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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
U.S. House of Representatives Committee on Energy and Commerce
U.S. HOUSE OF REPRESENTATIVES COMMITTEE ON ENERGY AND COMMERCE December 8, 2016 TO: Members, Subcommittee on Commerce, Manufacturing, and Trade FROM: Committee Majority Staff RE: Hearing entitled “Mixed Martial Arts: Issues and Perspectives.” I. INTRODUCTION On December 8, 2016, at 10:00 a.m. in 2322 Rayburn House Office Building, the Subcommittee on Commerce, Manufacturing, and Trade will hold a hearing entitled “Mixed Martial Arts: Issues and Perspectives.” II. WITNESSES The Subcommittee will hear from the following witnesses: Randy Couture, President, Xtreme Couture; Lydia Robertson, Treasurer, Association of Boxing Commissions and Combative Sports; Jeff Novitzky, Vice President, Athlete Health and Performance, Ultimate Fighting Championship; and Dr. Ann McKee, Professor of Neurology & Pathology, Neuropathology Core, Alzheimer’s Disease Center, Boston University III. BACKGROUND A. Introduction Modern mixed martial arts (MMA) can be traced back to Greek fighting events known as pankration (meaning “all powers”), first introduced as part of the Olympic Games in the Seventh Century, B.C.1 However, pankration usually involved few rules, while modern MMA is generally governed by significant rules and regulations.2 As its name denotes, MMA owes its 1 JOSH GROSS, ALI VS.INOKI: THE FORGOTTEN FIGHT THAT INSPIRED MIXED MARTIAL ARTS AND LAUNCHED SPORTS ENTERTAINMENT 18-19 (2016). 2 Jad Semaan, Ancient Greek Pankration: The Origins of MMA, Part One, BLEACHERREPORT (Jun. 9, 2009), available at http://bleacherreport.com/articles/28473-ancient-greek-pankration-the-origins-of-mma-part-one. -
Cage Fury Fighting Championships Thriving After Some Early Hits
Cage Fury Fighting Championships thriving after some early hits DAVID WEINBERG Staff Writer | Posted: Tuesday, August 4, 2015 10:30 am ATLANTIC CITY Lightweight fighter Stephen Regman pressed his forearm against Jordan Stiner's windpipe last month at Borgata Hotel Casino & Spa and squeezed as if he were trying to empty a bottle of suntan lotion. Stiner, from Hatfield, Pennsylvania, struggled to break the hold, but eventually tapped his hand against his thigh, prompting referee Liam Kerrigan to halt the scheduled threeround fight. Cage Fury thriving after some early hits Regman, of Watchung, climbed to the top of the 6 foothigh cage and flexed his biceps while a capacity Cage Fury Fighting Championships CEO crowd of 2,400 at Borgata's Events Center cheered. Rob Haydak watches the monitor at a fight last year at Borgata. Last month, Cage Fury A few feet away, Cage Fury Fighting Championships put on its 50th fight card. "Everything boils president and CEO Rob Haydak surveyed the scene down to the fighters, and I think we've done and smiled. a great job of finding the best talent and The fight was part of a special card for Vinelandbased guys who have good followings," Haydak CFFC, the area's only professional mixed martial arts said. organization. The show was CFFC's 50th, marking another milestone in what has been a remarkable comeback from disaster. "What they've been able to do is very impressive," New Jersey Athletic Control Board official Nick Lembo said Saturday. "Along with (New Yorkbased) Ring of Combat (which stages fights at Tropicana Casino and Resort), Cage Fury is the best regional promotion in North America." Up until a few years ago, it appeared as if CFFC would fall 45 shows short of 50. -
Heavy Metal and Classical Literature
Lusty, “Rocking the Canon” LATCH, Vol. 6, 2013, pp. 101-138 ROCKING THE CANON: HEAVY METAL AND CLASSICAL LITERATURE By Heather L. Lusty University of Nevada, Las Vegas While metalheads around the world embrace the engaging storylines of their favorite songs, the influence of canonical literature on heavy metal musicians does not appear to have garnered much interest from the academic world. This essay considers a wide swath of canonical literature from the Bible through the Science Fiction/Fantasy trend of the 1960s and 70s and presents examples of ways in which musicians adapt historical events, myths, religious themes, and epics into their own contemporary art. I have constructed artificial categories under which to place various songs and albums, but many fit into (and may appear in) multiple categories. A few bands who heavily indulge in literary sources, like Rush and Styx, don’t quite make my own “heavy metal” category. Some bands that sit 101 Lusty, “Rocking the Canon” LATCH, Vol. 6, 2013, pp. 101-138 on the edge of rock/metal, like Scorpions and Buckcherry, do. Other examples, like Megadeth’s “Of Mice and Men,” Metallica’s “For Whom the Bell Tolls,” and Cradle of Filth’s “Nymphetamine” won’t feature at all, as the thematic inspiration is clear, but the textual connections tenuous.1 The categories constructed here are necessarily wide, but they allow for flexibility with the variety of approaches to literature and form. A segment devoted to the Bible as a source text has many pockets of variation not considered here (country music, Christian rock, Christian metal). -
The Ultimate Fighter: the Aftermath'
Spike Presents New Original Online Show 'The Ultimate Fighter: The Aftermath' Spike.com Greenlights Digital Series Hosted By Amir Sadollah As Companion To The Most Successful Franchise In Network History NEW YORK, Sept. 22 -- Spike TV's hit series "The Ultimate Fighter" has propelled mixed martial arts into the American mainstream while becoming the most successful franchise in the network's history. With its tenth iteration having premiered to record ratings, Spike.com will launch the original series "The Ultimate Fighter: The Aftermath." Hosted by Amir Sadollah, the new show will be a video roundtable discussion about the on-air episode that precedes it, with the fighters that competed in an elimination bout on hand to talk about what went on, both inside and outside of the Octagon™, during "The Ultimate Fighter: Heavyweights." (Logo: http://www.newscom.com/cgi-bin/prnh/20060322/NYW096LOGO ) "'The Ultimate Fighter: Heavyweights' promises to be the show's biggest season yet, and Spike.com has enjoyed great success with its 'Aftermath' franchise," said Jon Slusser, SVP, Spike digital entertainment. "In combining the two, this new show will deliver exclusive content to our audience, and allow Spike viewers and members of our online community to interact with our signature franchise in new ways." Premiering Tuesday, September 22 on Spike.com, "The Ultimate Fighter: The Aftermath" will allow fans, for the first time in the show's history, to pose their questions about "The Ultimate Fighter: Heavyweights" directly to the fighters involved. UFC® president Dana White will be on hand for the premiere episode, and, over the course of the season, coaches Rashad Evans and Rampage Jackson, as well as the show's entire cast, including Kimbo Slice, Wes Sims, Marcus Jones, and Roy Nelson, will stop by to take part in "The Aftermath." "Ten seasons in, and 'The Ultimate Fighter' still packs as much of a punch as ever," said Brian J. -
Bassist Bryant Wilder's Fingerprints
NEWS MAGAZINE SHOP PLAYERS GEAR LEARN MEDIA WIN # ! + BASS CDS SUBSCRIBE NOW Bassist Bryant Wilder’s Get Cool Bass News! Fingerprints email address Subscribe By Bass Musician ! Published on August 18, 2020 ! Share " Tweet # Subscribe Bassist Robert Harper, Ride With Me Pluckwild Music Is thrilled to announce the release of the latest album from Bryant Wilder, Fingerprints, available everywhere on August 21, 2020. Fingerprints is an eclectic blend of incredible funk, salsa and gospel. # Interview with Bassist If you like Bruno Mars, you’ll love Fingerprints hit single, WtF ! Ricardo Martinez Trending (Where’s the Funk, featuring The Schtank Machine), an indisputable $ groove that will make you get to groovin’. BASS BOOKS ) The Beatles: Sgt Pepper’s Bass # 1 Bryant has held a bass since he was 14. Transcriptions ! The bassist, songwriter, arranger and producer has recorded and $ performed with artists such as Missy Elliot, The CD Hawkins Singers, BASS HISTORY ) Fretless Bass History New Kids On The Block and Shirley Caesar on many of the world # 2 greatest stages, including; Saturday Night Live, Radio City Music Hall, ! Interview with Bassist Carnegie Hall and Madison Square Garden (MSG). Fingerprints is his $ Mitch Friedman sophomore album, following The Right Track, which was released in BASS BOOKS ) 2004. Dream Theater Bass Transcriptions – Images # 3 And Words ! PluckWild Music is a production company devoted to making music $ that people want to hear. Productions blend live instrumentation and BASS BOOKS ) synthesizers that create intense low-end, head bobbing, feet tapping Tab Appendix – Grooving # songs that listeners hum for days. With Hybrid Techniques 4 ! Visit Bryant Wilder online at bryantwilder.com $ Interview with Bassist BASS GIVEAWAYS ) Teymur Phell The Summer Splash View More Music News Bass Musician Giveaway, 5 Sponsored by Elixir Strings ADVERTISEMENT You may also like.. -
UFC) Started in 1993 As a Mixed Martial Arts (MMA) Tournament on Pay‐Per‐View to Determine the World’S Greatest Martial Arts Style
Mainstream Expansion and Strategic Analysis Ram Kandasamy Victor Li David Ye Contents 1 Introduction 2 Market Analysis 2.1 Overview 2.2 Buyers 2.3 Fighters 2.4 Substitutes 2.5 Complements 3 Competitive Analysis 3.1 Entry 3.2 Strengths 3.3 Weaknesses 3.4 Competitors 4 Strategy Analysis 4.1 Response to Competitors 4.2 Gymnasiums 4.3 International Expansion 4.4 Star Promotion 4.5 National Television 5 Conclusion 6 References 1 1. Introduction The Ultimate Fighting Championship (UFC) started in 1993 as a mixed martial arts (MMA) tournament on pay‐per‐view to determine the world’s greatest martial arts style. Its main draw was its lack of rules. Weight classes did not exist and rounds continued until one of the competitors got knocked out or submitted to his opponent. Although the UFC initially achieved underground success, it was regarded more as a spectacle than a sport and never attained mainstream popularity. The perceived brutality of the event led to political scrutiny and pressure. Attacks from critics caused the UFC to establish a set of unified rules with greater emphasis placed on the safety. The UFC also successfully petitioned to become sanctioned by the Nevada State Athletic Commission. However, these changes occurred too late to have an impact and by 2001, the parent organization of the UFC was on the verge of bankruptcy. The brand was sold to Zuffa LLC, marking the beginning of the UFC’s dramatic rise in popularity. Over the next eight years, the UFC evolved from its underground roots into the premier organization of a rapidly growing sport. -
Downbeat.Com April 2011 U.K. £3.50
£3.50 £3.50 U.K. PRIL 2011 DOWNBEAT.COM A D OW N B E AT MARSALIS FAMILY // WOMEN IN JAZZ // KURT ELLING // BENNY GREEN // BRASS SCHOOL APRIL 2011 APRIL 2011 VOLume 78 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Maureen Flaherty ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, -
Bellator MMA Signs the Unmistakable Kimbo Slice to a Multi-Fight Contract
He’s Back! Bellator MMA signs the unmistakable Kimbo Slice to a multi-fight contract SANTA MONICA – (January 16, 2015) The legend of Kimbo is back on Spike. One of MMA’s most recognizable names, the wildly popular former internet sensation Kimbo Slice has signed an exclusive, multi-fight deal with Bellator MMA and will make his promotional debut later this year. Bellator officially announced the signing moments ago on Spike TV during the “Bellator: Pitbull vs. Straus” event when Bellator’s Jimmy Smith caught up with the Miami slugger via Skype (#technology). “I’ve been trying to keep busy as much as possible,” said Slice. “Been boxing over the past couple of years. My current record [as a boxer] is 7-0. Bellator is up there in the tops and they’re giving me the opportunity to fight on primetime and Spike TV. You know you can’t resist Spike TV. “You gotta think, I’m still hungry out there. I haven’t got my fill yet. Whoever steps up to the plate, they got to bring it. I’m comin to get it.” “Anyone who has been to a Kimbo Slice fight has felt a thick, electric, tension in the air,” said Bellator President Scott Coker. “The man has a proven knack for evoking excitement every time he steps inside a cage, and that fits perfectly with the kind of fights we aim to put together.” Born in the Bahamas and raised in Florida, Slice started his combat sports career on the streets of Miami, where he competed in unsanctioned prize fights on camera. -
20Questions Interview by David Brent Johnson Photography by Steve Raymer for David Baker
20questions Interview by David Brent Johnson Photography by Steve Raymer for David Baker If Benny Goodman was the “King of Swing” periodically to continue his studies over the B-Town and Edward Kennedy Ellington was “the Duke,” next decade, leading a renowned IU-based then David Baker could be called “the Dean big band while expanding his artistic and Hero and Jazz of Jazz.” Distinguished Professor of Music at compositional horizons with musical scholars Indiana University and conductor of the Smithso- such as George Russell and Gunther Schuller. nian Jazz Masterworks Orchestra, he is at home In 1966 he settled in the city for good and Legend performing in concert halls, traveling around the began what is now a world-renowned jazz world, or playing in late-night jazz bars. studies program at IU’s Jacobs School of Music. Born in Indianapolis in 1931, he grew up A pioneer of jazz education, a superlative in a thriving mid-20th-century local jazz scene trombonist forced in his early 30s to switch that begat greats such as J.J. Johnson and Wes to cello, a prolific composer, Pulitzer and Montgomery. Baker first came to Bloomington Grammy nominee and Emmy winner whose as a student in the fall of 1949, returning numerous other honors include the Kennedy 56 Bloom | August/September 2007 Toddler David in Indianapolis, circa 1933. Photo courtesy of the Baker family Center for the Performing Arts “Living Jazz Legend Award,” he performs periodically in Bloomington with his wife Lida and is unstintingly generous with the precious commodity of his time. -
Newsletter 15/07 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 15/07 DIGITAL EDITION Nr. 212 - September 2007 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 3 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 15/07 (Nr. 212) September 2007 editorial Hallo Laserdisc- und DVD-Fans, schen und japanischen DVDs Aus- Nach den in diesem Jahr bereits liebe Filmfreunde! schau halten, dann dürfen Sie sich absolvierten Filmfestivals Es gibt Tage, da wünscht man sich, schon auf die Ausgaben 213 und ”Widescreen Weekend” (Bradford), mit mindestens fünf Armen und 214 freuen. Diese werden wir so ”Bollywood and Beyond” (Stutt- mehr als nur zwei Hirnhälften ge- bald wie möglich publizieren. Lei- gart) und ”Fantasy Filmfest” (Stutt- boren zu sein. Denn das würde die der erfordert das Einpflegen neuer gart) steht am ersten Oktober- tägliche Arbeit sicherlich wesent- Titel in unsere Datenbank gerade wochenende das vierte Highlight lich einfacher machen. Als enthu- bei deutschen DVDs sehr viel mehr am Festivalhimmel an. Nunmehr siastischer Filmfanatiker vermutet Zeit als bei Übersee-Releases. Und bereits zum dritten Mal lädt die man natürlich schon lange, dass Sie können sich kaum vorstellen, Schauburg in Karlsruhe zum irgendwo auf der Welt in einem was sich seit Beginn unserer Som- ”Todd-AO Filmfestival” in die ba- kleinen, total unauffälligen Labor merpause alles angesammelt hat! dische Hauptstadt ein. Das diesjäh- inmitten einer Wüstenlandschaft Man merkt deutlich, dass wir uns rige Programm wurde gerade eben bereits mit genmanipulierten Men- bereits auf das Herbst- und Winter- offiziell verkündet und das wollen schen experimentiert wird, die ge- geschäft zubewegen. -
The Composer's Guide to the Tuba
THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love.