity and even possible supermultiplets. I. INTRODUCTION The questions run too deep For such a simple man Won’t you please, Please tell me what we’ve learned? Supertramp, The Logical Song Supermassive black holes have nonzero supermass, the quantity that couples to N = 1 supergravity, while in theories with more supercharges one may have superdupermassive black holes, and so on. Just as the no-hair theorem tells us that non-rotating black holes can be described as massive and charged, the no-hair supertheorem tell us that non-rotating superheavy black holes can be described as supermassive and supercharged. String theory provides hope to understand how to go beyond the semiclassical limit to describe in detail if and how black holes preserve unitarity, while superstring theory provides hope to understand the unitarity of supermassive black holes. With the recent observation of normal black hole [1–5] and neutron star[6] mergers via gravitational waves by the super-sensitive Advanced LIGO and VIRGO detectors, it is not unreasonable to expect gravitational-wave detections of supernovae of collapsing superstars or violent supermassive black hole astrophysical phenomena are on the horizon or, if you’ll forgive the absurd pun, superhorizon. -
AUDIENCE INSIGHTS MICHAEL GENNARO Executive Director
GOODSPEED MUSICALS AUDIENCE INSIGHTS MICHAEL GENNARO Executive Director MICHAEL P. PRICE Founding Director presents Book by BRUCE VILANCH Story Created by RICHARD ROBIN Scenic Design by Costume Design by Lighting Design by PAUL TATE dePOO III JENNIFER CAPRIO KEN BILLINBGON Projection Design by Sound Design by Wig & Hair Design by BENJAMIN PEARCY FOR JAY HILTON J. JARED JANAS & DAVE BOVA 59 PRODUCTIONS LTD Music Supervision Dance Arrangements by & Orchestrations by DAVID DABBON JOSEPH CHURCH Production Manager Production Stage Manager Casting by R. GLEN GRUSMARK CHRIS ZACCARDI TARA RUBIN CASTING Associate Producer Line Producer General Manager BOB ALWINE DONNA LYNN COOPER HILTON RACHEL TISCHLER Music Direction by RICK FOX Choreographed by JOANN M. HUNTER Directed by GABRIEL BARRE This production made possible by special arrangement with Richard Robin, president of Wells Street Productions JULY 29 - SEPT 4, 2016 THE TERRIS THEATRE TABLE OF CONTENTS Character & Show Synopsis................................................................................................................................................................4 Meet the Writer.......................................................................................................................................................................................6 Director's Vision......................................................................................................................................................................................7 Developing A -
1 18Iaspm.Wordpress.Com
18iaspm.wordpress.com 1 2 18th Biennial IASPM Conference Contents Dear IASPM Delegates, It is with great pleasure that UNICAMP (Universidade Estadual de Campinas) will host this important academic event aimed at the study of popular music. With the subject: Back to the Future: Popular Music in Time, the Conference will gather more than 200 researchers from countries of all continents who will present and discuss works aimed at the study of sonority, styles, performances, contents, production contexts and popular music consumption. IASPM periodically carries out, since 1981 – year which was founded – regular meetings and the publication of the works contributing to the creation of a new academic field targeted to the study of this medium narrative modality of syncretic and multidimensional nature, which has been consolidated along the last 150 years as component element of the contemporary culture. We hope that this Conference will represent another step in the consolidation of this field which has already achieved worldwide coverage. For the Music Department of the Arts Institute of UNICAMP, to carry out the 18th Conference brings special importance as it created the first Graduation Course in Popular Music of Brazil, in 1989, making this University a reference institution in these studies. UNICAMP is located in the District of Barão Geraldo, in the city of Campinas – SP. This region showed great development at the end of XIX century and beginning of XX century due to the coffee farming expansion. Nowadays it presents itself as an industrial high-tech center. Its cultural life is intense, being music one of the most relevant activities. -
Ambient Music the Complete Guide
Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality. -
KSFO Collection ARS.0063
http://oac.cdlib.org/findaid/ark:/13030/kt458035s1 No online items Guide to the KSFO Collection ARS.0063 Finding aid prepared by Franz Kunst Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] © 2010 The Board of Trustees of Stanford University. All rights reserved. Guide to the KSFO Collection ARS.0063 1 ARS.0063 Descriptive Summary Title: KSFO Collection Dates: 1953-1989 Collection number: ARS.0063 Creator: KSFO (Radio station : San Francisco, Calif.) Collection size: 36 boxes Contributing Institution: Archive of Recorded Sound Abstract: The KSFO collection consists of audiovisual material and ephemera from this San Francisco radio station's years owned by Golden West Broadcasting, 1956-1983. KSFO was known for their news and sports coverage, as well as the voice talents of such personalities as Don Sherwood, Russ Hodges, Lon Simmons, and Al "Jazzbo" Collins. The majority of this collection involves station marketing, promotions, and fundraisers, although there are airchecks and other broadcast recordings. Production library material includes jingles, themes, music beds, promotional spots, and advertising. Language of Material: English Access Open for research; material must be requested at least two business days in advance of intended use. Contact the Archive for assistance. Publication Rights Property rights reside with repository. Publication and reproduction rights reside with the creators or their heirs. To obtain permission to publish or reproduce, please contact the Head Librarian of the Archive of Recorded Sound. Preferred Citation KSFO Collection, ARS-0063. Courtesy of the Stanford Archive of Recorded Sound, Stanford University Libraries, Stanford, Calif. -
“Amarillo by Morning” the Life and Songs of Terry Stafford 1
In the early months of 1964, on their inaugural tour of North America, the Beatles seemed to be everywhere: appearing on The Ed Sullivan Show, making the front cover of Newsweek, and playing for fanatical crowds at sold out concerts in Washington, D.C. and New York City. On Billboard magazine’s April 4, 1964, Hot 100 2 list, the “Fab Four” held the top five positions. 28 One notch down at Number 6 was “Suspicion,” 29 by a virtually unknown singer from Amarillo, Texas, named Terry Stafford. The following week “Suspicion” – a song that sounded suspiciously like Elvis Presley using an alias – moved up to Number 3, wedged in between the Beatles’ “Twist and Shout” and “She Loves You.”3 The saga of how a Texas boy met the British Invasion head-on, achieving almost overnight success and a Top-10 hit, is one of triumph and “Amarillo By Morning” disappointment, a reminder of the vagaries The Life and Songs of Terry Stafford 1 that are a fact of life when pursuing a career in Joe W. Specht music. It is also the story of Stafford’s continuing development as a gifted songwriter, a fact too often overlooked when assessing his career. Terry Stafford publicity photo circa 1964. Courtesy Joe W. Specht. In the early months of 1964, on their inaugural tour of North America, the Beatles seemed to be everywhere: appearing on The Ed Sullivan Show, making the front cover of Newsweek, and playing for fanatical crowds at sold out concerts in Washington, D.C. and New York City. -
Tradition and Innovation in Brazilian Popular Music: Keyboard Percussion Instruments in Choro
Tradition and Innovation in Brazilian Popular Music: Keyboard Percussion Instruments in Choro by Mark James Duggan A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Mark James Duggan 2011 Tradition and Innovation in Brazilian Popular Music: Keyboard Percussion Instruments in Choro Mark James Duggan Doctor of Musical Arts Faculty of Music University of Toronto 2011 Abstract The use of keyboard percussion instruments in choro, one of the earliest forms of Brazilian popular music, is a relatively recent phenomenon and its expansion into university music programs and relocation from small clubs and private homes to concert halls has changed the way that choro is learned and performed. For many Brazilians, this kind of innovation in a “traditional” genre represents a challenge to their notion of a Brazilian cultural identity. This study examines the dynamic relationship that Brazilians have with representations of their culture, especially in the area of popular music, through an in depth discussion of the use of keyboard percussion instruments within the genre of choro. I discuss the implications of using keyboard percussion in choro with a detailed description of its contemporary practice and a critical examination of the sociological and academic issues that surround choro historically and as practiced today. This includes an historical overview of choro and organology of keyboard percussion instruments in Brazil. I discuss multiple perspectives on the genre including a ii consideration of choro as part of the “world music” movement and choro’s ambiguous relationship to jazz. Through an examination of the typical instrumentation and performance conventions used in choro, I address the meanings and implications of the adaptation of those practices and of the various instrumental roles found in choro to keyboard percussion instruments. -
The Civics of Rock: Sixties Countercultural Music and The
THE CIVICS OF ROCK: SIXTIES COUNTERCULTURAL MUSIC AND THE TRANSFORMATION OF THE PUBLIC SPHERE by Michael Jacob Kramer A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History. Chapel Hill 2006 Approved by Advisor: John F. Kasson Reader: Robert Cantwell Reader: Peter Filene Reader: Lawrence Grossberg Reader: Jacquelyn Hall © 2006 Michael Jacob Kramer ALL RIGHTS RESERVED ii ABSTRACT MICHAEL KRAMER: The Civics of Rock: Sixties Countercultural Music and the Transformation of the Public Sphere (Under the direction of Professor John F. Kasson) For the counterculture of the 1960s and 70s, rock music was not only mass entertainment, but also a form of public life. While many scholars have argued that rock was incompatible with civic participation, this book claims that in music scenes such as San Francisco, in poster art and dancing, on the radio and in print publications, rock served as a flash point for dilemmas of citizenship and civil society. As frequently as it deteriorated into escapism and hedonism, rock also created an atmosphere of inquiry in which the young might listen, think, move, and feel their way through issues of public and civic interaction, such as identity, belonging, power, and democracy. Even when exported by the American military to Vietnam or when circulating to youth movements worldwide, far from eclipsing public life, rock music transformed it into a mass-mediated mode of association -
LANDA-DISSERTATION-2017.Pdf (4.978Mb)
The Dissertation Committee for Amanda Landa certifies that this is the approved version of the following dissertation: Contemporary Japanese Seishun Eiga Cinema Committee: Lalitha Gopalan, Supervisor Janet Staiger, Co-Supervisor Kirsten Cather Shanti Kumar David Desser Michael Kackman Contemporary Japanese Seishun Eiga Cinema by Amanda Landa Dissertation Presented to the Faculty of the GraduateSchool of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2017 Acknowledgements The dissertation process is always present and foreboding in one’s graduate career. An always looming presence, the first chapter is always theoretically sketched, perhaps even drafted, but the rest are generally to be filed under “fiction.” The same, of course, happened for me, and throughout this endeavor I have learned to draft, to re-read and edit, and most especially to never be afraid to start over. My primary goal was to hone my writerly voice, to elevate from description into argument and most of all, to slow down. Time and financial pressures are plentiful, and early in the writing process I wanted to rush; to achieve quickly what was later revealed to me something that could not and should not be rushed. I chose to write chapter by chapter as the films and genre categories presented themselves, allowing myself to enjoy each chapter’s research process in small achievable steps. Integral to this process are my co-supervisors, Associate Professor Lalitha Gopalan and Professor Emeritus Janet Staiger. In particular, I want to give thanks for Lalitha’s rigorous mentorship, guidance, and enthusiasm for this project and its films and Janet, a constant mentor, whose patience and attendance to both my writerly and emotional well- being will never be forgotten.