Econ Department Restructures Major
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Learnenglish Professionals
LearnEnglish Professionals INDIAN POP MUSIC AUDIOSCRIPT Listen to an interview with Mahesh Gupta, tabla player and DJ about his music. Optional exercise: Decide if these statements are true or false. (Answers below). 1. Mahesh thinks that the two styles of music he plays are completely different. 2. Rhythm is something fundamental to all music. 3. Mahesh thinks that live music doesn’t work in clubs. 4. He thinks that it is too early to try Djing at a classical music concert. 5. Indian audiences are far more lively than Western ones. 6. Mahesh is always looking for new experiences. Interviewer (I): Mahesh, you trained as a classical Indian musician, but now you spend most of your time playing records in nightclubs…they’re two very different things! Mahesh (M): Well, yes, they are…the two worlds are very different, but there is something that connects them… I: …and what’s that? M: Rhythm. An interest in rhythm. Rhythm is fundamental to everything that I do. Whether it’s the rhythmic section of a classical Indian raga, or some “Asian Underground” electronic beats in a club… I: And you mix the two things don’t you? M: Yes…I’ve played live tabla to electronic accompaniment in clubs in Europe. I: How has that gone down? M: Really well…I think people are getting bored of ordinary clubs and faceless DJs. Some live music is a great addition. I: And have you tried djing for a classical Indian audience on the other hand? M: No! I’m not quite sure the world’s ready for that yet…still, it’s an interesting idea! I: How are audiences for your music different in India and in Europe? M: Well, the classical audiences are far more sedate in Europe than in India. -
Illegal Immigrants and the Informal Economy: Worker and Employer Experiences in the Asian Underground Economy
ILLEGAL IMMIGRANTS AND THE INFORMAL ECONOMY: WORKER AND EMPLOYER EXPERIENCES IN THE ASIAN UNDERGROUND ECONOMY Trevor Jones and Monder Ram De Montfort University and Paul Edwards University of Warwick Abstract The informal economy and migration in advanced economies are two major political issues. This paper connects them through a study of the concrete experiences of workers, and the firms employing them, in the exemplary case of the clothing and catering sectors in a British city. This experience illustrates, notably through wages as low as £2 per hour, how people live through the tensions of economic pressures for cheap labor and political attempts to regulate its use. Illegal migration was a key reason for the survival of these firms, in supplying cheap and flexible labor. It was not, however, organized in any way by the firms, and they disliked it in principle while having little option but to employ illegals. Workers largely had to accept their lot. An approach to managing the issue through encouragement, rather than strict enforcement, is suggested. Introduction In 2003, we carried out research on behalf of the DTI into the use of illegal immigrant workers by Asian-owned firms in Birmingham and the West Midlands (Ram et al 2002a). Using trusted intermediaries, we were able to conduct twenty in-depth interviews with undocumented workers and a further twenty with their employers. Ten cases were drawn from the International Journal of Economic Development Volume Six, Number 2, pp. 98-119 2004 99 clothing sector, and ten from catering (embracing mainly curry houses and similar low-price restaurants). -
The Appropriation of Commodified African-American Culture by South Asian Youth in Britain
Performing 'Blackness': The Appropriation of Commodified African-American Culture by South Asian youth in Britain By Tilusha Ghelani An MPhil thesis submitted to Department of Cultural Studies and Sociology School of Social Sciences The University of Birmingham University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. «WI& &\*^ Jj r° 5 c .9 K> -* O -O ^o' X OD Abstract In recent years, African-American popular culture has been marketed for mass global consumption through music, film, television and fashion. Hip-hop culture and rap music has been at the forefront of this commodification process. The proliferation of these mass marketed forms coincided with the growing up of a generation of British Asian youth who lacked presence in the British media. In this thesis the global sell of 'blackness' is examined alongside the structural position and visibility of South Asian youth in Britain. The cultural moment when the appropriation of African-American culture (and particularly hip-hop) by South Asian youth proliferated, is researched through in-depth interviews with participants who were growing up at the time. The ways in which 'black' codes were used, their investment in these and the effect on their identities at a subjective level is also examined. -
Rove Greeted with Both Protest, Applause At
News | page 2 Gov. Doyle to speak at uwMrOSl UWM commencement The Student-Run Independent Newspaper at the University of Wisconsin-Milwaukee Rove greeted with both Semester news recap Sports | page 7 Men's basketball beats protest, applause at UWM UIC, loses to Loyola December NFL preview fringe | page 10 Waits' Glitter and Doom Live disappoints Turner Hall hosts Brett Dennen, Grace Potter & The Nocturnals Editorial | pa'ge 19 eBooks cheaper, more (Left) Karl Rove speaks in the Union's Wisconsin during the controversial lecture Thursday evening. (Right) A group of protesters rally convenient than regular outside of the Union's Wisconsin Room Thursday evening during the Karl Rove lecture. Post photos by Dustin Zarnikow textboks By Tom Swieciak Republicans and the Young past signs which indicated that wore masks depicting former News Editor America's Foundation. backpacks and large carry-ins President George W. Bush, while Obama must look [email protected] The speech turned out to be were not allowed. Attendees others held signs asking that to history in making well-attended, highly-organized also walked past a small group Rove be imprisoned. Afghanistan decision Republican political leg and secure, but proved rowdy of about 20 protesters belong Rove was introduced by for end Karl Rove spoke at UW- and raucous for those who ing to Students for a Democratic mer Wisconsin Congressman Milwaukee last Thursday eve came to voice their opposition Society, who were slowly walk Mark Neumann, who is currently ning in the Wisconsin Room at to Rove. ing in a circle, chanting qui the invitation of UWM's College Upon entry, attendees walked etly. -
Anti-Semite And
This Page Intentionally No Longer Blank Anti‐Semite and Jew JeanPaul Sartre [1944] Translated by George J. Becker Schocken Books ∙ New York Copyright © 1948 by Schocken Books Inc. Copyright renewed 1976 by Schocken Books Inc. All rights reserved under international and Pan‐American Copyright conventions. Published in the United States by Schocken Books Inc., New York. Distributed by Pantheon Books, a division of Random House Inc., New York. Originally published in France as Réflexions sur la Question Juive by Éditions‐Morihien. Copyright 1946 by Paul Morihien. Paris. Library of Congress Cataloging‐in‐Publication Data Sartre, Jean‐Paul. 1905— [Réflexions sur la Question Juive. English] Anti‐Semite and Jew / Jean‐Paul Sartre : Translated by George J. Becker : with a new preface my Michael Walzer. p. em. Previously published: New York, Schocken Books, 1948. ISBN 0‐8052‐1047‐4 I. Antisemitism. I. Title. DSI45.S2713 1995 305.8924—de20 95‐1929 CIP Manufactured in the United States of America First Schocken paperback edition published 1965. [‘95] 9 8 7 PREFACE Sometime in the second half of 1944, as the war in Europe drew to a close, Jean-Paul Sartre noticed that in discussions about postwar France, the imminent return of French Jews deported by the Nazis was never men tioned. Some of the speakers, he guessed, were not pleased by the prospect; others, friends of the Jews, thought it best to he silent. (Neither they nor Sartre knew how many of the deported Jews would never return.) Thinking about these discussions, Sartre decided to write a critique of anti-Semitism. Both the occasion and the subject of the critique were French. -
MTO 22.4: Thomas, Text and Temporality
Volume 22, Number 4, December 2016 Copyright © 2016 Society for Music Theory * Margaret E. Thomas NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.16.22.4/mto.16.22.4.thomas.php KEYWORDS: Tom Waits, rhythm, hypermeter, popular music, lyrics, rhythmic irregularity, voice ABSTRACT: This article considers phrase structure, hypermeter, and lyrics in three songs by Tom Waits, examining the particular ways that temporal regularity and irregularity interact with poetic structure, musical style, and vocal performance in Waits’s music. Subtle and ambiguous hypermetrical shifts are uncovered in “Green Grass,” whereas “Black Wings” utilizes conspicuously conflicting phrase lengths to enhance its textural meaning. In “Dead and Lovely” Waits creates temporal disturbances by shifting the placement of four-measure phrases relative to hypermetrical downbeats and upbeats. Received July 2016 Introduction [1.1] American singer-songwriter Tom Waits opens his 2004 song “Green Grass” with this quatrain: Lay your head where my heart used to be Hold the earth above me Lay down in the green grass Remember when you loved me The four lines—each a directive—draw the listener into the song as they unfurl a rambling narrative packed with evocative imagery, wistful sorrow, and intimacy. It is a bold opening, and it encapsulates much of what is distinctive about Waits: the subject matter is dark and perplexing, and the poetic structure is irregular and a bit playful. The lines have 9, 6, 6, and 7 syllables, respectively. Their rhyme scheme plays out in two layers: a literal aaba pattern (“be,” “me,” “grass,” “me”), and an elongated near-rhyme pattern in lines two and four (“above me” and “loved me”). -
Clangxboomxstea ... Vxtomxwaitsxxlxterxduo.Pdf
II © Karl-Kristian Waaktaar-Kahrs 2012 Clang Boom Steam – en musikalsk lesning av Tom Waits’ låter Forsidebilde: © Massimiliano Orpelli (tillatelse til bruk er innhentet) Konsertbilde side 96: © Donna Meier (tillatelse til bruk er innhentet) Trykk: Reprosentralen, Universitetet i Oslo III IV Forord Denne oppgaven hadde ikke vært mulig uten støtten fra noen flotte mennesker. Først av alt vil jeg takke min veileder, Stan Hawkins, for gode innspill og råd. Jeg vil også takke ham for å svare på alle mine dumme (og mindre dumme) spørsmål til alle døgnets tider. Spesielt i den siste hektiske perioden har han vist stor overbærenhet med meg, og jeg har mottatt hurtige svar selv sene fredagskvelder! Jeg skulle selvfølgelig ha takket Tom Waits personlig, men jeg satser på at han leser dette på sin ranch i «Nowhere, California». Han har levert et materiale som det har vært utrolig morsomt og givende å arbeide med. Videre vil jeg takke samboeren min og mine to stadig større barn. De har latt meg sitte nede i kjellerkontoret mitt helg etter helg, og all arbeidsroen jeg har hatt kan jeg takke dem for. Jeg lover dyrt og hellig å gjengjelde tjenesten. Min mor viste meg for noen år siden at det faktisk var mulig å fullføre en masteroppgave, selv ved siden av en krevende fulltidsjobb og et hektisk familieliv. Det har gitt meg troen på prosjektet, selv om det til tider var slitsomt. Til sist vil jeg takke min far, som gikk bort knappe fire måneder før denne oppgaven ble levert. Han var alltid opptatt av at mine brødre og jeg skulle ha stor frihet til å forfølge våre interesser, og han skal ha mye av æren for at han til slutt endte opp med tre sønner som alle valgte musikk som sin studieretning. -
Asian Creative Ind Report Text
Play it right Asian Creative Industries in London February 2003 Play it right Asian Creative Industries in London February 2003 copyright Greater London Authority February 2003 Published by Greater London Authority City Hall The Queen’s Walk London SE1 2AA www.london.gov.uk enquiries 020 7983 4000 minicom 020 7983 4458 ISBN 1 85261 443 9 Cover photography Aimimage Productions Aimimage Camera Company This document is printed on 75 per cent recycled paper, 25 per cent from sustainable forest management Research team Centre for Enterprise and Economic Development Research Middlesex University Business School Middlesex University Editorial services Eastbury Partnership Commissioned by GLA Economics Play it right Asian Creative Industries in London Mayor of London contents foreword by Ken Livingstone, Mayor of London v overview 1 introduction 5 Asian potential 5 Background and methodology 5 context 7 London’s creative industries 7 London’s Asian communities 7 London’s creative Asians 10 radio and television broadcasting 11 Key characteristics, trends and potential 11 Barriers and constraints 11 The London dimension 11 The Asian contribution 12 Development issues 13 film and video 14 Key characteristics, trends and potential 14 Barriers and constraints 14 The London dimension 15 The Asian contribution 15 Development issues 16 publishing 17 Key characteristics, trends and potential 17 Barriers and constraints 17 The London dimension 17 The Asian contribution 18 Development issues 20 music and performing arts 21 Key characteristics, trends and -
Tedde, Adriano Antonio
The Other America of Paul Auster, Jim Jarmusch and Tom Waits Author Tedde, Adriano Antonio Published 2019-10-23 Thesis Type Thesis (PhD Doctorate) School School of Hum, Lang & Soc Sc DOI https://doi.org/10.25904/1912/2054 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/388986 Griffith Research Online https://research-repository.griffith.edu.au The Other America of Paul Auster, Jim Jarmusch and Tom Waits Adriano Tedde, PhD candidate School of Humanities, Languages and Social Sciences Griffith University. Thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy March 2019 0 ABSTRACT This thesis employs popular culture texts (works of literature, film, and popular music) as companions to the understanding of contemporary America. It is about artworks that form a cultural resistance that enables the appreciation of social issues and cultural decline in the United States. The authors of these artworks are novelist Paul Auster, filmmaker Jim Jarmusch, and musician Tom Waits. Born between the late 1940s and the early 1950s, in different parts of the United States, Auster, Jarmusch, and Waits have produced a series of works that share strong similarities. In their novels, films, and songs, they portray an imagined “Other America” that is in stark contrast with the idyllic vision of the American Dream. Their America does not coincide with conventional middle-class values and goals of success, money and social upward mobility. It is an open, tolerant, and egalitarian country inhabited by marginalized “other Americans” who never escape from poverty and failure. -
Writing the Nation: a Concise Introduction to American Literature
Writing the Nation A CONCISE INTRODUCTION TO AMERIcaN LITERATURE 1 8 6 5 TO P RESENT Amy Berke, PhD Robert R. Bleil, PhD Jordan Cofer, PhD Doug Davis, PhD Writing the Nation A CONCISE INTRODUCTION TO AMERIcaN LITERATURE 1 8 6 5 TO P RESENT Amy Berke, PhD Robert R. Bleil, PhD Jordan Cofer, PhD Doug Davis, PhD Writing the Nation: A Concise Introduction to American Literature—1865 to Present is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorporated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a reasonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. -
Pj 23 -Burnt Offerings and Bloodstained Sands
BURNT OFFERINGS AND BLOODSTAINED SANDS PSYCHOPOLITICS AND THE SACRIFICE OF THE PHOENIX BY GYEORGOS CERES HATONN “dharma” A PHOENIX JOURNAL BURNT OFFERINGS AND BLOODSTAINED SANDS PSYCHOPOLITICS AND THE SACRIFICE OF THE PHOENIX ISBN 0-922356-33-5 First Edition Printed by America West Publishers, 1991 PHOENIX SOURCE DISTRIBUTORS, INC. P.O. BOX 27353 LAS VEGAS, NV 89126 Return to Menu Transcription of PJ's is an abundanthope.net project. -- PJ 23 -- page 1 COPYRIGHT POSITION STATEMENT AND DISCLAIMER The Phoenix Journals are intended as a “real time” commentary on current events, how current events relate to past events and the relationships of both to the physical and spiritual destinies of mankind. All of history, as we now know it, has been revised, rewritten, twisted and tweaked by selfishly motivated men to achieve and maintain control over other men. When one can understand that everything is comprised of “energy” and that even physical matter is “coalesced” energy, and that all energy emanates from God’s thought, one can accept the idea that the successful focusing of millions of minds on one expected happening will cause it to happen. If the many prophecies made over thousands of years are accepted, these are the “end times” (specifically the year 2000, the second millennium, etc.). That would put us in the “sorting” period and only a few short years from the finish line. God has said that in the end-times would come the WORD--to the four corners of the world--so that each could decide his/her own course toward, or away from, divinity--based upon TRUTH. -
Conrad's Modern Nomads
The Pennsylvania State University The Graduate School Department of English CONRAD’S MODERN NOMADS A Thesis in English by Sevda Altinkaynak Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May, 2005 The thesis of Sevda Altinkaynak was reviewed and approved* by the following: Sanford Schwartz Assoc. Professor of English Thesis Advisor Chair of Committee John Harwood Assoc. Professor of English Linda Woodbridge Professor of English Abdullah Yavas Professor of Business Administration Robert Caserio Professor of English Head of the Department of English *Signatures are on file in the Graduate School iii ABSTRACT Conrad juxtaposes Western culture with its native counterpart in order to formulate a vision that can guide the alienated individual who has lost his connection with his own nature, his family, and his society. Unlike many of his contemporaries who only describe this miserable human condition, Conrad offers guidance to rehabilitate the individual. His presentation of Western and native cultures focuses on their practices of cultural ritual, game, and gender relationships. His target is the Western mind, which needs to be decolonized by being reminded of the fundamental equality of all human beings. Once such a bond between the white and the native is established, each can learn and benefit from one another. His heroes who have come to accept the fundamental equality of all human beings are capable of achieving peace and tranquility in their lives. As a result of their interactions with the natives they are able to cherish a sense of belonging and sharing that can repair the damage caused by their painful experience of alienation.