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Between the World and Me the World the Beautiful Struggle and Me Between the World and Me
--------------~----------------i r f I I BY TA-NEHISI COATES Between Between the World and Me the World The Beautiful Struggle and Me Between the World and Me ' 1. Ta-Nehisi Coates SPIEGEL & GRAU NEW YORK --- ----------- ------- ---------· ~---1;·_.,,. ! Between tlze World and Me is a work of nonfiction. Some names and identifying details have been changed. Copyright© 2015 byTa-Nehisi Coates For David and Kenyatta, All rights reserved. who believed Published in the United States by Spi~gel & Grau, an imprint ofRandom House, a division ofPenguin Random House LLC, NewYork. SPIEGEL & GRAU and the HOUSE colophon are registered trademarks ofPenguin Random House LLC. The title of this work is drawn from the poem "Between the World and Me" by Richard Wright, from Wliite Man Listen! copyright© 1957 by Richard Wright. Used by permission ofJohn Hawkins & Associates, Inc., and the Estate ofRichardWright. Grateful acknowledgment is made to the following for permission to reprint previously published material: Chris Calhoun Agency: Excerpt from "Ka' Ba" by Amiri Baraka, copyright© Estate ofAmiri Baraka. Reprinted by permission ofthe Chris Calhoun Agency. John Hawkins & Associates, Inc., and the Estate ofRichardWright: Excerpt from "Between the World and Me" from Mite Man Listen! by Richard Wright, copyright© 1957 by Richard Wright. Reprinted by permission ofJohn Hawkins & Associates, Inc., and the Estate ofRichard Wright. Sonia Sanchez: Excerpt from "Malcolm" from Shake Loose My Skin by Sonia Sanchez (Boston: Beacon Press, 1999), copyright © 1999 by Sonia Sanchez. Reprinted by permission ofSonia Sanchez. ISBN 978-0-8129-9354-7 eBook ISBN 978-0-679-64598-6 Printed in the United States ofAmerica on acid-free paper randomhousebooks.com spiegelandgrau.com 19 18 17 16 15 14 Book design by Caroline Cunningham And one morning while in the woods I stumbled suddenly upon the thing, Stumbled upon it in a grassy clearing guarded by scaly oaks and elms And the sooty details of the scene rose, thrusting themselves between the world and me. -
Tater Tot” Snodgrass, 3, Has Spent Most of His Life in the Hospital with Leukemia
Project1:Layout 1 6/10/2014 1:13 PM Page 1 Baseball: County rivals Citrus, CR meet on diamond/B1 SATURDAY TODAY CITRUSCOUNTY & next morning HIGH 84 Partly cloudy, LOW warm with a sea breeze. 61 PAGE A4 www.chronicleonline.com FEBRUARY 27, 2021 Florida’s Best Community Newspaper Serving Florida’s Best Community $1 VOL. 126 ISSUE 142 NEWS BRIEFS House to vote on relief bill Citrus County “The bill would allow the ad- designed to “quickly notch some Dems mull minimum wage plan rescue ministration to execute its plan to wins for the president’s buddies,” COVID-19 update change the course of the COVID- said Rep. Jason Smith, R-Mo., top According to the Florida ALAN FRAM boost the minimum wage. 19 pandemic,” it said. “And it Republican on the House Budget Department of Health, Associated Press A virtual party-line House vote would provide Americans and Committee. 29 positive cases were re- was expected on the COVID-19 re- their communities an economic That’s making the fight a show- ported in Citrus County WASHINGTON — A $1.9 trillion lief measure, which embodies bridge through the crisis.” down over which party voters will since the latest update. package aimed at helping the President Joe Biden’s push to Republicans have lined up reward for approving added Two new deaths were country rebuild from the pan- flush cash to individuals, busi- against the plan, calling it an over- federal spending to combat the reported, for a total of 397. demic seemed headed toward nesses, states and cities. -
Tom Jennings
12 | VARIANT 30 | WINTER 2007 Rebel Poets Reloaded Tom Jennings On April 4th this year, nationally-syndicated Notes US radio shock-jock Don Imus had a good laugh 1. Despite the plague of reactionary cockroaches crawling trading misogynist racial slurs about the Rutgers from the woodwork in his support – see the detailed University women’s basketball team – par for the account of the affair given by Ishmael Reed, ‘Imus Said Publicly What Many Media Elites Say Privately: How course, perhaps, for such malicious specimens paid Imus’ Media Collaborators Almost Rescued Their Chief’, to foster ratings through prejudicial hatred at the CounterPunch, 24 April, 2007. expense of the powerless and anyone to the left of 2. Not quite explicitly ‘by any means necessary’, though Genghis Khan. This time, though, a massive outcry censorship was obviously a subtext; whereas dealing spearheaded by the lofty liberal guardians of with the material conditions of dispossessed groups public taste left him fired a week later by CBS.1 So whose cultures include such forms of expression was not – as in the regular UK correlations between youth far, so Jade Goody – except that Imus’ whinge that music and crime in misguided but ominous anti-sociality he only parroted the language and attitudes of bandwagons. Adisa Banjoko succinctly highlights the commercial rap music was taken up and validated perspectival chasm between the US civil rights and by all sides of the argument. In a twinkle of the hip-hop generations, dismissing the focus on the use of language in ‘NAACP: Is That All You Got?’ (www.daveyd. -
Hip Hop from '48 Palestine
Social Text Hip Hop from ’48 Palestine Youth, Music, and the Present/Absent Sunaina Maira and Magid Shihade This essay sheds light on the ways in which a particular group of Palestin- ian youth offers a critical perspective on national identity in the colonial present, using hip hop to stretch the boundaries of nation and articulate the notion of a present absence that refuses to disappear. The production of identity on the terrain of culture is always fraught in relation to issues of authenticity, displacement, indigeneity, and nationalism and no more so than in the ongoing history of settler colonialism in Palestine. In the last decade, underground hip hop produced by Palestinian youth has grown and become a significant element of a transnational Palestinian youth culture as well as an expression of political critique that has begun to infuse the global Palestinian rights movement. This music is linked to a larger phenomenon of cultural production by a Palestinian generation that has come of age listening to the sounds of rap, in Palestine as well as in the diaspora, and that has used hip hop to engage with the question of Palestinian self- determination and with the politics of Zionism, colonial- ism, and resistance. Our research focuses on hip hop produced by Palestinian youth within the 1948 borders of Israel, a site that reveals some of the most acute contradictions of nationalism, citizenship, and settler colonialism. Through hip hop, a new generation of “1948 Palestinians” is construct- ing national identities and historical narratives in the face of their ongoing erasure and repression.1 We argue that this Palestinian rap reimagines the geography of the nation, linking the experiences of “ ’48 Palestinians” to those in the Occupied Territories and in the diaspora, and producing an archive of censored histories. -
Das Line-Up 2010 Ist Komplett
Medienmitteilung Orpund, 22. Juni 2010 ROYAL ARENA FESTIVAL ORPUND (BIEL) 20. – 21. AUGUST 2010 DAS LINE-UP 2010 IST KOMPLETT Nebst den bereits bekannten Acts um US-Superstar Ludacris vervollständigen die nimmermüden Evidence & Alchemist (USA) und die britischen Experimental-Rapper Foreign Beggars das diesjährige Line-Up des Royal Arena Festivals in Orpund bei Biel. Zahlreiche Schweizer Gruppen, die Arena Graffiti Gallery und das Royal B-Boy Battle sorgen für das Sahnehäubchen. LUDACRIS ist DAS Highlight des diesjährigen Jubiläum-Festivals! Rapper, Schauspieler und Entertainer; kaum einer ist so vielseitig und erfolgreich wie Ludacris. Mit dem Aufstieg des Dirty South-Raps erkannte Chris Bridges aka Ludacris seine Chance und setzte sich an die Spitze dieser Bewegung. Der Vorzeige-Entertainer wird am Royal Arena Festival sein neues Album „Battle of Sexes“ vorstellen und ist ein würdiger Abschluss des Festivals 2010. Auch die Auftritte von REFLECTION ETERNAL (Talib Kweli & Hi-Tek), die ihr neues Album „Revolutions per Minute“ im Gepäck haben und SIDO (mit Liveband) gehören zu den meisterwarteten Höhepunkten. Hits wie „Strangers (Paranoid)“, „Midnight Hour“, „Mein Block“, „Schlechtes Vorbild“, „Strassenjunge“ oder „Der Himmel soll warten“ werden das Römerareal zum Erzittern bringen. Dem Auftritt der BOOT CAMP CLIK wird schon heftig entgegen gefiebert. Kein Wunder gehören die Jungs aus Brooklyn trotz Underground-Status doch zu den beliebtesten Live- Acts der Schweiz. Boot Camp wurde 1992 in Brooklyn gegründet und transportiert seither ehrlichen Eastcoast-Rap in die ganze Welt. MASTA ACE & EDO G, CHALI 2NA & BREAKESTRA, PROP DYLAN, EVIDENCE & ALCHEMIST, FREEWAY & JAKE ONE, FOREIGN BEGGARS, SNOWGOONS FEAT. SABAC RED und LORD LHUS vervollständigen das brillant besetzte internationale Line-Up, wobei es auch einiges Neues zu entdecken gibt! Natürlich ist auch die Schweizer Rap-Szene vertreten: GREIS, SAMURAI, RED GEE & KALMOO (TNN), IVORY MC, LA DIXION, ZEDE, MXX, 9MM, DACHS, LO & LEDUC. -
Apollo Theater Announces Details of 2017 Winter/Spring Programs
APOLLO THEATER ANNOUNCES DETAILS OF 2017 WINTER/SPRING PROGRAMS The Apollo Theater Presents AFROPUNK Unapologetically Black: The African American Songbook Remixed A Celebration of Black Protest Music Creative and Musical Direction by Robert Glasper Featuring special guests Jill Scott, Bilal, Toshi Reagon and Staceyann Chin Saturday, February 25th, -7:30 p.m. Africa Now! Presented in Partnership with the World Music Institute Highlighting the Best of the African Music Scene Featuring Musical Force Mbongwana Star, desert punk / blues band, Songhoy Blues, Vocal Powerhouse Lura & House/Afropunk Sensation DJ Nenim Saturday, March 11th, - 8:00 p.m. The Return of WOW – The Apollo Theater presents Southbank Centre London’s WOW - Women of the World Festival A John F. Kennedy Center for the Performing Arts Production with Special Guests Esperanza Spalding and Dee Dee Bridgewater Under the musical direction of Terri Lyne Carrington Bringing Together Women Artists, Activists, and Leaders from Around the Globe Featuring an Evening with The Moth and a Tribute to Legendary Songstress Abbey Lincoln Thursday May 4th - Sunday May 7th The Return of the Theater’s Signature Programs Apollo Music Café, Apollo Comedy Club, Amateur Night at the Apollo, and Apollo Uptown Hall As well as ongoing Education and Community Outreach Programs (Harlem, NY – January 18, 2017) – The Apollo Theater today announced additional details for the Winter/Spring programs as part of its 2017 season. The new schedule includes a slate of dynamic programming encompassing festivals, and collaborations with artists and world class arts organizations as well as a wide array of thought-provoking and socially engaging community forums and a host a of education programs for students, young professionals and families. -
MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division -
New Album from Rap MC Talib Kweli 11-22
New Album from Rap MC Talib Kweli 11-22 Written by Robert ID2069 Wednesday, 02 November 2005 08:22 - One of hip-hop’s highly charged and talented rap MC’s Talib Kweli will release his new CD "Right About Now...," thru KOCH Records and Blacksmith Music on November 22nd. The album features fellow hip-hop and rap artists Jean Grae, Mos Def, Papoose and others also features 12 all new tracks. The first singles "Who Got It," produced by Kareem Riggs, and "Fly That Knot" are reacting simultaneously at urban radio right now. Kweli states, "''Right About Now'' sums up this project. Usually when my music comes out, the people hear where I was a year ago. This project represents where I am right now." Rap artist Talib Kweli is currently co-headlining The Breed Love Odyssey Tour (sponsored by PlayStation and House of Blues) with Mos Def. The national tour continues through the end of the year and also features Jean Grae, Pharoahe Monch and Medina Green. Kweli is a member of legendary groups Black Star (with Mos Def) and Reflection Eternal (with super producer Hi-Tek), as well as a successful solo artist, and has established himself as one of the most skilled artists in hip-hop today. Kweli ranks among the most respected MCs in the game -- even garnering reverence from multi-platinum artist Jay-Z in his song "Moment of Clarity" on the platinum release "The Black Album." With lyrics that range from the classic battle rap to emotionally charged, socially conscious commentary, Kweli is an intelligent wordsmith who has the knack for bridging the gaps between hip-hop fans of all types. -
Hip-Hop & the Global Imprint of a Black Cultural Form
Hip-Hop & the Global Imprint of a Black Cultural Form Marcyliena Morgan & Dionne Bennett To me, hip-hop says, “Come as you are.” We are a family. Hip-hop is the voice of this generation. It has become a powerful force. Hip-hop binds all of these people, all of these nationalities, all over the world together. Hip-hop is a family so everybody has got to pitch in. East, west, north or south–we come MARCYLIENA MORGAN is from one coast and that coast was Africa. Professor of African and African –dj Kool Herc American Studies at Harvard Uni- versity. Her publications include Through hip-hop, we are trying to ½nd out who we Language, Discourse and Power in are, what we are. That’s what black people in Amer- African American Culture (2002), ica did. The Real Hiphop: Battling for Knowl- –mc Yan1 edge, Power, and Respect in the LA Underground (2009), and “Hip- hop and Race: Blackness, Lan- It is nearly impossible to travel the world without guage, and Creativity” (with encountering instances of hip-hop music and cul- Dawn-Elissa Fischer), in Doing Race: 21 Essays for the 21st Century ture. Hip-hop is the distinctive graf½ti lettering (ed. Hazel Rose Markus and styles that have materialized on walls worldwide. Paula M.L. Moya, 2010). It is the latest dance moves that young people per- form on streets and dirt roads. It is the bass beats DIONNE BENNETT is an Assis- mc tant Professor of African Ameri- and styles of dress at dance clubs. It is local s can Studies at Loyola Marymount on microphones with hands raised and moving to University. -
A New Generation of Jazz from Japan Featuring Takuya Kuroda and Ensemble
Asia Society and The Japan Foundation Present A New Generation of Jazz From Japan Featuring Takuya Kuroda and Ensemble Takuya Kuroda (Hiroyuki Seo) Saturday, March 8, 8:00 P.M. Asia Society 725 Park Avenue at 70th Street New York City The performance will last approximately 75 minutes, with no intermission. Asia Society and The Japan Foundation Present A New Generation of Jazz From Japan Featuring Takuya Kuroda and Ensemble THE ENSEMBLE: Takuya Kuroda, trumpet Rashaan Carter, bass Adam Jackson, drums Corey King, trombone Keita Ogawa, percussion Takeshi Ohbayashi, piano/keyboards ABOUT THE ARTISTS TAKUYA KURODA (TRUMPET) Japanese trumpeter Takuya Kuroda is a veteran and mainstay of the New York Jazz scene. A 2006 graduate of The New School’s Jazz and Contemporary Music Program, Takuya has performed alongside some of the best musicians (Junior Mance, Jose James, Greg Tardy, Andy Ezrin, Jiro Yoshida, Akoya Afrobeat, Valery Ponomarev Big Band) at some of the city’s most renowned live music venues including Radio City Music Hall, The Blue Note, The Village Underground, Sweet Rhythm, 55 Bar, and SOBs. RASHAAN CARTER (BASS) Rashaan Carter is entrenched in the New York jazz scene and has worked with Benny Golson, Curtis Fuller and Louis Hayes, Wallace Roney, Marc Cary, Cindy Blackman, Doug and Jean Carn, Antoine Roney, Sonny Simmons, and many more. ADAM JACKSON (DRUMS) Adam Jackson has had the pleasure of working with platinum recording group Destiny’s Child, Ciara, Grammy-nominated Emily King, Frank McComb and on the Tony Award winning musical Memphis. COREY KING (TROMBONE) Since his arrival in New York, Corey King has performed and/or recorded with notable artists such as Dave Binney, Dr. -
Smifnwessun Jeru 17.12.11 DRESDEN Pressetext
krasscore concerts presents SMIF N WESSUN & JERU THA DAMAJA „90ies Rap X-Mas Special pt.2“ date: Sa. 17.12.2011 venue: Scheune Alaunstr. 36/40 01099 Dresden acts: Smif N Wessun (Brooklyn / NYC) Jeru tha Damaja (Brooklyn / NYC) special: AFTER-SHOW-PARTY mit DJ Access (New DEF / Dresden) Einlass: 21:00 Beginn: 22:00 Eintritt: 18 € im VVK (incl. After-Show-Party!) ohne Gebühren: in allen Harlem Stores, Supreme, Titus und Späti (Striesen) zzgl. VVK-Geb.: VVK bundesweit an allen VVK-Stellen, online unter www.krasscore.com/tickets und in Dresden z.B. bei Dresden Ticket, KoKa Florentinum & Schillergalerie allen SZ-Treffpunkten (Altmarktgalerie, Elbe Park, Karstadt, Seidnitz Center) & Sax-Ticket www.krasscore.com Seit 2001 kümmert sich die Crew von krasscore concerts um die Belange der Rap-Fans in Dresden & Umgebung. Seit letztem Jahr ist es nun fast schon Tradition, dass sich alle Ami-Rap Fans am letzten Samstag vor Weihnachten auf ein Highlight in dieser Sparte freuen können. Denn am 17.12. werden nach Group Home, Dilated Peoples, Lootpack, Black Milk, Sean Price, Brand Nubian, Camp Lo, Das EFX, Masta Ace und vielen anderen amerikanischen Rap- Größen endlich auch SMIF N WESSUN die Bühne der Scheune rocken - und das zum ersten Mal überhaupt in Dresden! Um die Sache richtig abzurunden, konnte der ebenfalls aus Brooklyn stammende JERU THA DAMAJA gewonnen werden, der nach über neun Jahren Pause Dresden erneut beehren wird. Und da Weihnachten nun mal die Zeit der Geschenke ist, möchte sich das Team von krasscore bei allen Gästen für die teilweise jahrelange Treue bedanken, weshalb die Karten für das X-mas-HipHop-Spektakel im Supreme & den Harlem Stores lediglich 18 Euro kosten. -
The Construction of Hip Hop Identities in Finnish Rap Lyrics Through English and Language Mixing
UNIVERSITY OF JYVÄSKYLÄ ”BUUZZIA, BUDIA JA HYVÄÄ GHETTOBOOTYA” - THE CONSTRUCTION OF HIP HOP IDENTITIES IN FINNISH RAP LYRICS THROUGH ENGLISH AND LANGUAGE MIXING A Pro Gradu Thesis in English by Elina Westinen Department of Languages 2007 HUMANISTINEN TIEDEKUNTA KIELTEN LAITOS Elina Westinen ”BUUZZIA, BUDIA JA HYVÄÄ GHETTOBOOTYA” - THE CONSTRUCTION OF HIP HOP IDENTITIES IN FINNISH RAP LYRICS THROUGH ENGLISH AND LANGUAGE MIXING Pro gradu –tutkielma Englannin kieli Joulukuu 2007 141 sivua Englannin kielen rooli ja asema maailmankielenä on kiistaton, ja Suomessakin englannin kieltä käytetään monilla eri aloilla. Juuriltaan amerikkalaisesta hip hop – kulttuuristakin on viime vuosina kasvanut globaali nuorisokulttuuri, joka on saavuttanut pysyvän aseman Suomessa. Tämän tutkimuksen tarkoituksena on selvittää, miten hip hop –identiteetti rakentuu suomalaisissa rap–lyriikoissa. Päätavoitteena on tutkia, millainen hip hop –identiteetti muodostuu lyriikoiden englannin kielen ja kielten sekoittumisen (suomi ja englanti) kautta. Tutkimuksen aineistona käytetään kolmen eri hip hop –artistin ja – ryhmän (Cheek, Sere & SP ja Kemmuru) lyriikoita 2000-luvulta. Niiden pääkieli on suomi, mutta kaikissa kappaleissa on myös englanninkielisiä elementtejä. Sanojen tarkkojen alkuperien sekä muun tiedon selvittämiseksi olen tarvittaessa konsultoinut itse artisteja. Analyysissä identiteetin käsitetään rakentuvan osaltaan kielen avulla. Identiteetti rakentuu diskursseissa, ja se on muuttuva ja monitahoinen. Aineiston analyysissä kielenvaihtelu ymmärretään joko a) kielten sekoittumisena, josta syntyy kokonaan uusi kieli/kielellinen tyyli tai b) koodinvaihtona, joka on merkityksellistä diskurssin paikallisella tasolla. Tulokset osoittavat, että rap–lyriikoissa pikemminkin sekoitetaan suomen ja englannin kieltä (language mixing) kuin vaihdetaan koodia. Näin ollen muodostuu uusi, suomalaisille rap–lyriikoille ominainen kieli ja tyyli. Usein hip hop -englannin sanoja ja fraaseja taivutetaan suomen ortografian, morfologian tai molempien mukaan. Joskus lyriikoissa esiintyy myös ns.