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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. -
2016-2017 Annual Report Tennessee State University Foundation 2016-2017 BETTER Annual Report
BETTER TOGETHER 2016-2017 Annual Report Tennessee State University Foundation 2016-2017 BETTER Annual Report 4 By the Numbers 6 From the Board Chair 7 From the President 8 Alumni: TOGETHER GIving Where it all Begins 10 Corporations: Generosity is Good Business Just as it takes professors, peers, family, 12 Foundations & Organizations: Missions Aligned and community to shape a student’s path, 14 Faculty, Staff and Friends: A Little Help from our Family & Friends the TSU Foundation relies on a mix of support to serve the University today and in the future. 16 Scholarship Awards 20 Legacy Society Every segment of the donor population serves 21 Giving Societies a special purpose, and every donor plays a 28 Honor Roll of Donors unique role in the great things we achieve. 42 Memorial Gifts 45 Financial Overview 47 Ways to Give We are better together. BY THE NUMBERS 2016-2017 Fundraising Highlights Overall Giving AlumniAlumni GivingGiving $3,569,327.78 8,523 $1,608,150.93 TOTAL CONTRIBUTIONS GIFTS RECEIVED TOTAL ALUMNI GIVING $419 3,542 $271 2,384 AVERAGE GIFT SIZE DONORS AVERAGE GIFT SIZE ALUMNI DONORS $1,008 652 $675 506 AVERAGE ANNUAL CONSECUTIVE DONORS: AVERAGE ANNUAL CONSECUTIVE DONORS: CONTRIBUTION PER DONOR FIVE YEARS OR MORE CONTRIBUTION PER DONOR FIVE YEARS OR MORE $2 to $300,000 1,160 $2 to $300,000 509 GIFT RANGE NEW DONORS GIFT RANGE NEW DONORS 5 $332,500 NEW PLANNED GIFT TOTAL PLANNED GIFT COMMITMENTS COMMITMENTS DR. GLENDA GLOVER ‘74 PRESIDENT TENNESSEE STATE UNIVERSITY Your gifts create pathways of It’s powerful to see how the opportunity for TSU, and those parts work together to create the the University serves. -
Living Colour Live August 19, 2005 – the Bowery Collection MVD Audio
Sleazegrinder http://sleazegrinder.blogspot.com/2008/12/living-colour-live-august-19-... SEARCH BLOG FLAG BLOG Next Blog» Create Blog | Sign In SUNDAY, DECEMBER 21, 2008 Living Colour Live August 19, 2005 – The Bowery Collection MVD Audio Part of a series of the CBGB OMFUG Masters series, featuring shows recorded at the now-defunct Bowery club , Live August 19, 2005 documents the reunited Living Colour revisiting and paying tribute to the then-endangered (and since closed) stage it often invaded in the 80s. Proceeds go the Hilly Kristal Foundation for Musicians and Artists (whatever that is). That in itself might be enough to make this worth spending your moolah on, but to say it helps to be a fan of the band is an understatement. The group is in fine form, having not lost a step during the breakup years – singer Corey Glover in particular sounds as powerful as he did in 1988. But if you’re not already into LC’s politically-charged riff metal, this performance is unlikely to appeal, especially given speed demon guitarist Vernon Reid’s tendency to s-t-r- e-t-c-h w-a-y o-u-t, whether the tune warrants it or not. (Sacred Ground didn’t really need to be 13 minutes long, did it?) But for those who do dig it, all the hits are here ( Open Letter to a Landlord , Love Rears Its Ugly Head , Middle Man , Funny Vibe , Cult of Personality ), plus songs that are either deep album cuts or filler, depending on your perspective. Everything is given fiery readings, with sound that’s equal to a good bootleg. -
Bodyslam from the Top Rope: Unequal Bargaining Power and Professional Wrestling's Failure to Unionize Stephen S
University of Miami Law School Institutional Repository University of Miami Entertainment & Sports Law Review 1-1-1995 Bodyslam From the Top Rope: Unequal Bargaining Power and Professional Wrestling's Failure to Unionize Stephen S. Zashin Follow this and additional works at: http://repository.law.miami.edu/umeslr Part of the Entertainment and Sports Law Commons Recommended Citation Stephen S. Zashin, Bodyslam From the Top Rope: Unequal Bargaining Power and Professional Wrestling's Failure to Unionize, 12 U. Miami Ent. & Sports L. Rev. 1 (1995) Available at: http://repository.law.miami.edu/umeslr/vol12/iss1/3 This Article is brought to you for free and open access by Institutional Repository. It has been accepted for inclusion in University of Miami Entertainment & Sports Law Review by an authorized administrator of Institutional Repository. For more information, please contact [email protected]. Zashin: Bodyslam From the Top Rope: Unequal Bargaining Power and Professi UNIVERSITY OF MIAMI ENTERTAINMENT & SPORTS LAW REVIEW ARTICLES BODYSLAM FROM THE TOP ROPE: UNEQUAL BARGAINING POWER AND PROFESSIONAL WRESTLING'S FAILURE TO UNIONIZE STEPHEN S. ZASHIN* Wrestlers are a sluggish set, and of dubious health. They sleep out their lives, and whenever they depart ever so little from their regular diet they fall seriously ill. Plato, Republic, III I don't give a damn if it's fake! Kill the son-of-a-bitch! An Unknown Wrestling Fan The lights go black and the crowd roars in anticipation. Light emanates only from the scattered popping flash-bulbs. As the frenzy grows to a crescendo, Also Sprach Zarathustra' pierces the crowd's noise. -
SPARTAN DAILY Vol.96, No
Nothing like the sun 'Colour' deafens What's On Deck Environmental studies instructor Frank The thunderous music of 'Living Colour' The special baseball section 'On Deck' Schiavo's home masters solar power previews Big West conference play sent shock waves through the Event Center Page 6 See pullout inside Page 7 SPARTAN DAILY Vol.96, No. 35 Published Since 1934 Tuesday, March 19, 1991 Moulder fire probe to query SJSU staffers By John Besse Stein said the Boccardo law firm has Daily staff writer filed claims with the State Board of Con- 'He ( San Francisco fire chief) has some pretty bad things An attorney representing several SJSU MOULDER HALL trol for all seven of the injured students to say about students injured in the Moulder Hall fire whom it represents. One claim has been fire preparations at the university.' said he will be calling upon SJSU staff /i_dWr tdP(.4thu rejected by the board, and the other six are Jack Stein, members to participate in discovery pro- "pending," he said. attorney ceedings in April. of security people, sprinklers The claim that has already been heard and fire firm are Abdul Moquim. Cuong Pham, Jack Stein, an attorney from the James escapes in the hall. by the board was one of $10 million filed and the other three were from Santa Clara Boccardo Law Firm who represents six of on behalf of Brian Young, a student from Valerie Audoit, Sylvain Mehaute, Eric County. the injured Moulder residents, said the "I have retained a former San Francisco Honolulu who suffered bums on more Prost-Bouche and Marie Thoniel. -
The Truth About Elvis” Movie Website from Back in March 2007 – This Is Reproduced Here for Educational Purposes Only
THIS IS TEXT FROM THE RESEARCH SECTION OF “THE TRUTH ABOUT ELVIS” MOVIE WEBSITE FROM BACK IN MARCH 2007 – THIS IS REPRODUCED HERE FOR EDUCATIONAL PURPOSES ONLY. PLEASE CHECK OUT THE GROUP ON FACEBOOK FOR MORE INFORMATION OR TO HELP WITH THE SEARCH FOR THE TRUTH. https://www.facebook.com/groups/48484318100/ OR MICKEY'S WEBSITE AT http://elvisconspiracy.webs.com/ Cheers & TCB! I'm going to post sightings, leads and research here. I'll post this information as I go along, so you can see some of the information I'm using to move forward. FROM ME: WE REALLY APPRECIATE THE EMAILS WE RECEIVE FROM FANS. LET US KNOW IF YOU HAVE ANY INTERESTING NEWS. THANKS, ADAM 3/14/07 Hi Adam, I finally had the chance to read "Elvis & Me by Priscilla and thought I'd share a little info with you. As I read the book, I really find it hard to believe that Priscilla would put some of the information she has in the book if Elvis was alive. There is quite a bit of their intimacy moments in the book and knowing what I've read about the two of them, it's hard to believe Priscilla even sharing this information. All I know is that I have very mixed feelings about the whole Elvis thing. Is it a money gimmick and/or just to keep Elvis and themselves in the limelight light. I do know that people are out to make a buck off of him. Some of those addresses on People Search are phony and they shouldn't be allowed to rip people off by using his middle initial and date of birth. -
Mirror, Mediator, and Prophet: the Music Indaba of Late-Apartheid South Africa
VOL. 42, NO. 1 ETHNOMUSICOLOGY WINTER 1998 Mirror, Mediator, and Prophet: The Music Indaba of Late-Apartheid South Africa INGRID BIANCA BYERLY DUKE UNIVERSITY his article explores a movement of creative initiative, from 1960 to T 1990, that greatly influenced the course of history in South Africa.1 It is a movement which holds a deep affiliation for me, not merely through an extended submersion and profound interest in it, but also because of the co-incidence of its timing with my life in South Africa. On the fateful day of the bloody Sharpeville march on 21 March 1960, I was celebrating my first birthday in a peaceful coastal town in the Cape Province. Three decades later, on the weekend of Nelson Mandela’s release from prison in February 1990, I was preparing to leave for the United States to further my studies in the social theories that lay at the base of the remarkable musical movement that had long engaged me. This musical phenomenon therefore spans exactly the three decades of my early life in South Africa. I feel privi- leged to have experienced its development—not only through growing up in the center of this musical moment, but particularly through a deepen- ing interest, and consequently, an active participation in its peak during the mid-1980s. I call this movement the Music Indaba, for it involved all sec- tors of the complex South African society, and provided a leading site within which the dilemmas of the late-apartheid era could be explored and re- solved, particularly issues concerning identity, communication and social change. -
For Preview Only WHO KILLED ELVIS?
By Craig Sodaro © Copyright 2002, PIONEER DRAMA SERVICE, INC. PERFORMANCE LICENSE The amateur and professional acting rights to this play are controlled by PIONEER DRAMA SERVICE, INC., P.O. Box 4267, Englewood, Colorado 80155, without whose permission no performance, reading or presentation of any kind may be given. On all programs and advertising this notice must appear: 1. The full name of the play 2. The full name of the playwright/composer/arranger 3. The following credit line: “Produced by special arrangement with Pioneer Drama Service, Inc., Englewood, Colorado.” copYinG OR REPRODUCING ALL OR ANY parT OF THIS BOOK IN ANY MANNER IS STRICTLY FORBIDDEN BY LAW. All other rights in this play, including those of professional production, radio broadcasting and motion picture rights, are controlled by PIONEER DRAMA SERVICE, INC. to whom all inquiries should be addressed. For preview only WHO KILLED ELVIS? By CRAIG SODARO cast of characters (In Order of Speaking) MORTY .............................................a small-time thief SHORTY ...........................................his partner SARI �������������������������������������������������a high school student ANGIE ..............................................another NICK �������������������������������������������������another NORMAN ..........................................another ALICE ...............................................a suburban housewife DANI �������������������������������������������������her teenage daughter HORACE ..........................................Alice’s -
BOOKER T. WASHINGTON and PREPARATORY CITIZENSHIP by JASON E. VILLARREAL (Under the Direction of Alexander Kaufman)
BOOKER T. WASHINGTON AND PREPARATORY CITIZENSHIP by JASON E. VILLARREAL (Under the Direction of Alexander Kaufman) Abstract Booker T. Washington is traditionally portrayed as a pioneer in industrial education. This is not an inaccurate view, but to summarize his life with that description alone reveals a hasty and narrow reading of his work. In truth, his educational program was but a means to the greater end of citizenship as usefulness to one’s fellowmen; but because the mass of the people in a large republic are not and cannot ordinarily be engaged in genuine political activity, Washington promoted a civic ethic designed to endow the common people with the skills and habits necessary for tending to their daily needs while simultaneously preparing them to assume the graver responsibilities of politics. His emphasis on technical training, the nobility of work, and the development of virtue in simplicity and self-restraint therefore served a dual purpose. In making the people prudent and useful to themselves and to each other in their private and social lives, Washington hoped to create a pool of conscientiously effective citizens from which future statesmen could be drawn. Index words: Black Political Thought, Booker T. Washington, Citizenship, Education, Labor, Usefulness, Work BOOKER T. WASHINGTON AND PREPARATORY CITIZENSHIP by JASON E. VILLARREAL B.A., California State University-San Bernardino, 2005 M.A., University of Georgia, 2010 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Athens, Georgia 2017 c 2017 Jason E. Villarreal All Rights Reserved BOOKER T. -
Blackgrooves.Org » the Paris Concert
blackgrooves.org » The Paris Concert http://blackgrooves.org/?p=983 Go! Home About Contact Subscribe AAAMC Home The Paris Concert April 9th, 2009 Title: The Paris Concert (DVD) Artist: Living Colour Label: Inakustik Catalog No.: INAK 6474 DVD Release date: 26 September 2008 Title: The Paris Concert (CD) Artist: Living Colour Label: Inakustik Catalog No.: INAK 9093 CD Release date: 1 January 2009 Since their formation in 1983, Living Colour has been reclaiming the right to rock for black artists everywhere. Even before the release of their 1988 debut album, Vivid , the band members were actively involved in the Black Rock Coalition, a non-profit organization founded by journalist Greg Tate, producer Konda Mason, and Living Colour guitarist Vernon Reid as a means of supporting and sponsoring black rock artists. Consisting of Reid, Will Calhoun (drums), Corey Glover (vocals), and Doug Wimbish (bass)-the latter of whom replaced Muzz Skillings in 1992-Living Color has successfully overcome a number of obstacles faced by black rock artists seeking to break into the commercial music industry. The very release of Vivid by Epic Records was one such success. The album quickly hit number 6 on the Billboard 200 . Soon after, MTV picked up “Cult of Personality,” which was awarded both MTV’s Best New Artist Award and a Grammy Award for Best Hard Rock Performance in 1989. More than twenty years later, “Cult of Personality” remains immensely popular and has recently featured in the game Guitar Hero III: Legends of Rock , so now you too can enjoy Living Colour’s experience of having to play a really great song over, and over, and over again. -
Mannenberg": Notes on the Making of an Icon and Anthem1
African Studies Quarterly | Volume 9, Issue 4 | Fall 2007 "Mannenberg": Notes on the Making of an Icon and Anthem1 JOHN EDWIN MASON Abstract: Abdullah Ibrahim's [Dollar Brand] composition "Mannenberg" was an instant hit, when it was released on the 1974 album, Mannenberg is Where It's Happening. This paper shows that the song is a product of Ibrahim's efforts to find an authentically South African mode of expression within the jazz tradition, blending South African musical forms -- marabi, mbaqanga, and langarm--with American jazz-rock fusion. It quickly became an icon of South African jazz, defining the genre both within the country and overseas. At the same time, the South African coloured community invested the song with their own meaning, transforming it into an an icon of their culture and of themselves. In the 1980s, "Mannenberg" had a second life as an anthem of the struggle against apartheid. Some called it South Africa's "unofficial national anthem." Once again, the song acquired a new meaning, this time through the efforts of musicians, especially Basil Coetzee and Robbie Jansen, who made it the musical centerpiece of countless anti- apartheid rallies and concerts. As the paper traces this narrative, it is constantly aware of the profound influence of African-American culture and political thought on Ibrahim and the coloured community as a whole. Introduction On a winter's day in 1974, a group of musicians led by Abdullah Ibrahim (or Dollar Brand, as most still knew him) entered a recording studio on Bloem Street, in the heart of Cape Town, and emerged, hours later, having changed South African music, forever. -
Play and Irony in the Kwaito Music of Post-Apartheid South Africa
Play and Irony in the Kwaito Music of Post-Apartheid South Africa Tuulikki Pietilä “Kwaito” is a form of South African youth music that emerged at the time when the oppressive apartheid regime was coming to an end in the early 1990s. While both popular press and academic critics, as well as older generations, were morally concerned by the apparent hedonism and lack of socio-political awareness inherent in kwaito, township youth embraced it as an expressive mode of popular music that reflected their life and aspirations. This chapter investigates the humorous, comedic, and ironic aspects of early kwaito, arguing that they were central factors in young people’s passionate attachment to it. The subsequent evolution of kwaito and changes in society led some fans to lose their interest in kwaito; for them, contemporary kwaito is not a source of enjoyment anymore, but rather a source of parody. “Kwaito” is a popular music genre that emerged in South Africa in the early 1990s. It combined foreign musical elements from hip hop, house, and ragamuffin with earlier South African music styles, such as kwela, mbaqanga, marabi, and bubblegum music (Boloka 98-99; Coplan 12; Steingo, “South African” 336). Even though a musical hybrid, kwaito fast became accepted as a distinctive expressive mode of youth in the black townships of South Africa. It is foremost a dance music with an ambience of fun and enjoyment. Its uninhibited indulgence in sparsely clad beautiful bodies, flamboyant fashions, and sensual and skillful dancing was suddenly and widely visible, as controls over media were loosened in the post-apartheid era.