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Full Results of Survey of Songs
Existential Songs Full results Supplementary material for Mick Cooper’s Existential psychotherapy and counselling: Contributions to a pluralistic practice (Sage, 2015), Appendix. One of the great strengths of existential philosophy is that it stretches far beyond psychotherapy and counselling; into art, literature and many other forms of popular culture. This means that there are many – including films, novels and songs that convey the key messages of existentialism. These may be useful for trainees of existential therapy, and also as recommendations for clients to deepen an understanding of this way of seeing the world. In order to identify the most helpful resources, an online survey was conducted in the summer of 2014 to identify the key existential films, books and novels. Invites were sent out via email to existential training institutes and societies, and through social media. Participants were invited to nominate up to three of each art media that ‘most strongly communicate the core messages of existentialism’. In total, 119 people took part in the survey (i.e., gave one or more response). Approximately half were female (n = 57) and half were male (n = 56), with one of other gender. The average age was 47 years old (range 26–89). The participants were primarily distributed across the UK (n = 37), continental Europe (n = 34), North America (n = 24), Australia (n = 15) and Asia (n = 6). Around 90% of the respondents were either qualified therapists (n = 78) or in training (n = 26). Of these, around two-thirds (n = 69) considered themselves existential therapists, and one third (n = 32) did not. There were 235 nominations for the key existential song, with enormous variation across the different respondents. -
John Zorn Artax David Cross Gourds + More J Discorder
John zorn artax david cross gourds + more J DiSCORDER Arrax by Natalie Vermeer p. 13 David Cross by Chris Eng p. 14 Gourds by Val Cormier p.l 5 John Zorn by Nou Dadoun p. 16 Hip Hop Migration by Shawn Condon p. 19 Parallela Tuesdays by Steve DiPo p.20 Colin the Mole by Tobias V p.21 Music Sucks p& Over My Shoulder p.7 Riff Raff p.8 RadioFree Press p.9 Road Worn and Weary p.9 Bucking Fullshit p.10 Panarticon p.10 Under Review p^2 Real Live Action p24 Charts pJ27 On the Dial p.28 Kickaround p.29 Datebook p!30 Yeah, it's pink. Pink and blue.You got a problem with that? Andrea Nunes made it and she drew it all pretty, so if you have a problem with that then you just come on over and we'll show you some more of her artwork until you agree that it kicks ass, sucka. © "DiSCORDER" 2002 by the Student Radio Society of the Un versify of British Columbia. All rights reserved. Circulation 17,500. Subscriptions, payable in advance to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN ilsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money ordei payable to DiSCORDER Magazine, DEADLINES: Copy deadline for the December issue is Noven ber 13th. Ad space is available until November 27th and can be booked by calling Steve at 604.822 3017 ext. 3. Our rates are available upon request. -
Rock in the Reservation: Songs from the Leningrad Rock Club 1981-86 (1St Edition)
R O C K i n t h e R E S E R V A T I O N Songs from the Leningrad Rock Club 1981-86 Yngvar Bordewich Steinholt Rock in the Reservation: Songs from the Leningrad Rock Club 1981-86 (1st edition). (text, 2004) Yngvar B. Steinholt. New York and Bergen, Mass Media Music Scholars’ Press, Inc. viii + 230 pages + 14 photo pages. Delivered in pdf format for printing in March 2005. ISBN 0-9701684-3-8 Yngvar Bordewich Steinholt (b. 1969) currently teaches Russian Cultural History at the Department of Russian Studies, Bergen University (http://www.hf.uib.no/i/russisk/steinholt). The text is a revised and corrected version of the identically entitled doctoral thesis, publicly defended on 12. November 2004 at the Humanistics Faculty, Bergen University, in partial fulfilment of the Doctor Artium degree. Opponents were Associate Professor Finn Sivert Nielsen, Institute of Anthropology, Copenhagen University, and Professor Stan Hawkins, Institute of Musicology, Oslo University. The pagination, numbering, format, size, and page layout of the original thesis do not correspond to the present edition. Photographs by Andrei ‘Villi’ Usov ( A. Usov) are used with kind permission. Cover illustrations by Nikolai Kopeikin were made exclusively for RiR. Published by Mass Media Music Scholars’ Press, Inc. 401 West End Avenue # 3B New York, NY 10024 USA Preface i Acknowledgements This study has been completed with the generous financial support of The Research Council of Norway (Norges Forskningsråd). It was conducted at the Department of Russian Studies in the friendly atmosphere of the Institute of Classical Philology, Religion and Russian Studies (IKRR), Bergen University. -
On Geopolitics, Trolling and the Mistranslation of Race in a Twitter Controversy
#Russianrapisracist vs #RussianNaziPurgeParty: On Geopolitics, Trolling and the Mistranslation of Race in a Twitter Controversy Dinara Yangeldina Introduction I am currently being trolled by Russian rap fans in droves posting straight up Nazi propaganda. The Russian hip hop scene is extremely racist. It’s being led by racists like @sdthaking and i1official (@Talib Kweli 2020)1 The above tweet was posted at the end of February 2020 in the middle of a heated Twitter controversy between famous us rapper Talib Kweli and the Russian hip-hop community, in which he described the en- tire Russian rap scene as racist, Nazi and state sponsored.2 Thе scandal quickly spread to other social media platforms and got extensive cover- age online and even on the official Russian tv channels. But what exactly 1 In the wake of a harassment-related scandal Talib Kweli was permanently banned from Twitter on 4 July 2020. It is for this reason that none of his original Tweets are available anymore. The retypes of tweets are based on screenshots circulated in sec- ondary sources or collected by me during the initial stage of research for this chapter (the same applies to Twitter screenshots used here but not available in the original to reference). 2 Talib Kweli is a rapper known for his outspoken activist stance against police bru- tality and racial oppression in the usa. His early recognition is linked to the criti- cally acclaimed band Black Star, which he formed together with Mos Def in 1997 in Brooklyn, New York. This style of hip-hop, known as conscious hip-hop, is usually juxtaposed with gangsta rap. -
Sociological Papers the Emerging Second Generation of Immigrant
Sociological Papers The Emerging Second Generation of Immigrant Israelis Series Editor: Larissa Remennick Managing Editor: Anna Prashizky Volume 16, 2011 Sponsored by the Leon Tamman Foundation for Research into Jewish Communities SOCIOLOGICAL INSTITUTE FOR COMMUNITY STUDIES BAR-ILAN UNIVERSITY Generation 1.5 Russians in Israel: From Vodka to Latte. Maturation and Integration Processes as Reflected in the Recreational Patterns Liza Rozovsky and Oz Almog The Department of Land of Israel Studies University of Haifa Abstract This article reflects on the process of coming of age among Russian Israelis who immigrated as older children or adolescents. It describes the culture of informal youth groups (tusovkas) of the 1990s that transplanted multiple elements of Russian subversive youth culture of the last Soviet and post-Soviet years onto Israeli soil. These groups - that flourished mainly in peripheral towns of Israel - served as both social safety net for alienated Russian teenagers and the bridge to their gradual acculturation. Entering adulthood, most tusovka members left the streets, completed their academic degrees, and moved to Central Israel in search of lucrative jobs and thriving cultural life. Although young Russian Israelis have adopted many elements of the mainstream lifestyle (particularly in the patterns of residence and entertainment), their social preferences and identity remain distinct in lieu of the lingering Russian cultural legacies. Introduction This article sheds light on the recent changes in the recreational patterns of "Generation 1.5" – Russian, Ukrainian and other former Soviet immigrants who immigrated in Israel along with their parents as preteens or young adolescents during the 1990s. Several factors shaped the recreational patterns of these Generation 1.5'ers during their initial years in Israel: the social characteristics of the Russian aliyah; the unique circumstances of their birth and socialization; and the policies of direct immigrant absorption first instituted in Israel during the 1990s. -
Reform and Human Rights the Gorbachev Record
100TH-CONGRESS HOUSE OF REPRESENTATIVES [ 1023 REFORM AND HUMAN RIGHTS THE GORBACHEV RECORD REPORT SUBMITTED TO THE CONGRESS OF THE UNITED STATES BY THE COMMISSION ON SECURITY AND COOPERATION IN EUROPE MAY 1988 Printed for the use of the Commission on Security and Cooperation in Europe U.S. GOVERNMENT PRINTING OFFICE WASHINGTON: 1988 84-979 = For sale by the Superintendent of Documents, Congressional Sales Office U.S. Government Printing Office, Washington, DC 20402 COMMISSION ON SECURITY AND COOPERATION IN EUROPE STENY H. HOYER, Maryland, Chairman DENNIS DeCONCINI, Arizona, Cochairman DANTE B. FASCELL, Florida FRANK LAUTENBERG, New Jersey EDWARD J. MARKEY, Massachusetts TIMOTHY WIRTH, Colorado BILL RICHARDSON, New Mexico WYCHE FOWLER, Georgia EDWARD FEIGHAN, Ohio HARRY REED, Nevada DON RITTER, Pennslyvania ALFONSE M. D'AMATO, New York CHRISTOPHER H. SMITH, New Jersey JOHN HEINZ, Pennsylvania JACK F. KEMP, New York JAMES McCLURE, Idaho JOHN EDWARD PORTER, Illinois MALCOLM WALLOP, Wyoming EXECUTIvR BRANCH HON. RICHARD SCHIFIER, Department of State Vacancy, Department of Defense Vacancy, Department of Commerce Samuel G. Wise, Staff Director Mary Sue Hafner, Deputy Staff Director and General Counsel Jane S. Fisher, Senior Staff Consultant Michael Amitay, Staff Assistant Catherine Cosman, Staff Assistant Orest Deychakiwsky, Staff Assistant Josh Dorosin, Staff Assistant John Finerty, Staff Assistant Robert Hand, Staff Assistant Gina M. Harner, Administrative Assistant Judy Ingram, Staff Assistant Jesse L. Jacobs, Staff Assistant Judi Kerns, Ofrice Manager Ronald McNamara, Staff Assistant Michael Ochs, Staff Assistant Spencer Oliver, Consultant Erika B. Schlager, Staff Assistant Thomas Warner, Pinting Clerk (11) CONTENTS Page Summary Letter of Transmittal .................... V........................................V Reform and Human Rights: The Gorbachev Record ................................................ -
“THEY WASN't MAKIN' MY KINDA MUSIC”: HIP-HOP, SCHOOLING, and MUSIC EDUCATION by Adam J. Kruse a DISSERTATION Submitted T
“THEY WASN’T MAKIN’ MY KINDA MUSIC”: HIP-HOP, SCHOOLING, AND MUSIC EDUCATION By Adam J. Kruse A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2014 ABSTRACT “THEY WASN’T MAKIN’ MY KINDA MUSIC”: HIP-HOP, SCHOOLING, AND MUSIC EDUCATION By Adam J. Kruse With the ambition of informing place consciousness in music education by better understanding the social contexts of hip-hop music education and illuminating potential applications of hip-hop to school music settings, the purpose of this research is to explore the sociocultural aspects of hip-hop musicians’ experiences in music education and music schooling. In particular, this study is informed by the following questions: 1. How do sociocultural contexts (particularly issues of race, space, place, and class) impact hip-hop musicians and their music? 2. What are hip-hop musicians’ perceptions of school and schooling? 3. Where, when, how, and with whom do hip-hop musicians develop and explore their musical skills and understandings? The use of an emergent design in this work allowed for the application of ethnographic techniques within the framework of a multiple case study. One case is an amateur hip-hop musician named Terrence (pseudonym), and the other is myself (previously inexperienced as a hip-hop musician) acting as participant observer. By placing Terrence and myself within our various contexts and exploring these contexts’ influences on our roles as hip-hop musicians, it is possible to understand better who we are, where and when our musical experiences exist(ed), and the complex relationships between our contexts, our experiences, and our perceptions. -
Anastasia Afonina 'The Popular Culture of Criminality' VAV3, Gerrit
Anastasia Afonina ‘The Popular Culture of Criminality’ VAV3, Gerrit Rietveld Academie As fashion evolved throughout times, we moved from long gowns into mini skirts in less than a century. At the beginning of 2000s we were hypnotized by the Paris Hilton’s glamor- ous pink and disgusted by the unsatisfactory living conditions of people labeled as a ‘lower class’. From what I see we can develop even faster. We can be even more radical. My research is about a modern popular culture and, in particular, the active exploitation of criminal aesthetics in the different forms of art, such as music, fashion, cinema, etc. My curi- osity is built around an observation that just recently people that we would call ‘upper-middle class’ were often trying to ignore the presence of some particular urban areas known as ‘ghetto’ and its unsatisfactory social conditions that meanwhile developed in its individual culture. This lifestyle, fashion, music, slang, etc, was not highly appreciated by the other so- cial classes. Yet now, what was considered as ‘bad taste’ ten years ago has a huge impact on contemporary art and media. Therefore, I am curious about the reason of a rapidly growing interest and the frequent use of the ghetto culture that became the new popular culture nowadays. Estonian rapper Tommy Cash In addition to it, I would also like to get to know more about its connection with political and social propaganda. I find it interesting, how those two different things - propaganda and a popular culture - can be so interconnected the way they affect each other. -
Malikah Raps out of Rage | Norient.Com 6 Oct 2021 21:06:22
Malikah Raps out of Rage | norient.com 6 Oct 2021 21:06:22 Malikah Raps out of Rage INTERVIEW by Eric Mandel The Lebanese musician Malikah started to rap out of rage. As a central figure in Arab hip hop she now literally travels between different worlds: from the streets of Beirut to Europe’s avant-garde concert halls. Norient caught up with her in Berlin to talk about her musical roots and sense of belonging in an English-speaking and male-dominated hip hop scene. Malikah was the first female rap star to emerge from the young hip hop scene of Beirut. Born as Lynn Fattouh in France, the daughter of an Algerian mother and a Lebanese father, she grew up in Lebanon. She started to rap in English and French, and then, in 2006, switched to Arabic while reinventing herself as Malikah («Queen»), a title she's kept ever since. Apart from appearing on jams and collaborations in the Arab rap scene, Malikah made her way into the international festival circuit with projects such as Lyrical Rose, her trio with Kenyan artist Nazzi and fellow rapper Diana Avella from Columbia. She took part in different versions of Damon Albarn's Africa Express where she also met André de Ridder, conductor of the experimental ensemble Stargaze Orchestra. This year, de Ridder invited her to perform alongside French- Malian rapper Inna Modja as a part of the Stargaze project «Spitting Chamber Music» in Berlin and Cologne in May 2017. https://norient.com/stories/rap-out-of-rage-malikah Page 1 of 4 Malikah Raps out of Rage | norient.com 6 Oct 2021 21:06:22 [Eric Mandel]: When did you pick up a microphone? [Malikah]: I never thought that I could rap because there was no Arabic hip hop per se back then. -
Hip-Hop and Spoken Word Poetry in Academic Libraries 19.2
FEATURE: GLOBAL PERSPECTIVES Front and Center: Hip-Hop and Spoken Word Poetry in Academic Libraries 19.2. Del Williams and Mark Stover portal abstract: This feature describes the efforts of the Oviatt Library at California State University, Northridge to offer programming featuring hip-hop and spoken word poetry. These events, begun in 2016, offer genres relevant to the university’s diverse and global enrollment.publication, Though not traditional library presentations, they recognize the wide appeal of hip-hopfor and the importance of oral traditions to some cultures while providing a platform for the participants to express their diverse views and experiences. t is almost a cliché in the United States, andaccepted indeed throughout the world, that universities grow more and more diverse. Almost every institution of higher learning has one or more sections of itsand mission and values statements that speak Iapprovingly and aspirationally about di- versity and inclusion. Many universities In seeking to engage library users, have directives calling for the representaedited,- tion of varied cultures among students, we must ask ourselves if tradition- staff, and faculty. Part ofcopy this diversity is al library programming continues the growing emphasis on and enrollment of international students, due to a number to be appealing and relevant to of factors, including the globalization them. of higher education. As we invite more individuals reviewed,from other backgrounds into our space, we have a responsibility to make room for a variety of cultural expressions. In planningpeer events for students, library faculty and administrators should first know somethingis about who the students are and where their interests lie. -
Antti Okko Punainen Aalto
Antti Okko Punainen Aalto – venäläisrokkarit Yhdysvalloissa 1986–1991 Maisteritutkielma Yleinen historia Historian ja etnologian laitos Jyväskylän Yliopisto Kevät 2020 JYVÄSKYLÄN YLIOPISTO Tiedekunta – Faculty Laitos – Department Humanistis-yhteiskuntatieteellinen tiedekunta Historia Tekijä – Author Antti Okko Työn nimi – Title Punainen aalto – venäläisrokkarit Yhdysvalloissa 1986–1991 Oppiaine – Subject Työn laji – Level Yleinen historia Pro -gradu tutkielma Aika – Month and year Sivumäärä – Number of pages Toukokuu 2020 89 Tiivistelmä – Abstract Venäläisen populaarimusiikin suosio venäjänkielisen maailman ulkopuolella on ollut äärimmäisen heikkoa. Kuvaavaa on, että 144-miljoonaisen kansan menestys kansainvälisillä listoilla on jäänyt pahoin jälkeen esimerkiksi suomalaisartistien saavuttamasta kaupallisesta menestyksestä. Menestys on karttanut venäläisiä erityisesti Yhdysvalloissa, populaarikulttuurin kiistattomassa suurvallassa. Yhdysvalloissa Venäjä ja venäläisyys on perinteisesti edustanut toiseutta, ja maa onkin nähty Yhdysvaltojen itsensä peilikuvana, mikä myös heijastuu tapaan, jolla venäläisiin suhtaudutaan. Tutkimuksessani tarkastelen missä määrin venäläisten artistien heikko menestys selittyy yhdysvaltalaisten tavalla tulkita venäläisiä. Käsittelen aihetta Boris Grebenshikovin, Gorky Parkin ja Zvuki Mun kautta, jotka kaikki yrittivät läpimurtoa Yhdysvalloissa vuosien 1986–1991 välillä. Vaikka kyseiset artistit olivat tyyliltään hyvin erilaisia, oli suhtautuminen heihin Yhdysvalloissa todella samankaltaista. Keskeinen lähdeaineistoni -
Hip Hop Culture in a Small Moroccan City SMALL MORROCAN CITY
Seilstad: Hip Hop Culture in a Small Moroccan City SMALL MORROCAN CITY . Hip Hop Culture in a Small Moroccan City Brian Seilstad This paper explores Hip Hop culture by tracing its development from the global level through the Arab world to finally its manifestation in Morocco. Hip Hop culture is defined broadly as a wide range of artistic expressions—rap, graffiti, breakdancing, DJing, etc.—and also a mind-set or way of life. The focus on the Moroccan context starts at the national level, pointing out some of the key artists, issues Moroccan Hip Hop faces, and how this has been explored by scholars of Hip Hop. The paper focuses on an ethnographic exploration of Hip Hop culture in Ifrane, a small Moroccan city. An analytic approach suggested in Patti Lather’s 1991 book Getting Smart informs and expands the paper particularly by privileging the emancipatory power of Moroccan Hip Hop, creating a nuanced view of the impact of Hip Hop on the lives of youth in this small community. Finally, the paper employs a self-reflexive stance to critically view the author’s own position in the research project in order to name some of the challenges and contradictions of a white male American doing Hip Hop research in the Moroccan context. I was a Peace Corps Volunteer in Morocco from 2005-2007. During that time, I worked in a small town, Amizmiz, near Marrakesh that I came to see as “normal” in terms of infrastructure, schools, and people. Of course, I am using the term “normal” here ironically as “normal” is one of language’s powerful tools for the creation and maintenance of arbitrary, and often oppressive, cultural values and practices.1 When I moved back to Morocco to work as Al Akhawayn University (AUI) in 2010, I lived in another small town near Fes named Ifrane.