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Panel Discussion, “Of Subjugation and Human Consciousness, Dubois in Africa and Fanon in the U.S.” Between Michele Lewis, the Robert E
Excerpt from the panel discussion, “Of Subjugation and Human Consciousness, DuBois in Africa and Fanon in the U.S.” between Michele Lewis, the Robert E. Lee Chair of Sociology at University of California, Berkeley and Fran Touissaint, Performance Studies Chair of University of Mississippi at Jackson. This conversation took place as part of the symposium, “Humans after Labor” hosted by the University of Michigan in Ann Arbor, in November of 2014. Moderated by August Vollbrecht and plenary from Andrew Mehall. This excerpt is from 1:03:52 to 1:17:41 and focuses on face paints contemporary role of masking in relation to rap music. August Vollbrecht: I think we have to go back to the clown the contemporary understanding of the clown and it’s understanding in America. It presupposes minstrelsy and-- Andrew Mehall: And brings us back to the more local concerns and ICP and how they’re taking it from an earlier Black, Detroit model, Esham more specifically the cover of Homey Don’t Play-- AV: Which is 1991 and predates face paint in Dead Presidents, that’s 1993, drawn from an earlier model which is from Bloods, and that came from recorded interviews of returning Black Vietnam vets. Fran Touissaint: Black Skin, White Mask! I see where the title comes from! (audience laughter) Michele Lewis: Cue the Rolling Stones robbing Bo Diddley at gunpoint! (audience laughter) FT: Yeah, but only stealing a sawbuck. The contemporary clown, albeit seemingly neutral, is steeped in these racial, gender, and class misrepresentations. Janet Davis talks about this in her book about the American circus. -
Ho Li Day Se Asons and Va Ca Tions Fei Er Tag Und Be Triebs Fe Rien BEAR FAMILY Will Be on Christmas Ho Li Days from Vom 23
Ho li day se asons and va ca tions Fei er tag und Be triebs fe rien BEAR FAMILY will be on Christmas ho li days from Vom 23. De zem ber bis zum 12. Ja nuar macht De cem ber 23rd to Ja nuary 12th. During that peri od BEAR FAMILY Weihnach tsfe rien. Bestel len Sie in die ser plea se send written orders only. The staff will be back Zeit bitte nur schriftlich. Ab dem 12. Janu ar 2004 sind ser ving you du ring our re gu lar bu si ness hours on Mon- wir wie der für Sie da. Bei die ser Ge le gen heit be dan ken day 12th, 2004. We would like to thank all our custo - wir uns für die gute Zusam menar beit im ver gange nen mers for their co-opera ti on in 2003. It has been a Jahr. plea su re wor king with you. BEAR FAMILY is wis hing you a Wir wünschen Ihnen ein fro hes Weih nachts- Merry Christmas and a Happy New Year. fest und ein glüc kliches neu es Jahr. COUNTRY...............................2 BEAT, 60s/70s.........................66 AMERICANA/ROOTS/ALT. ........................19 SURF ........................................73 OUTLAWS/SINGER-SONGWRITER ..................22 REVIVAL/NEO ROCKABILLY .......................75 WESTERN .....................................27 BRITISH R&R ...................................80 C&W SOUNDTRACKS............................28 INSTRUMENTAL R&R/BEAT ........................80 C&W SPECIAL COLLECTIONS ......................28 COUNTRY AUSTRALIA/NEW ZEALAND ...............29 POP ......................................82 COUNTRY DEUTSCHLAND/EUROPE .................30 POP INSTRUMENTAL ............................90 -
Mythological Intertextuality in Nineteenth Century Ballet Repertory
Skidmore College Creative Matter MALS Final Projects, 1995-2019 MALS 5-20-2006 Mythological Intertextuality in Nineteenth Century Ballet Repertory Liane Fisher Skidmore College Follow this and additional works at: https://creativematter.skidmore.edu/mals_stu_schol Part of the Dance Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Fisher, Liane, "Mythological Intertextuality in Nineteenth Century Ballet Repertory" (2006). MALS Final Projects, 1995-2019. 41. https://creativematter.skidmore.edu/mals_stu_schol/41 This Thesis is brought to you for free and open access by the MALS at Creative Matter. It has been accepted for inclusion in MALS Final Projects, 1995-2019 by an authorized administrator of Creative Matter. For more information, please contact [email protected]. Mythological Intertextuality in Nineteenth Century Ballet Repertory Master of Arts in Liberal Studies Thesis Skidmore College Liane Fisher March 2006 Advisor: Isabel Brown Reader: Marc Andre Wiesmann Table of Contents Abstract .............................. ... .... .......................................... .......... ............................ ...................... 1 Chapter 1 : Introduction .. .................................................... ........... ..... ............ ..... ......... ............. 2 My thologyand Ballet ... ....... ... ........... ................... ....... ................... ....... ...... .................. 7 The Labyrinth My thologies .. ......................... .... ................. .......................................... -
Hip-Hop's Diversity and Misperceptions
The University of Maine DigitalCommons@UMaine Honors College Summer 8-2020 Hip-Hop's Diversity and Misperceptions Andrew Cashman Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Music Commons, and the Social and Cultural Anthropology Commons This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. HIP-HOP’S DIVERSITY AND MISPERCEPTIONS by Andrew Cashman A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Anthropology) The Honors College University of Maine August 2020 Advisory Committee: Joline Blais, Associate Professor of New Media, Advisor Kreg Ettenger, Associate Professor of Anthropology Christine Beitl, Associate Professor of Anthropology Sharon Tisher, Lecturer, School of Economics and Honors Stuart Marrs, Professor of Music 2020 Andrew Cashman All Rights Reserved ABSTRACT The misperception that hip-hop is a single entity that glorifies wealth and the selling of drugs, and promotes misogynistic attitudes towards women, as well as advocating gang violence is one that supports a mainstream perspective towards the marginalized.1 The prevalence of drug dealing and drug use is not a picture of inherent actions of members in the hip-hop community, but a reflection of economic opportunities that those in poverty see as a means towards living well. Some artists may glorify that, but other artists either decry it or offer it as a tragic reality. In hip-hop trends build off of music and music builds off of trends in a cyclical manner. -
Finding Aid for Bolender Collection
KANSAS CITY BALLET ARCHIVES BOLENDER COLLECTION Bolender, Todd (1914-2006) Personal Collection, 1924-2006 44 linear feet 32 document boxes 9 oversize boxes (15”x19”x3”) 2 oversize boxes (17”x21”x3”) 1 oversize box (32”x19”x4”) 1 oversize box (32”x19”x6”) 8 storage boxes 2 storage tubes; 1 trunk lid; 1 garment bag Scope and Contents The Bolender Collection contains personal papers and artifacts of Todd Bolender, dancer, choreographer, teacher and ballet director. Bolender spent the final third of his 70-year career in Kansas City, as Artistic Director of the Kansas City Ballet 1981-1995 (Missouri State Ballet 1986- 2000) and Director Emeritus, 1996-2006. Bolender’s records constitute the first processed collection of the Kansas City Ballet Archives. The collection spans Bolender’s lifetime with the bulk of records dating after 1960. The Bolender material consists of the following: Artifacts and memorabilia Artwork Books Choreography Correspondence General files Kansas City Ballet (KCB) / State Ballet of Missouri (SBM) files Music scores Notebooks, calendars, address books Photographs Postcard collection Press clippings and articles Publications – dance journals, art catalogs, publicity materials Programs – dance and theatre Video and audio tapes LK/January 2018 Bolender Collection, KCB Archives (continued) Chronology 1914 Born February 27 in Canton, Ohio, son of Charles and Hazel Humphries Bolender 1931 Studied theatrical dance in New York City 1933 Moved to New York City 1936-44 Performed with American Ballet, founded by -
Eminem 1 Eminem
Eminem 1 Eminem Eminem Eminem performing live at the DJ Hero Party in Los Angeles, June 1, 2009 Background information Birth name Marshall Bruce Mathers III Born October 17, 1972 Saint Joseph, Missouri, U.S. Origin Warren, Michigan, U.S. Genres Hip hop Occupations Rapper Record producer Actor Songwriter Years active 1995–present Labels Interscope, Aftermath Associated acts Dr. Dre, D12, Royce da 5'9", 50 Cent, Obie Trice Website [www.eminem.com www.eminem.com] Marshall Bruce Mathers III (born October 17, 1972),[1] better known by his stage name Eminem, is an American rapper, record producer, and actor. Eminem quickly gained popularity in 1999 with his major-label debut album, The Slim Shady LP, which won a Grammy Award for Best Rap Album. The following album, The Marshall Mathers LP, became the fastest-selling solo album in United States history.[2] It brought Eminem increased popularity, including his own record label, Shady Records, and brought his group project, D12, to mainstream recognition. The Marshall Mathers LP and his third album, The Eminem Show, also won Grammy Awards, making Eminem the first artist to win Best Rap Album for three consecutive LPs. He then won the award again in 2010 for his album Relapse and in 2011 for his album Recovery, giving him a total of 13 Grammys in his career. In 2003, he won the Academy Award for Best Original Song for "Lose Yourself" from the film, 8 Mile, in which he also played the lead. "Lose Yourself" would go on to become the longest running No. 1 hip hop single.[3] Eminem then went on hiatus after touring in 2005. -
DANCING TIMES a Publication of the Minnesota Chapter 2011 of USA Dance October 2013
MINNESOTA DANCING TIMES A publication of the Minnesota Chapter 2011 of USA Dance October 2013 Photo from the U of M’s Fall into Dance event by Kevin Viratyosin INSIDE THIS ISSUE: STUDIO OPENINGS AND CLOSINGS, U OF M BALLROOM DANCE CLUB, DANCING TO FIGHT MS, & MORE! Join us for USA Dance MN's DANCERS' NIGHT OUT Upcoming Dances Want to dance? Dancers’ Night Out lists social dance events in Minnesota. Want to see your dance listed here? Email the details to [email protected]. BECOME A USA DANCE MN MEMBER Wed 10/2 - West Coast Swing Dance Party; Thu 10/17 - Variety Dance; Dancers Studio, AT OUR DANCE AND GET IN FREE! Dancers Studio, 415 Pascal St. 415 Pascal St. N, St. Paul; 9-10; 651 Email: [email protected] N, St. Paul; 9-10; 651 641 0777 or 641 0777 or www.dancersstudio. Web: www.usadance-mn.org www.dancersstudio.com com Thu 10/3 - Variety Dance; Dancers Studio, Fri 10/18 - Grand Opening Party; 415 Pascal St. N, St. Paul; 9-10; 651 DanceLife Ballroom, 6015 Lyndale 641 0777 or www.dancersstudio. Ave S, Mpls; Free general dancing, October com lesson, and performances for Sun 10/6 - FREE Beginner American DanceLife Ballroom's grand Saturday, October 19th Cha Cha Class; Balance opening 7-8 pm Viennese Waltz Lesson Pointe Studios, 508 W 36th St, Sat 10/19 - USA Dance; ERV Dance Instructor: Eliecer Ramirez Vargas Minneapolis; 2:00-3:30; instructor Studios, 816 Mainstreet, Hopkins; Jeff Nehrbass; 952 922 8612 Viennese waltz lesson at 7, dance 8-11 pm Variety Dance Sun 10/6 - Ballroom Dance Party; Tapestry 8-11; $10, $7 USA Dance members Music DJ: Eliecer Ramirez Vargas Folkdance Center, 3748 Minnehaha Sun 10/20 - FREE Beginner American Ave, Mpls; Cha cha lesson with Cha Cha Class; Balance $7 USA Dance members Shinya McHenry at 6, variety Pointe Studios, 508 W 36th St, $10 Non-members dance 7-10; $10, $8 Tapestry Minneapolis; 2:00-3:30; instructor members; 612 722 2914 or www. -
Metric Ambiguity and Flow in Rap Music: a Corpus-Assisted Study of Outkast’S “Mainstream” (1996)
Metric Ambiguity and Flow in Rap Music: A Corpus-Assisted Study of Outkast’s “Mainstream” (1996) MITCHELL OHRINER[1] University of Denver ABSTRACT: Recent years have seen the rise of musical corpus studies, primarily detailing harmonic tendencies of tonal music. This article extends this scholarship by addressing a new genre (rap music) and a new parameter of focus (rhythm). More specifically, I use corpus methods to investigate the relation between metric ambivalence in the instrumental parts of a rap track (i.e., the beat) and an emcee’s rap delivery (i.e., the flow). Unlike virtually every other rap track, the instrumental tracks of Outkast’s “Mainstream” (1996) simultaneously afford hearing both a four-beat and a three-beat metric cycle. Because three-beat durations between rhymes, phrase endings, and reiterated rhythmic patterns are rare in rap music, an abundance of them within a verse of “Mainstream” suggests that an emcee highlights the three-beat cycle, especially if that emcee is not prone to such durations more generally. Through the construction of three corpora, one representative of the genre as a whole, and two that are artist specific, I show how the emcee T-Mo Goodie’s expressive practice highlights the rare three-beat affordances of the track. Submitted 2015 July 15; accepted 2015 December 15. KEYWORDS: corpus studies, rap music, flow, T-Mo Goodie, Outkast THIS article uses methods of corpus studies to address questions of creative practice in rap music, specifically how the material of the rapping voice—what emcees, hip-hop heads, and scholars call “the flow”—relates to the material of the previously recorded instrumental tracks collectively known as the beat. -
Words and Guitar
# 2021/24 dschungel https://jungle.world/artikel/2021/24/words-and-guitar Ein Rückblick auf die Diskographie von Sleater-Kinney Words and Guitar Von Dierk Saathoff Vojin Saša Vukadinović Zehn Alben haben Sleater-Kinney in den 27 Jahren seit ihrer Gründung aufgenommen, von denen das zehnte, »Path of Wellness«, kürzlich erschienen ist. Ein Rückblick auf die Diskographie der wohl besten Band der Welt. »Sleater-Kinney« (LP: Villa Villakula, CD: Chainsaw Records, 1995) 1995 spielten die beiden Gitarristinnen Corin Tucker und Carrie Brownstein erst seit einem Jahr unter dem Namen Sleater-Kinney, waren nach Misty Farrell und Stephen O’Neil (The Cannanes) aber bereits bei der dritten Besetzung am Schlagzeug angelangt, der schottisch-australischen Indie-Musikerin Lora MacFarlane. Nach einer frechen Single und Compilation-Tracks auf Tinuviel Sampsons feministischem Label Villa Villakula erschien dort das Vinyl vom Debütalbum, die CD-Version aber auf Donna Dreschs Queercore-Label Chainsaw. Selten klang Angst durchdringender als auf diesem derben wie dunklen Erstlingswerk, das mit zehn Liedern in weniger als 23 Minuten aufwartet. Corin Tucker kreischt sich die Seele aus dem Leib und Carrie Brownsteins Schreien auf »The Last Song« stellt mit Leichtigkeit ganze Karrieren mediokrer männlicher Hardcore-Bands in den Schatten. Mit Sicherheit nicht nur das unterschätzteste Album der Bandgeschichte, sondern des Punk in den neunziger Jahren überhaupt. »Call the Doctor« (Chainsaw Records, 1996) Album Nummer zwei zeigte eine enorme musikalische Weiterentwicklung. »Call the Doctor« ist das streckenweise intelligenteste Album von Sleater-Kinney, das sich einerseits vor der avancierten Musikszene im Nordwesten der USA verneigte, in der die Band entstanden war (Olympia, Washington), zugleich aber äußerst eigenständig vorwärtspreschte und bei allem Zorn auf die Ausprägungen misogyner Kultur Anflüge von Zärtlichkeit nicht scheute: Selten wurde Unsicherheit so ehrlich vorgetragen wie auf »Heart Attack«. -
Main Street Harrison, Inc
Main Street Harrison, Inc. 215 Harrison Avenue Harrison, Ohio 45030 513.367.5548 Prepared By: Taylor Lease With credit to: Joani Gritter Table of Contents I. Executive Summary 1 II. Client History 2 A. The National Main Street Center 2 B. Main Street Harrison 3 C. Harrison, Ohio 5 D. Current Retail Position 6 III. Statement of Objectives 9 IV. SWOT Analysis 9 A. Strengths 9 B. Weaknesses 10 C. Opportunities 10 D. Threats 11 V. Demographic Analysis 11 A. Quantitative Demographics 11 B. Qualitative Demographics 17 1. Harrison, Ohio 17 2. West Harrison, Indiana 19 3. Logan, Indiana 21 4. Bright, Indiana 22 C. Surveys 24 1. Business Surveys 24 2. Customer Surveys 25 3. Additional Surveys 26 VI. Award Winning Main Street Communities 27 A. Mansfield, Ohio 27 B. Staunton, Virginia 28 C. Encinitas, California 28 D. Danville, Kentucky 30 E. Elkader, Iowa 30 F. Coronado, California 31 G. Cordell, Oklahoma 32 H. Denton, Texas 32 I. Lanesboro, Minnesota 33 VII. Recommendations 34 A. Business Recruitment 34 B. Marketing 36 C. Business Collaboration 38 1. Listserv 38 2. Website 39 3. Forums 41 4. Publications 42 D. Community Theme 42 1. Recreational 42 2. Arts 45 3. Old-fashioned 46 4. Family Oriented 48 VIII. Conclusion 50 Appendices I. Executive Summary Our client, Main Street Harrison, Inc., presented our team with several issues to address concerning downtown Harrison, Ohio. Predominantly, the issues stem from a lack of understanding of the marketplace and ambiguous goals within the Main Street program. The economy of downtown Harrison has suffered due to these deficiencies. -
To View the Official Program!
20 years of the gathering of the juggalos... On this momentous occasion, we Gather together not just to celebrate the 20th Annual Gathering of the Juggalos, but to uphold the legacy of our Juggalo Family. For two decades strong, we have converged at the height of the summer season for something so much more than the concerts, the lights, the sounds, the revelry, and the circus. There is no mistaking that the Gathering is the Greatest Show on Earth and has rightfully earned the title as the longest running independent rap festival on this or any other known planet. And while all these accolades are well-deserved and a point of pride, in our hearts we know...There is so much more to this. A greater reason and purpose. A magic that calls us together. That knowing. The spirit of the tribe. The call of the Dark Carnival. The magic mists that float by as we gaze through the trees into starry skies. We are together. And THAT is what we celebrate here, after 20 long, fresh, hilarious, incredible, tremendously karma-filled years. We call this the Soopa Gathering because we are here to celebrate the superpowers of the Juggalo Family. All of us here together and united are capable of heroics and strength beyond measure. We are Soopa. We are mighty. For we have found each other by the magic of the Carnival—standing 20 years strong on the Dirtball as we see into the eternity of Shangri-La. Finding Forever together, may the Dark Carnival empower and ignite the Hero in you ALL.. -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Find Your Places, Please: Gender in 21st Century U.S. Amateur Ballroom Dance Practices Permalink https://escholarship.org/uc/item/229605hj Author Machin, Denise Publication Date 2018 License https://creativecommons.org/licenses/by/4.0/ 4.0 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Find Your Places, Please: Gender in 21st Century U.S. Amateur Ballroom Dance Practices A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Critical Dance Studies by Denise M. Machin June 2018 Dissertation Committee: Dr. Anthea Kraut, Chairperson Dr. Imani Kai Johnson Dr. Patrick Mason Dr. Jane Ward Copyright by Denise Machin 2018 The Dissertation of Denise Machin is approved: ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ Committee Chairperson University of California, Riverside Acknowledgments: I would like to thank all of the people who helped me complete this research. First, my dissertation committee chair, Dr. Anthea Kraut, who would always make time for me and inspires me to be a better teacher and researcher. Second, my cohort members; Casey Avaunt, Christine Sahin, and Wei-Chi Wu. I could not ask for more supportive classmates and colleagues who have helped develop my research over time. I am also grateful to have had the pleasure of working with my wonderful committee members, Dr. Imani Kai Johnson, Dr. Patrick Mason, Dr. Jane Ward, and professor Joel Smith who served on my qualifying exams. I always felt supported by the faculty at UCR, including Dr.