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Montana Kaimin, February 14, 2003 Students of the Niu Versity of Montana, Missoula
University of Montana ScholarWorks at University of Montana Associated Students of the University of Montana Montana Kaimin, 1898-present (ASUM) 2-14-2003 Montana Kaimin, February 14, 2003 Students of The niU versity of Montana, Missoula Let us know how access to this document benefits ouy . Follow this and additional works at: https://scholarworks.umt.edu/studentnewspaper Recommended Citation Students of The nivU ersity of Montana, Missoula, "Montana Kaimin, February 14, 2003" (2003). Montana Kaimin, 1898-present. 4668. https://scholarworks.umt.edu/studentnewspaper/4668 This Newspaper is brought to you for free and open access by the Associated Students of the University of Montana (ASUM) at ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Kaimin, 1898-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. www.kaimin.org MONTANA KAIMIN Kaimin is a Salish word for paper Friday February 14, 2003 — Issue 62 Faculty Senate amends class policies Ed. dean Class auditing, passed by the Faculty Senate the Faculty Senate, said that doing that is already in place.” Thursday afternoon. the changes will be added into Lori Morin, assistant dean announces pass-no pass The proposal to not allow next year’s academic catalog of the School of Pharmacy, was rules to change students to switch to audit but she couldn’t say for sure in support of the proposal. after 15 days of instruction how current students will be “We have students who resignation Natalie Storey was made by deans and associ- affected. -
Sal Capone – Intro for Schools
Introduction to Sal Capone: The Lamentable Tragedy Of for teachers and students From the playwright, Omari Newton: I hope this story makes you all think, laugh and feel inspired to create your own art. Sal Capone is a story about people your age chasing their dreams and fighting to survive some of the pressure associated with growing up. It's also a love letter to Hip Hop culture. I hope you enjoy our show. From the director, Diane Roberts: Theatre is a tactile medium. You feel things as much as you hear and see them. Sal Capone’s characters are ordinary people caught up in extraordinary circumstances. I hope you will be moved by how all of the elements of drama, music, video and movement come together to make you feel the triumphs and tragedies of these potent characters. What is the play about? Sal Capone: The Lamentable Tragedy Of (let’s call it Sal from here-on for short) is about many things and we hope, in watching the play, you will find meanings and themes that we haven’t yet realized are there. In particular, we hope that you will find something about you in the play. The story follows the journeys of a group of friends and Hip Hop crew who are dealing with the fatal police shooting of their friend; a talented but troubled young DJ (inspired by true events that have occurred in Montreal, Toronto, New York, San Francisco and London, UK in recent years and many others that don’t reach mass media – see links in “Resources” section). -
The Question Concerning the Cooptation of the Sundance Film Festival: an Analysis of the Commodification of Independent Cinema
Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 12-2009 The Question Concerning the Cooptation of the Sundance Film Festival: An Analysis of the Commodification of Independent Cinema Matt Dee Cottrell Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the Sociology Commons Recommended Citation Cottrell, Matt Dee, "The Question Concerning the Cooptation of the Sundance Film Festival: An Analysis of the Commodification of Independent Cinema" (2009). All Graduate Theses and Dissertations. 485. https://digitalcommons.usu.edu/etd/485 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THE QUESTION CONCERNING THE COOPTATION OF THE SUNDANCE FILM FESTIVAL: AN ANALYSIS OF THE COMMODIFICATION OF INDEPENDENT CINEMA by Matt Dee Cottrell A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE in Sociology Approved: _______________________ _______________________ Christy Glass Richard S. Krannich Major Professor Committee Member _______________________ _______________________ Richley Crapo Byron R. Burnham Committee Member Dean of Graduate Studies UTAH STATE UNIVERSITY Logan, Utah 2009 ii Copyright Matt Dee Cottrell 2009 All Rights Reserved iii ABSTRACT The Question Concerning the Cooptation of the Sundance Film Festival: An Analysis of the Commodification of Independent Cinema by Matt Dee Cottrell, Master of Science Utah State University, 2009 Major Professor: Dr. Christy Glass Department: Sociology, Social Work & Anthropology The Sundance Film Festival has transformed from being a fringe festival to a leading showcase for independent cinema. -
Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy
Illinois State University ISU ReD: Research and eData Theses and Dissertations 3-2-2017 On My Grind: Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy Evan Nave Illinois State University, [email protected] Follow this and additional works at: https://ir.library.illinoisstate.edu/etd Part of the African American Studies Commons, Creative Writing Commons, Curriculum and Instruction Commons, and the Educational Methods Commons Recommended Citation Nave, Evan, "On My Grind: Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy" (2017). Theses and Dissertations. 697. https://ir.library.illinoisstate.edu/etd/697 This Dissertation is brought to you for free and open access by ISU ReD: Research and eData. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. ON MY GRIND: FREESTYLE RAP PRACTICES IN EXPERIMENTAL CREATIVE WRITING AND COMPOSITION PEDAGOGY Evan Nave 312 Pages My work is always necessarily two-headed. Double-voiced. Call-and-response at once. Paranoid self-talk as dichotomous monologue to move the crowd. Part of this has to do with the deep cuts and scratches in my mind. Recorded and remixed across DNA double helixes. Structurally split. Generationally divided. A style and family history built on breaking down. Evidence of how ill I am. And then there’s the matter of skin. The material concerns of cultural cross-fertilization. Itching to plant seeds where the grass is always greener. Color collaborations and appropriations. Writing white/out with black art ink. Distinctions dangerously hidden behind backbeats or shamelessly displayed front and center for familiar-feeling consumption. -
Deconstructing "Chappelle's Show": Race, Masculinity,And Comedy As Resistance Lyndsey Lynn Wetterberg Minnesota State University - Mankato
Minnesota State University, Mankato Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato Theses, Dissertations, and Other Capstone Projects 2012 Deconstructing "Chappelle's Show": Race, Masculinity,and Comedy As Resistance Lyndsey Lynn Wetterberg Minnesota State University - Mankato Follow this and additional works at: http://cornerstone.lib.mnsu.edu/etds Part of the African American Studies Commons, Ethnic Studies Commons, and the Women's Studies Commons Recommended Citation Wetterberg, Lyndsey Lynn, "Deconstructing "Chappelle's Show": Race, Masculinity,and Comedy As Resistance" (2012). Theses, Dissertations, and Other Capstone Projects. Paper 133. This Thesis is brought to you for free and open access by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Theses, Dissertations, and Other Capstone Projects by an authorized administrator of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. i DECONSTRUCTING “CHAPPELLE’S SHOW”: RACE, MASCULINITY, AND COMEDY AS RESISTANCE by LYNDSEY L.WETTERBERG A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS IN GENDER AND WOMEN’S STUDIES MINNESOTA STATE UNIVERSITY MANKATO, MINNESOTA JULY 2012 ii Deconstructing Chappelle’s Show: Race, Masculinity, and Comedy as Resistance Lyndsey Wetterberg This thesis (or dissertation) has been examined and approved by the following members of the thesis (or dissertation) committee. Dr. Helen Crump, Advisor Committee Member, Dr. Shannon Miller Committee Member, Dr. Kristen Treinen iii Abstract “Chappelle’s Show” is a sketch comedy series that ran from 2003-2004 and that was created by and starred comedian Dave Chappelle. -
Biggie Smalls Interview Transcript
Biggie Smalls Interview Transcript Trussed Cornellis mullion scrutinizingly. Afferent and unspent Wilbur deplore almost digestively, though Neron prearranging his dervish whisks. Sandor is physically diphthongic after detractive Derrin tare his mitosis jeeringly. Mind you, quit these artists. And with the cops otherwise occupied, the violence went to another level. Just small wonder he would. Or we learn sound manner a camp of women complaining about the sexism and misogyny. Tupac, Man die, and Agnant were arrested. Interviews Detective Russell Poole PBS Lapd Blues. He never talked about fellow rapper Biggie Smalls In 1994. Puffy and politician named george floyd in montreal as i had his theory of guys over up and tupac had access for a defendant. Funkmaster Flex & Big Kap BiggieTupac Live Freestyle. So small boy entertainment group biggie smalls. One stove the primary stipulations is common all concrete means of investigation have been exhausted. Albany: State University of New York Press. But not like, Oreos? My ass too tired. Yet air was no denying that manual had been accomplished was impressive. New CSS Logical Properties! Stop dying it, frying it. Firefox now that it has been six months? Larsa pippen speaks out biggie smalls and transcripts. He has spoken in case previous interview of guilty feelings relating to. What do our next night at other, compelling and interviews that made out of childhood, talking about its final. It appeared there was another scandal in the brewing here. He was another lot younger, but really wanted to learn what music. Sizemore says in leaked documents including a transcript is a 2004 interview with the FBI that must met sue at an AA meeting and saw to. -
Hold Ya Head Notorious Big Free Mp3 Download Notorious B.I.G
hold ya head notorious big free mp3 download Notorious B.I.G. Christopher George Latore Wallace (May 21, 1972 ? March 9, 1997), also known as Biggie Smalls (after a stylish gangster in 1975's Let's Do it Again) and Frank White (from the film King of New York), but best known as The Notorious B.I.G. (Business Instead of Game and, since his death, Books Instead of Guns), was a popular Brooklyn-born rapper of the mid-1990s. His career was overshadowed by the Bad Boy/Death Row Records feud during his life, but following his untimely death in 1997, The Notorious B. His career was overshadowed by the Bad Boy/Death Row Records feud during his life, but following his untimely death in 1997, The Notorious B.I.G. has been celebrated as a hip-hop legend. He is remembered for his storytelling ability, talented freestyling ability, and his easy to understand yet complex flow. The Notorious B.I.G. is considered by many to be one of the greatest rappers of all time. Christopher Wallace was born in the Bedford-Stuyvesant section of Brooklyn, New York. His father, George Latore, left the family shortly after his birth, and his mother, Voletta, was a schoolteacher. While he is known to have dropped out of school and become a drug dealer, his mother has claimed that the family was not poor and that Wallace exaggerated his childhood situation in his lyrics. His best childhood friend and inspiration was a chubby kid who went by the name of Lil Punisha. -
“My Logo Is Branded on Your Skin”: the Wu-Tang Clan, Authenticity, Black Masculinity, and the Rap Music Industry
“MY LOGO IS BRANDED ON YOUR SKIN”: THE WU-TANG CLAN, AUTHENTICITY, BLACK MASCULINITY, AND THE RAP MUSIC INDUSTRY By Ryan Alexander Huey A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of History – Master of Arts 2014 ABSTRACT “MY LOGO IS BRANDED ON YOUR SKIN”: THE WU-TANG CLAN, AUTHENTICITY, BLACK MASCULINITY, AND THE RAP MUSIC INDUSTRY By Ryan Alexander Huey The rap group, the Wu-Tang Clan came out of a turbulent period of time in both the rap music industry and American society in the early 1990s. Lawsuits over sampling in rap music forced producers to rethink the ways they made music while crack cocaine and the War on Drugs wreaked havoc in urban communities across the nation, as it did in the Clan’s home borough of Staten Island, New York. Before the formation of the group, Gary “GZA” Grice, had managed to land a recording contract as a solo artist, but his marketing was mismanaged and his career stagnated. He returned in 1992 as one of the nine member collective, who billed themselves as kung fu movie buffs melding low-fi, eerie productions with realistic raps about ghetto life. Drawing from the vibrant underground rap scene of New York City in the 1970s and 1980s, Brooklyn’s rich African American chess tradition, the teachings of the Five Percenters, and the cult following for Hong Kong action cinema, the Clan became a huge hit across the country. Each member fashioned a unique masculine identity for himself, bolstering their hardcore underground image while pushing the boundaries of acceptable expressions of manhood in rap music. -
Liner Notes Schooltime Performance Series
teacher resource guide schooltime performance series liner notes about the in the performance spotlight An interview with Paige Hernandez Liner Notes is an innovative hip-hop production at how advanced the deejaying that mixes all-time classic hits from the genre along What is your role in the show? really is in terms of a DJ’s skill with the beats of today. Live music, poetry, powerhouse I am the creator. I also essentially produce and direct it set. It’s not just picking songs to vocals and a beautiful multimedia design combine on and I curate the play list for the evening or for any given dance to. It’s a really calculated stage to wow audiences. The show aims to educate Liner Notes performance. look at the beats, rhythm, tempos and entertain, to make connections between different and dynamics. We wanted to do musical artists, and to bring together multiple generations What was the genesis of this show? that with live music. of hip-hop fans, from people who grew up listening to The genesis of the show was having a conversation The Roots are a huge inspiration A Tribe Called Quest to Gen Z teens who bop to Drake. with my husband, Kris Funn, who also plays upright bass in the show. We are both lovers of hip hop and for us — the hip-hop band out of This interactive, multimedia performance is framed through I guess I can say we are old school hip-hop lovers, Philly. We grew up with that music. the concept of liner notes—the booklets that once came ’80s and ’90s. -
Of Crisis Tarot Crisis P
The Students’ Voice Kingsborough Community College APRIL 2020 The City University of New York WHAT KCC ARE ANTHEON - P. 4 FINAL BASEBALL KCC KCC ART FANTASY VII STUDENTS SEASON: JOURNAL REVIEW CANCELED WATCHING? P. 5 P. 8 P.11 P. 9 Service in Times of SYD SYLVAIR: GUIDANCE OF CRISIS TAROT CRISIS P. 6 TOP-10 HIP-HOP PRODUCERS P. 7 ROB MANFRED: TO TRUST OR NOT? P.10 E-SPORTS: CALL OF DUTY Read more on p.4 P.12 The Students’ Voice April 2020 Editor-In-Chief Saul De Leon Letter From The Editor By Saul De Leon Managing Editor this crisis. As a team, we realize the severity Ellis Santoro of the situation and are taking the same safety precautions. However, this crisis will not stop Production Editor us from keeping our fellow classmates informed Violetta Brin of what is going behind the scenes. Now that is not to say that this transition has been easy for us. We all have families and loved ones that we Business Manager are concerned for and are supporting them in Jamal Simon every way possible. These are tough times, but letting fear dictate our decisions is the last thing Staff Writers we want to do. Life goes on and we have people that count on us. Matt Hirsch I would like to thank everyone on the Scepter team for fighting through this and not letting Abigail Ryan this crisis stop the circulation of this paper. The Odaine White resilience that this team has displayed in the past Michelle Minero Photo provided by Saul De Leon several weeks has kept me encouraged as Editor in Chief and optimistic for the future of this Brandon Coaxum Even though Kingsborough has shut down paper. -
The Otaku Lifestyle: Examining Soundtracks in the Anime Canon
THE OTAKU LIFESTYLE: EXAMINING SOUNDTRACKS IN THE ANIME CANON A THESIS IN Musicology Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF MUSIC by MICHELLE JURKIEWICZ B.M., University of Central Missouri, 2014 Kansas City, Missouri 2019 © 2019 MICHELLE JURKIEWICZ ALL RIGHTS RESERVED THE OTAKU LIFESTYLE: EXAMINING SOUNDTRACKS IN THE ANIME CANON Michelle Jurkiewicz, Candidate for the Master of Music Degree University of Missouri-Kansas City, 2019 ABSTRACT Japanese animation, or anime, has been popular around the globe for the last sixty years. Anime has its own fan culture in the United States known as otaku, or the obsessive lifestyle surrounding manga and anime, which has resulted in American production companies creating their own “anime.” Japanese filmmakers do not regard anime simply as a cartoon, but instead realize it as genre of film, such as action or comedy. However, Japanese anime is not only dynamic and influential because of its storylines, characters, and themes, but also for its purposeful choices in music. Since the first anime Astro Boy and through films such as Akira, Japanese animation companies combine their history from the past century with modern or “westernized” music. Unlike cartoon films produced by Disney or Pixar, Japanese anime do not use music to mimic the actions on-screen; instead, music heightens and deepens the plot and emotions. This concept is practiced in live-action feature films, and although anime consists of hand-drawn and computer-generated cartoons, Japanese directors and animators create a “film” experience with their dramatic choice of music. -
Rap Music and Entrepreneurialism Stuart Lucas Tully Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2009 Selling the ghetto: rap music and entrepreneurialism Stuart Lucas Tully Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the History Commons Recommended Citation Tully, Stuart Lucas, "Selling the ghetto: rap music and entrepreneurialism" (2009). LSU Master's Theses. 113. https://digitalcommons.lsu.edu/gradschool_theses/113 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. SELLING THE GHETTO: RAP MUSIC AND ENTREPRENEURIALISM A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The Department of History by Stuart Tully B.S. Mississippi College, 2006 December 2009 DEDICATION To Coach Carnell Washington, I learned from the best ii ACKNOWLEDGEMENTS Throughout the writing of this thesis, I drew heavily upon the guidance and support of several people. Following God, I would like to thank my parents and family. To my father, for being a titan of editing, and my mother, for her grammatical expertise; they have been invaluable. Likewise, I must thank Maximus for his constant love and devotion, as well his ability to endlessly listen to my musings without question or a confused glance.