The Media Coverage of Chicago‟S Public Housing Transformation
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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. -
The Decline of New York City Nightlife Culture Since the Late 1980S
1 Clubbed to Death: The Decline of New York City Nightlife Culture Since the Late 1980s Senior Thesis by Whitney Wei Fulfillment of the Requirements For the Degree of BA Economic and Social History Barnard College of Columbia University New York, New York 2015 2 ii. Contents iii. Acknowledgement iv. Abstract v. List of Tables vi. List of Figures I. Introduction……………………………………………………………………7 II. The Limelight…………………………………………………………………12 III. After Dark…………………………………………………………………….21 a. AIDS Epidemic Strikes Clubland……………………..13 b. Gentrification: Early and Late………………………….27 c. The Impact of Gentrification to Industry Livelihood…32 IV. Clubbed to Death …………………………………………………………….35 a. 1989 Zoning Changes to Entertainment Venues…………………………36 b. Scandal, Vilification, and Disorder……………………………………….45 c. Rudy Giuliani and Criminalization of Nightlife………………………….53 V. Conclusion ……………………………………………………………………60 VI. Bibliography………………………………………………………………..…61 3 Acknowledgement I would like to take this opportunity to thank Professor Alan Dye for his wise guidance during this thesis process. Having such a supportive advisor has proven indispensable to the quality of this work. A special thank you to Ian Sinclair of NYC Planning for providing key zoning documents and patient explanations. Finally, I would like to thank the support and contributions of my peers in the Economic and Social History Senior Thesis class. 4 Abstract The purpose of this thesis is to investigate the impact of city policy changes and the processes of gentrification on 1980s nightlife subculture in New York City. What are important to this work are the contributions and influence of nightlife subculture to greater New York City history through fashion, music, and art. I intend to prove that, in combination with the city’s gradual revanchism of neighborhood properties, the self-destructive nature of this after-hours sector has led to its own demise. -
DCDC Strategic Trends Programme: Future Operating
Strategic Trends Programme Future Operating Environment 2035 © Crown Copyright 08/15 Published by the Ministry of Defence UK The material in this publication is certified as an FSC mixed resourced product, fully recyclable and biodegradable. First Edition 9027 MOD FOE Cover B5 v4_0.indd 1-3 07/08/2015 09:17 Strategic Trends Programme Future Operating Environment 2035 First Edition 20150731-FOE_35_Final_v29-VH.indd 1 10/08/2015 13:28:02 ii Future Operating Environment 2035 20150731-FOE_35_Final_v29-VH.indd 2 10/08/2015 13:28:03 Conditions of release The Future Operating Environment 2035 comprises one element of the Strategic Trends Programme, and is positioned alongside Global Strategic Trends – Out to 2045 (Fifth Edition), to provide a comprehensive picture of the future. This has been derived through evidence-based research and analysis headed by the Development, Concepts and Doctrine Centre, a department within the UK’s Ministry of Defence (MOD). This publication is the first edition of Future Operating Environment 2035 and is benchmarked at 30 November 2014. Any developments taking place after this date have not been considered. The findings and deductions contained in this publication do not represent the official policy of Her Majesty’s Government or that of UK MOD. It does, however, represent the view of the Development, Concepts and Doctrine Centre. This information is Crown copyright. The intellectual property rights for this publication belong exclusively to the MOD. Unless you get the sponsor’s authorisation, you should not reproduce, store in a retrieval system or transmit its information in any form outside the MOD. -
~'7/P64~J Adviser Department of S Vie Languages and Literatures @ Copyright By
FREEDOM AND THE DON JUAN TRADITION IN SELECTED NARRATIVE POETIC WORKS AND THE STONE GUEST OF ALEXANDER PUSHKIN DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By James Goodman Connell, Jr., B.S., M.A., M.A. The Ohio State University 1973 Approved by ,r-~ ~'7/P64~j Adviser Department of S vie Languages and Literatures @ Copyright by James Goodman Connell, Jr. 1973 To my wife~ Julia Twomey Connell, in loving appreciation ii VITA September 21, 1939 Born - Adel, Georgia 1961 .•..••. B.S., United States Naval Academy, Annapolis, Maryland 1961-1965 Commissioned service, U.S. Navy 1965-1967 NDEA Title IV Fellow in Comparative Literature, The University of Georgia, Athens, Georgia 1967 ••••.•. M.A. (Comparative Literature), The University of Georgia, Athens, Georgia 1967-1970 NDFL Title VI Fellow in Russian, The Ohio State University, Columbus, Ohio 1969 •.•••.• M.A. (Slavic Languages and Literatures), The Ohio State University, Columbus, Ohio 1970 .•...•. Assistant Tour Leader, The Ohio State University Russian Language Study Tour to the Soviet Union 1970-1971 Teaching Associate, The Ohio State University, Columbus, Ohio 1971-1973 Assistant Professor of Modern Foreign Languages, Valdosta State College, Valdosta, Georgia FIELDS OF STUDY Major field: Russian Literature Studies in Old Russian Literature. Professor Mateja Matejic Studies in Eighteenth Century Russian Literature. Professor Frank R. Silbajoris Studies in Nineteenth Century Russian Literature. Professors Frank R. Silbajoris and Jerzy R. Krzyzanowski Studies in Twentieth Century Russian Literature and Soviet Literature. Professor Hongor Oulanoff Minor field: Polish Literature Studies in Polish Language and Literature. -
Trading Rabbit Ears for Wi-Fi: Aereo, the Public Performance Right, and How Broadcasters Want to Control the Business of Internet TV
Vanderbilt Journal of Entertainment & Technology Law Volume 16 Issue 4 Issue 4 - Summer 2014 Article 5 2014 Trading Rabbit Ears for Wi-Fi: Aereo, the Public Performance Right, and How Broadcasters Want to Control the Business of Internet TV Jacob Marshall Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Communications Law Commons, and the Internet Law Commons Recommended Citation Jacob Marshall, Trading Rabbit Ears for Wi-Fi: Aereo, the Public Performance Right, and How Broadcasters Want to Control the Business of Internet TV, 16 Vanderbilt Journal of Entertainment and Technology Law 909 (2020) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol16/iss4/5 This Note is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. Trading Rabbit Ears for Wi-Fi: Aereo, the Public Performance Right, and How Broadcasters Want to Control the Business of Internet TV ABSTRACT Aereo, a start-up company that allows consumers to stream free, over-the-air broadcasts to their phones and computers, seems rather innocuous. Yet the major broadcasting networks have attempted to shut Aereo down since its inception, claiming that Aereo infringes on their copyright. Aereo claims that its unique technology-where each user is assigned their own, individual antenna-ensures that Aereo does not infringe on the broadcasters'publicperformance rights. The United States Supreme Court has granted certiorarion the matter. -
Rush's Lyrical Rhetoric of Oppression and Liberation
Relevant Rhetoric, Vol. 7 (2016): Rush’s Lyrical Rhetoric of Oppression and Liberation Rush’s Lyrical Rhetoric of Oppression and Liberation: Extending “Freedom Songs” into the Progressive Rock Genre Brett A. Barnett Associate Professor of Communication Slippery Rock University of Pennsylvania [email protected] Relevant Rhetoric, Vol. 7 (2016): Rush’s Lyrical Rhetoric of Oppression and Liberation 2 On April 18, 2013, members of the Canadian power trio Rush were among the artists inducted into the Rock and Roll Hall of Fame, a well-deserved honor that was long overdue. Formed in August 1968, Rush would join artists like Pink Floyd and Yes in shaping the music movement that would come to be categorized as “progressive” rock, or “prog rock,” a rock music sub-genre that Rush. Photo credit: By Enrico Frangi (Uploaded by User:Jonasz) [Public domain], via Wikimedia Commons also developed in the late 1960s.1 As reflected in the music of Rush, progressive rock involves more advanced musical forms, including an expanded instrumental palette and increased com- plexity in terms of instrumentation, as well as more sophisticated lyrical themes ranging from unconventional subject matter to increased social commentary. After years playing on the Toronto music scene, Rush formed their own label, Moon Records, and shortly thereafter released their first album, Rush, in 1974.2 Rush’s self-titled debut album did not garner much attention until Cleveland’s WMMS (100.7 FM), widely regarded as one of the most influential rock radio stations in North America, -
The Marriage of the Goth and EDM/Rave Scenes
The Marriage of the Goth and EDM/Rave Scenes The intersection between the goth and EDM scenes is nothing new, and does not seem to be going away. From the onset of rave culture and tours, which really began in the UK, the artists and DJs who were involved had the tenacity, energy and rebellious attitudes that are also characteristic of the modern goth subculture. Among the most notable of these artists are The Prodigy. If you look at the themes of the very first series of NYC “Club Kids” parties, Michael Alig’s Disco 2000 nights, put on at The Limelight, Peter Gatien’s then-notorious nightclub, a pattern emerges. The commonality among those events (besides copious drug use), was their hosts’ and guests’ individualistic, expressive costumes, which often crossed into the gory, dark and freaky realm. In the mid-to late ’90s and into the 2000s, raves began to incorporate similar themes. Today, it is not unusual to see partygoers sporting gothic attire and accessories, or even straight-up frightening getups. In the local club scene, for 15 years Providence’s Club Hell was a beacon of joy for alternative nightclub enthusiasts, both for its solid array of dance and rock music, and its S&M-inspired vibe. Hell was a place where you could participate in flogging (or sensual whippings) on stage, if you so chose. If you weren’t into that, however, that was totally cool, too. In fact, when it closed in late 2011, the club was praised for its acceptance of people of all ages, backgrounds, sexual orientations and styles of dress. -
The Electronic Music Scene's Spatial Milieu
The electronic music scene’s spatial milieu How space and place influence the formation of electronic music scenes – a comparison of the electronic music industries of Berlin and Amsterdam Research Master Urban Studies Hade Dorst – 5921791 [email protected] Supervisor: prof. Robert Kloosterman Abstract Music industries draw on the identity of their locations, and thrive under certain spatial conditions – or so it is hypothesized in this article. An overview is presented of the spatial conditions most beneficial for a flourishing electronic music industry, followed by a qualitative exploration of the development of two of the industry’s epicentres, Berlin and Amsterdam. It is shown that factors such as affordable spaces for music production, the existence of distinctive locations, affordability of living costs, and the density and type of actors in the scene have a significant impact on the structure of the electronic music scene. In Berlin, due to an abundance of vacant spaces and a lack of (enforcement of) regulation after the fall of the wall, a world-renowned club scene has emerged. A stricter enforcement of regulation and a shortage of inner-city space for creative activity in Amsterdam have resulted in a music scene where festivals and promoters predominate. Keywords economic geography, electronic music industry, music scenes, Berlin, Amsterdam Introduction The origins of many music genres can be related back to particular places, and in turn several cities are known to foster clusters of certain strands of the music industry (Lovering, 1998; Johansson and Bell, 2012). This also holds for electronic music; although the origins of techno and house can be traced back to Detroit and Chicago respectively, these genres matured in Germany and the Netherlands, especially in their capitals Berlin and Amsterdam. -
The U.S. Fighting Man's Code, DA PAM 21-71
EXECUTIVE ORDER 10631 CODE OF CONDUCT FOR MEMBERS OF THE ARMED FORCES OF THE UNITED STATES By virtue of the authority vested in me as President of the United States; and as Com mander in Chief of the Armed Forces of the United States, I hereby prescribe the Code of Conduct for Members of the armed Forces of the United States"which is attached to this order and hereby made a part thereof. Every member of the Armed Forces of the United States is expected to measure up to the standards embodied in this Code of Conduct .while he is in combat or in captivity. To ensure achievement of these standards, each member of the Armed Forces liable to capture shall be provided with specific training and instruction designed to better equip him to counter and withstand all enemy efforts against him, and shall be fully instructed as to the behavior and obligations expected of him during comlmt or captivity. The Secretary of Defense (and the Secretary of the Treasury with respect to the Coast Guard exeept when it is serving as part of the Navy) shall take such action as is deemed neeessary to implement this order and to disseminate and make the said Code known to all members of the Armed Forces of the United States. THI'J WHITE HOUSE August 17, 1955 For sale by tbe Superintendent of Documents, U,S. Government Printing Office Washington 25, D,C, . Price 50 cents '.:. 9 am. at1,5\m~~icanJf.9titt~'9 tUat1-~ senJe in the I Jorces}l?lit~Q,9lla.s~n1,gcounh~an6ol\t"" UJ~ # [lfC;9m'ry'~r~/~09lue n'l\ 'lfe in t~i,-6ifens.e. -
Leibniz on Contingency and Freedom: a Molinism Friendly Account
Leibniz on Contingency and Freedom: A Molinism Friendly Account Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Juan Garcia, MA Graduate Program in Philosophy The Ohio State University 2018 Dissertation Committee: Tamar Rudavsky, Advisor Julia Jorati, Advisor Lisa Downing William Taschek © 2018 by Juan Garcia All rights reserved. Abstract: Some philosophical ideas, like metals, reveal their most interesting qualities when stretched. As I see it, the intelligibility and plausibility of the concept of contingency, as a condition for freedom, is stretched significantly by three of Leibniz’s major philosophical commitments: i) a robust version of the principle of sufficient reason; ii) strong theological commitments like divine foreknowledge and robust providence; and iii) Leibniz’s distinctive thesis of complete individual concepts – the doctrine that every substance has an individual concept which includes predicates denoting everything that will ever happen to it. Many interpreters think that these Leibnizian commitments stretch contingency to the breaking point: Leibniz cannot retain a genuine type of contingency. In this dissertation, I argue that these interpreters are mistaken and that Leibniz can accommodate a plausible type of contingency. Two important steps in reaching this conclusion are the following. First, I identify a kind of explanation of rational action according to which the explanans does not necessitate the explanandum. Second, I develop an account that makes sense of individual concepts including contingent truths as contingent. This account both sheds new light on some of Leibniz’s central views on contingency and freedom, and expands our substantive understanding of contingency as a condition for freedom. -
The Spectator and Dialogues of Power in Early Soviet Theater By
Directed Culture: The Spectator and Dialogues of Power in Early Soviet Theater By Howard Douglas Allen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Sociology in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Victoria E. Bonnell, Chair Professor Ann Swidler Professor Yuri Slezkine Fall 2013 Abstract Directed Culture: The Spectator and Dialogues of Power in Early Soviet Theater by Howard Douglas Allen Doctor of Philosophy in Sociology University of California, Berkeley Professor Victoria E. Bonnell, Chair The theater played an essential role in the making of the Soviet system. Its sociological interest not only lies in how it reflected contemporary society and politics: the theater was an integral part of society and politics. As a preeminent institution in the social and cultural life of Moscow, the theater was central to transforming public consciousness from the time of 1905 Revolution. The analysis of a selected set of theatrical premieres from the Bolshevik Revolution in 1917 to the end of Cultural Revolution in 1932 examines the values, beliefs, and attitudes that defined Soviet culture and the revolutionary ethos. The stage contributed to creating, reproducing, and transforming the institutions of Soviet power by bearing on contemporary experience. The power of the dramatic theater issued from artistic conventions, the emotional impact of theatrical productions, and the extensive intertextuality between theatrical performances, the press, propaganda, politics, and social life. Reception studies of the theatrical premieres address the complex issue of the spectator’s experience of meaning—and his role in the construction of meaning. -
Lemmy Kilmister Was Born in Stoke-On-Trent
Lemmy Kilmister was born in Stoke-on-Trent. Having been a member of the Rocking Vicars, Opal Butterflies and Hawkwind, Lemmy formed his own band, Motörhead. The band recently celebrated their twenty-fifth anniversary in the business. Lemmy currently lives in Los Angeles, just a short walk away from the Rainbow, the oldest rock ’n’ roll bar in Hollywood. Since 1987, Janiss Garza has been writing about very loud rock and alternative music. From 1989 to1996 she was senior editor at RIP, at the time the World’s premier hard music magazine. She has also written for Los Angeles Times, Entertainment Weekly, and New York Times, Los Angeles. ‘From heaving burning caravans into lakes at 1970s Finnish festivals to passing out in Stafford after three consecutive blowjobs, the Motörhead man proves a mean raconteur as he gabbles through his addled heavy metal career résumé’ Guardian ‘As a rock autobiography, White Line Fever is a keeper’ Big Issue ‘White Line Fever really is the ultimate rock & roll autobiography . Turn it up to 11 and read on!’ Skin Deep Magazine First published in Great Britain by Simon & Schuster UK Ltd, 2002 This edition first published by Pocket, 2003 An imprint of Simon & Schuster UK Ltd A Viacom Company Copyright © Ian Kilmister and Janiss Garza, 2002 This book is copyright under the Berne Convention. No reproduction without permission. All rights reserved. The right of Ian Kilmister to be identified as author of this work has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act, 1988. Simon & Schuster UK Ltd Africa House 64-78 Kingsway London WC2B 6AH www.simonsays.co.uk Simon & Schuster Australia Sydney A CIP catalogue record for this book is available from British Library Paperback ISBN 0-671-03331-X eBook ISBN 978-1-47111-271-3 Typeset by M Rules Printed and bound in Great Britain by Cox & W yman Ltd, Reading, Berks PICTURE CREDITS The publishers have used their best endeavours to contact all copyright holders.