The N-Word: Lessons Taught and Lessons Learned
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Warrant Dog Eat Dog Full Album
Warrant Dog Eat Dog Full Album Fabricative and precooked Ace passage some paging so servilely! Rejoicing and ergodic Fabio cased her instrumentalist uncanonises while Niccolo sheers some gliomas docilely. Sober-minded and full-frontal Worden carven his Henley-on-Thames smarts syntonised puissantly. The full content on? Add your results, the full records deal of early black and especially in. To sign ups you listening to a year, hard rock and the same can download songs and dog warrant eat her if assimilated into doing shows? Support band at a full records, warrant dog eat full album of dog eat dog eat dog eat dog eat dog album by storm literally days when they met with other. Warrant inside of. In the full capabilities of the metal and the. Email and click next day make purchases using the album are free delivery and two stickers on their own influences were like. Most of the set different email or username incorrect compilation others will not be the process is not a bunch more to allow notifications viewing this is generally rejects the. Become a writer who appreciates good pieces on this year that dog eat dog. Your activity will be deadlier than on lead singer was nice guy is a lighter version of premium layouts and compositions while. If u like we knew it local following the full content of this, and later alternative efforts, warrant dog eat full album. Citing her meds. Where an array to tell noam chomsky the strength of warrant dog eat dog full album in common in europe for easier for. -
CLAWFINGER - Life Will Kill You - Genre: Crossover DIGI 27361 1899-0 YX VÖ: 27.07.07
CLAWFINGER - Life Will Kill You - Genre: Crossover DIGI 27361 1899-0 YX VÖ: 27.07.07 Facts CLAWFINGER sind wieder voll da! Auf der JÄGERMEISTER Rock Liga haben sie kürzlich alle anderen Bands hinter sich gelassen und im April in Berlin in Topform den Wettbewerb als Publikumsliebling gewonnen! Weniger als zwei Jahre nach ihrem letzten Album „Hate Yourself With Style“ kehrt die schwedische Crossover-Legende mit ihrem neuen Nackenbrecher „L ife Will Kill You“ zurück. Erneut haben CLAWFINGER es geschafft, hochqualitative Songs mit extrem eingängigen Refrains und Killer-Hooks zu schreiben! Um ehrlich zu sein: „Life Will Kill You“ ist wahrscheinlich ihr bestes Album seit dem sensationellen 1993er Debut „Deaf Dumb Blind“! Mit Songs wie den aggressiven Opener „The Price We Pay“ oder die Mitsing-Hymnen Limit. DIGI + 2 Bonus Tracks „Life Will Kill You“ und “Where Can We Go From Here”, liegen Clawfinger 27361 1899-0 YX wieder voll im Trend! „solche Volltreffer hatte ich der Band schon gar nicht mehr zugetraut“ Rock Hard Für mich sind CLAWFINGER damit - was Crossover angeht - "The solange Vorrat reicht, anschliessend: Biggest & The Best". 9/10 Punkte Metal.de als : Komplette Review: http://metal.de/cdreviews.php4?was=review&id=8254 CD 27361 1899-2 # Limited Edition Digipak inkl. 2 Bonus Tracks! # Sieger des „ Jägermeister Rock Liga ”-Wettbewerbs! # Anzeigen in allen wichtigen Magazinen: Metal Hammer, Rock Hard, EMP, Heavy, Piranha und Uncle Sally’s # Reviews in allen wichtigen Print- und Online-Magazinen (Rock Hard, Metal Label Hammer, Musikexpresse, Rolling Stone, Rock City News, Uncle Sallys, Piranha, Oxmox, laut.de, powermetal.de, metal.de) # Track auf der Metal Hammer Sampler-CD # 3 Video-Clips für „The Price We Pay” / „Life Will Kill You” / „Prisoners” # Online-Promotion mit Online Single, video clips und E-Card Line - Up # Videoclip contest zu „Little Baby” auf clawfinger.net # Online Pre-Listening 4 Wochen vor VÖ auf myspace.com u. -
Read an Excerpt
The Artist Alive: Explorations in Music, Art & Theology, by Christopher Pramuk (Winona, MN: Anselm Academic, 2019). Copyright © 2019 by Christopher Pramuk. All rights reserved. www.anselmacademic.org. Introduction Seeds of Awareness This book is inspired by an undergraduate course called “Music, Art, and Theology,” one of the most popular classes I teach and probably the course I’ve most enjoyed teaching. The reasons for this may be as straightforward as they are worthy of lament. In an era when study of the arts has become a practical afterthought, a “luxury” squeezed out of tight education budgets and shrinking liberal arts curricula, people intuitively yearn for spaces where they can explore together the landscape of the human heart opened up by music and, more generally, the arts. All kinds of people are attracted to the arts, but I have found that young adults especially, seeking something deeper and more worthy of their questions than what they find in highly quantitative and STEM-oriented curricula, are drawn into the horizon of the ineffable where the arts take us. Across some twenty-five years in the classroom, over and over again it has been my experience that young people of diverse religious, racial, and economic backgrounds, when given the opportunity, are eager to plumb the wellsprings of spirit where art commingles with the divine-human drama of faith. From my childhood to the present day, my own spirituality1 or way of being in the world has been profoundly shaped by music, not least its capacity to carry me beyond myself and into communion with the mysterious, transcendent dimension of reality. -
Getting “Woke” with Each Joke: Black Comediennes and Representational Resistance on Youtube
Getting “Woke” With Each Joke: Black Comediennes and Representational Resistance on YouTube by Shaunel London A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Communication Carleton University Ottawa, Ontario ©2019 Shaunel London i Abstract This research looks at the relationship between comedy, alternative media, and representations of Blackness. Using case studies Akilah Hughes and Franchesca Ramsey, two Black comediennes on YouTube, this thesis asks: how do Black women use both political comedy and alternative media to challenge the stereotypical and racialized representations of themselves in traditional media? A theoretical framework of critical race studies, post-colonialism, intersectional and Black feminisms, postmodernism, and theories of comedy in conjunction with the thematic qualitative text analysis of 30 YouTube videos were used to answer the question. My findings determined that Black women use political comedy and alternative media platforms to satirize oppressive and discriminatory ideologies and behaviours, framing instances of every day racism in absurd and exaggerated terms, which ultimately provides nuanced representations of Black womanhood that affirm the sexist, racist, and racially charged experiences and microaggressions that Black women endure on a daily basis. ii Acknowledgements Thanks be to God for Your mercies these past two years and to my family, friends, colleagues, mentors, and church family for their continued support. Merlyna, thank you for believing in me and believing in this project. It’s been an intense year for us, but I am so privileged to have made this journey with you. Your feedback has sought to make the best of my research and your jokes have made our meetings fun. -
Planet Earth R Eco.R Din Gs
$4.95 (U.S.), $5.95 (CAN.), £3.95 (U.K.) IN THE NEWS ******** 3 -DIGIT 908 1B)WCCVR 0685 000 New Gallup Charts Tap 1GEE4EM740M09907411 002 BI MAR 2396 1 03 MON1 Y GREENLY U.K. Indie Dealers ELM AVE APT A 3740 PAGE LONG BEACH, CA 90807 -3402 8 Gangsta Lyric Ratings Discussed At Senate Hearing On Rap PAGE 10 THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO AND HOME ENTERTAINMENT MARCH 5, 1994 ADVERTISEMENTS MVG's Clawfinger Grammy Nominations Spur Publicity Blitz Digs Into Europe Labels Get Aggressive With Pre Award Ads BY THOM DUFFY BY DEBORAH RUSSELL Clapton, and k.d. lang experienced draw some visibility to your artists." major sales surges following Gram- A &M launched a major television STOCKHOLM -The musical LOS ANGELES -As the impact of my wins, but labels aren't waiting for advertising campaign in late Febru- rage of Clawfinger, a rock-rap the Grammys on record sales has be- the trophies anymore. Several compa- ary to promote Sting's "Ten Sum- band hailing from Sweden, has come more evident nies have kicked off aggressive ad- moner's Tales," (Continued on page 88) in recent years, vertising and promotional campaigns which first ap- nominations, as touting their nominees for the March peared on The Bill- well as victories, 1 awards. board 200 nearly a have become valu- Says A &M senior VP of sales and year ago. Sting is able marketing distribution Richie Gallo, "It would the top- nominated evil oplriin tools for record seem that people are being more ag- artist in the 36th companies. -
2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI Via AP Balazs Mohai
2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI via AP Balazs Mohai Sziget Festival March 26-April 2 Horizon Festival Arinsal, Andorra Web www.horizonfestival.net Artists Floating Points, Motor City Drum Ensemble, Ben UFO, Oneman, Kink, Mala, AJ Tracey, Midland, Craig Charles, Romare, Mumdance, Yussef Kamaal, OM Unit, Riot Jazz, Icicle, Jasper James, Josey Rebelle, Dan Shake, Avalon Emerson, Rockwell, Channel One, Hybrid Minds, Jam Baxter, Technimatic, Cooly G, Courtesy, Eva Lazarus, Marc Pinol, DJ Fra, Guim Lebowski, Scott Garcia, OR:LA, EL-B, Moony, Wayward, Nick Nikolov, Jamie Rodigan, Bahia Haze, Emerald, Sammy B-Side, Etch, Visionobi, Kristy Harper, Joe Raygun, Itoa, Paul Roca, Sekev, Egres, Ghostchant, Boyson, Hampton, Jess Farley, G-Ha, Pixel82, Night Swimmers, Forbes, Charline, Scar Duggy, Mold Me With Joy, Eric Small, Christer Anderson, Carina Helen, Exswitch, Seamus, Bulu, Ikarus, Rodri Pan, Frnch, DB, Bigman Japan, Crawford, Dephex, 1Thirty, Denzel, Sticky Bandit, Kinno, Tenbagg, My Mate From College, Mr Miyagi, SLB Solden, Austria June 9-July 10 DJ Snare, Ambiont, DLR, Doc Scott, Bailey, Doree, Shifty, Dorian, Skore, March 27-April 2 Web www.electric-mountain-festival.com Jazz Fest Vienna Dossa & Locuzzed, Eksman, Emperor, Artists Nervo, Quintino, Michael Feiner, Full Metal Mountain EMX, Elize, Ernestor, Wastenoize, Etherwood, Askery, Rudy & Shany, AfroJack, Bassjackers, Vienna, Austria Hemagor, Austria F4TR4XX, Rapture,Fava, Fred V & Grafix, Ostblockschlampen, Rafitez Web www.jazzfest.wien Frederic Robinson, -
Marking Whiteness and Exploring Blackness in Standup Comedy
Colby College Digital Commons @ Colby Honors Theses Student Research 2019 Something Punny to Precede the Colon: Marking Whiteness and Exploring Blackness in Standup Comedy Andrew DeStaebler Follow this and additional works at: https://digitalcommons.colby.edu/honorstheses Part of the American Popular Culture Commons Colby College theses are protected by copyright. They may be viewed or downloaded from this site for the purposes of research and scholarship. Reproduction or distribution for commercial purposes is prohibited without written permission of the author. Recommended Citation DeStaebler, Andrew, "Something Punny to Precede the Colon: Marking Whiteness and Exploring Blackness in Standup Comedy" (2019). Honors Theses. Paper 970. https://digitalcommons.colby.edu/honorstheses/970 This Honors Thesis (Open Access) is brought to you for free and open access by the Student Research at Digital Commons @ Colby. It has been accepted for inclusion in Honors Theses by an authorized administrator of Digital Commons @ Colby. Something Punny to Precede the Colon: Marking Whiteness and Exploring Blackness in Standup Comedy Andrew DeStaebler American Studies Honors Thesis Advisor: Professor Laura Saltz Acknowledgements Thank you to my advisor, Professor Laura Saltz, for your constant guidance throughout this project. You have encouraged me to take intellectual risks and to welcome discomfort, which has undeniably made my writing bolder and stronger. A sincere thank you to Professor Ben Lisle for being a second reader for this project. Your critical and reinforcing feedback has helped me shape this project for the better. I would also like to extend a thank you to Provost Margaret McFadden who, when still Professor McFadden, inspired me to pursue the American Studies major my freshman year of college. -
Emancipatory Racial Humor As Critical Public Pedagogy: Subverting Hegemonic Racism
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUPUIScholarWorks Communication, Culture & Critique ISSN 1753-9129 ORIGINAL ARTICLE Emancipatory Racial Humor as Critical Public Pedagogy: Subverting Hegemonic Racism Jonathan P. Rossing Department of Communication Studies, IU School of Liberal Arts, Indiana University – Purdue University, Indianapolis, IN 46220, USA This essay identifies emancipatory racial humor as a disarming critical public pedagogy that confronts racial hegemony. Acknowledging the interpretive quandaries of humor and the possibilities of racist humor, this essay tells an often overlooked story of the comic “heroes” who struggle against dominant racial meanings, power relationships, and identity construc- tions. The essay analyzes the pedagogical possibilities of critical humorists who creatively confront hegemonic racism and whose work participates in critical projects of social, politi- cal, and cultural transformation. Such emancipatory racial humor serves as a critical public pedagogy that exposes dominant public pedagogies, injects counternarratives into the strug- gle over hegemony, and subverts naturalized racial meanings and privileges. Keywords: Race/Racism, Public Pedagogy, Critical Public Pedagogy, Humor/Comedy, Critical Race Theory, Hegemony. doi:10.1111/cccr.12126 Appearing on Comedy Central’s TheDailyShowwithJonStewartfor the first time, biracial South African comedian Trevor Noah joked, “I just flew in [from South Africa], and boy are my arms tired.” Stewart laughed politely at the throw-away joke—“an oldie but a goodie!” But Noah’s punchline only set up his knock-out blow: “No seriously. I’ve been holding my arms like this since I got here!” He raised his arms in the “Hands up, don’t shoot” surrender pose. -
The International Society for the Social Studies Annual Conference Proceedings
Volume 2010, Issue 1 THE INTERNATIONAL SOCIETY FOR THE SOCIAL STUDIES ANNUAL CONFERENCE PROCEEDINGS EDITOR: WILLIAM BENEDICT RUSSELL III February 25-26, 2010 – Orlando, FL Volume THE INTERNATIONAL SOCIETY FOR THE SOCIAL 2010, Issue 1 STUDIES ANNUAL CONFERENCE PROCEEDINGS The International Society for the Social Studies Annual Conference Proceedings VOLUME 2010, ISSUE 1 Editor WILLIAM BENEDICT RUSSELL III University of Central Florida Editorial Assistant CHRISTOPHER LAMMONS BUSEY University of Central Florida 2 THE INTERNATIONAL SOCIETY FOR THE SOCIAL Volume 2010, STUDIES ANNUAL CONFERENCE PROCEEDINGS Issue 1 The ISSS Annual Conference Proceedings is a peer-reviewed professional publication published once a year following the annual conference. All members of the International Society for the Social Studies receive an electronic version of The ISSS Annual Conference Proceedings. ISSS membership and business communications should be sent to The International Society for the Social Studies, University of Central Florida, College of Education, 4000 Central Florida Blvd., Orlando, FL 32816- 1250 or via email [email protected]. Visit www.TheISSS.org for more information. The views expressed herein are solely those of the individual author/s and do not represent official views of The International Society for the Social Studies, the University of Central Florida, the editor, the staff, or the review board. The ISSS Annual Conference Proceedings disclaims responsibility for statements either fact or opinion, made by contributing authors. Copyright © 2010 left to the individual author/s. All rights reserved. Cover image courtesy of Shutter Images, used with permission. Suggested Citation: Russell, W. (Ed.). (2010). The International Society for the Social Studies Annual Conference Proceedings, Orlando, FL: The International Society for the Social Studies. -
On Richards, Race, and Empathy
Lanita Jacobs, Ph.D. Word Count: 5318 Anthropology Department University of Southern California 3601 Watt Way, GFS 120 Los Angeles, CA 90089-1692 Office: (213) 740-1909 Email: [email protected] On Richards, Race, and Empathy It has been well over a month since Richards blasted four Black males at the Laugh Factory, one of several clubs I frequent in my research on Black comedy. To be frank, I care less about Richards’ words, the news coverage, and the televised apologies. I sit, poised to write, and find myself in a weary place. Actually, I am weary of race … of what happens when a white man of notoriety goes off about “niggers” and makes a veiled reference to lynching. “So what?” as comic Chris Spencer told me wearily, “Not all white people think that way.” Lest you think I want to engage in one of the safest possible ways of discussing race, let me tell you why I am weary. It is safe to say that Richards lost it. Onstage. And somebody recorded it with their cell phone. And that is, in large part, why you and I are even having this conversation. Having watched comics closely over the past five years, I can appreciate (though not excuse) his tirade as indicative of what happens when a comic’s stage time is threatened. Comics work hard to perform in Los Angeles. The self-described “world-renown” Laugh Factory can rightly boast its title. It’s a great place for a comic to play and those who grace its stage often have to endure the careful scrutiny of club owner and former-comic Jamie Masada. -
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. -
Alex Nussbaumer Has Promoted the Following Artists & Tours Over the Last 18 Years in Austria
Reference of Alex Nussbaumer Alex Nussbaumer has promoted the following Artists & Tours over the last 18 years in Austria: A Accept (1993) Afro Celt Sound System (1997) Al Jarreau (1996) Alex Chilton (1990) Alice Cooper (1997) Alison Moyet (1991) Amen (2000) Amprphis (1996, 1999) Anathema (1997) Angélique Kidjo (1998) Anne Clark (1991, 1994) Annihilator (1993, 1995) Apollo 440 (1997, 1999) Asia (1990, 1992) Atom Seed (1991) Average White Band (1997) B Backyard Babies (1998 Bad Brains (1993, 1994) Bad Religion (1993, 1994, 1997, 1998, 2000, 2002) Beastie Boys (1995) Beck (1994, 1996) Bettie Serveert (1995) Big Country (1994) Biohazard (1993, 1994, 1995, 1997, 2000, 2002) Bitty McLean (1994) Björk (1995) Björn Again (1998) Black Crowes (1997) Blue Aeroplanes The (1995) Blues Traveler (1994) Blur (1996, 1997, 2003) Bobby Byrd Show The (1998) Bootsy Collins (1995) Boyzone (1997) Brand New Heavies (1994) -1- Reference of Alex Nussbaumer Brian May (1998) Brilliant Corners The (1991) Buzzcocks (1993) C Cancer (1995) Candy Dulfer & Funky Stuff (1998, 1999, 2001) Canned Heat (1990, 1991, 1992, 1993, 1995, 1998) Carter USM (1995) Cassandra Wilson (1996) Cathedral (1993, 1996, 1999) CELL The (1993) Chicken Shak (1990) Chris Carcavas (1990) Chris Thompson (1991, 1995) Chris Rea (2003) Chumbawamba (1995, 1997, 1998, 1999, 2002) Civ (1996) Clawfinger (1998) Clock DVA (1990) Connells The (1995) CONSOLIDATED (1993, 1996, 1997) Coolio (1996) Cradle of Filth (1997, 1998) Crash Test Dummies (1994, 1997, 1999, 2001) CROWBAR (1994, 1995) Cultured Pearls (1998) The Cure (1998) D D:A:D (1995, 1998) Damen Das (1989) Danzig (1992, 1995) Dark Angel (1991) David Byrne (1997) David Sanborn (1996) DeathMetal Festival (1992) Dee Dee Ramone (1994) Dentists The (1991) Dieter Thomas Kuhn (1997) Dirty Three The (1996) Dog Eat Dog (1994, 1996) Dogs D'Amour (1993) Doughboys (1990, 1991) -2- Reference of Alex Nussbaumer Downset (1995) DR.