Five Years of Dance Party Diversity YES
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Excesss Karaoke Master by Artist
XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not -
IZZY OCAMPO New York, NY | (917) 480-0360 | [email protected]
IZZY OCAMPO New York, NY | (917) 480-0360 | [email protected] EDUCATION 2014 Middlebury College Middlebury, VT Bachelor of Arts, magna cum laude, Chemistry GPA: 3.6/4.0 HONORS 2010—2014 Posse Foundation Full-Tuition Leadership Scholarship to Middlebury College LECTURES & WORKSHOPS 2016 Recess Art New York, NY brujas x stud1nt: Home Studio Recording & Sound Design Workshop 2016 Vassar College Poughkeepsie, NY Creative Approaches to Electronic Production 2016 The New School New York, NY Movement and Process in Electronic Production EXPERIENCE Fall 2016- Present Hyperballad Music Brooklyn, NY A&R ▪ Scout emerging and leading talent for 7” series and liaise between artist’s team and Hyperballad ▪ Build Hyperballad’s brand as a creative cultural hub and cultivate relevant industry partnerships through curatorial programming of unique music products and events Summer 2016-Present Whimsical Raps New York, NY Operations Manager ▪ Manage lifecycle of four modular synthesizers from parts sourcing, manufacturing, assembly, shipment, to repairs ▪ Prepare and coordinate invoices and purchase orders for dozens of distributors, manufacturers, and buyers ▪ Responsible for hand assembly of faceplates, knobs, circuit boards and product packaging and small soldering repairs ▪ Calibrate and quality control each module before shipment Summer 2016 Hyperballad Music Brooklyn, NY Recording Engineer Intern ▪ Prepared recording consoles, tape machine, patchbay, instruments, mics, outboard gear, and DAWs for tracking sessions ▪ Assisted engineers with tracking -
Black Women, Natural Hair, and New Media (Re)Negotiations of Beauty
“IT’S THE FEELINGS I WEAR”: BLACK WOMEN, NATURAL HAIR, AND NEW MEDIA (RE)NEGOTIATIONS OF BEAUTY By Kristin Denise Rowe A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of African American and African Studies—Doctor of Philosophy 2019 ABSTRACT “IT’S THE FEELINGS I WEAR”: BLACK WOMEN, NATURAL HAIR, AND NEW MEDIA (RE)NEGOTIATIONS OF BEAUTY By Kristin Denise Rowe At the intersection of social media, a trend in organic products, and an interest in do-it-yourself culture, the late 2000s opened a space for many Black American women to stop chemically straightening their hair via “relaxers” and begin to wear their hair natural—resulting in an Internet-based cultural phenomenon known as the “natural hair movement.” Within this context, conversations around beauty standards, hair politics, and Black women’s embodiment have flourished within the public sphere, largely through YouTube, social media, and websites. My project maps these conversations, by exploring contemporary expressions of Black women’s natural hair within cultural production. Using textual and content analysis, I investigate various sites of inquiry: natural hair product advertisements and internet representations, as well as the ways hair texture is evoked in recent song lyrics, filmic scenes, and non- fiction prose by Black women. Each of these “hair moments” offers a complex articulation of the ways Black women experience, share, and negotiate the socio-historically fraught terrain that is racialized body politics -
Reading the Intersection of Racial and Sexual Marginalization in Rex Vs Singh and Seeking Single White Male
Journal of Ethnic and Cultural Studies Copyright 2019 2019, Vol. 6, No. 1, 1-14 ISSN: 2149-1291 Confronting Ambiguity: Reading the Intersection of Racial and Sexual Marginalization in Rex vs Singh and Seeking Single White Male Yilong Liu1, Soyang Park2 OCAD University, Toronto, Canada This qualitative study of two Canadian films examines how filmmakers and artists explore racial and sexual marginalization and repression in Canada through an in-depth analysis of the films’ visual, textual, and sonic elements. Rex vs Singh (Greyson et al., 2008) and Seeking Single White Male (Shraya, 2010), using diverse cinematic devices and self-enacting performances, address different intersecting modes of racial and sexual marginalization against South Asian immigrants in historical and contemporary Canada. Using Louis Althusser’s concepts of Repressive State Apparatuses (RSAs) and Ideological State Apparatuses (ISAs) as a key framework, we identify “ambiguity” as a critical space to explore and examine the operation of the state policy (RSAs) in the early 20th century, and workings of the invisible ideology (white normativity) through enlisting their subjects to internalize the norm (ISAs) at present. This discussion is followed by an evaluation of how filmmakers and artists mobilize their “differential consciousness” (Chela Sandoval) to confront these ambiguities as mobile tactics that complement the ongoing race and gender liberation movements. Rather than providing definitive results or solutions, this research aids understanding of the continuing struggles of racialized sexual minorities in Canada—a country that has constitutionalized multiculturalism in 1971—in light of Canada’s 150th celebration (2017). Keywords: queer, gender and sexuality, film, ethnic studies, ambiguity. -
View Full Issue As
The Weekly Voice of Wisconsin's LGBT Community May 5-11, 1999 11 V. • Looking Ahead Through The Past They have lived through and helped foster one of the most remarkable social revolutions in America's history. The age of Gay liberation is largely a product of their efforts. Living laid the t0undation of our cur- surk. iked rent Gay culture. older Gays and in a Lesbians often find themselves society ignored by it. Nevertheless. for the that was most part. Gay seniors lead happy. tar more fulfilling lies. o nto- Many societies treat their older members with iJl lt reverence. In those cultures the word "elder" is a t han mark of respect. An elder is someone you consult present and learn from. An elder is someone who is recog- d a y nized for their past contributions. Our tarowI away. ,America "I want it now.- society races past those kk ho have is. preceded us. count- .z. The result is that many Americans, espe ;illy l eS S those who are Gay or Lesbian, tear growing older. Studies on AIDS I i IV pre ention );t\ e ways they have passed th;.it pride onto younger generations. even shown that some young people don't practice safe sex because they don't want to .roks During May, Older _American Month, flisconsin Light salutes our LGBT Wisconsin old. In an Internet post. a young Gay man wrote that if he lived to be 35, he would kill him- seniors with a series of profiles telling their life stories. These profiles begin on page 6 in this self because life as a Gay man would no longer be worth living. -
Katalog Zur Ausstellung
ARCHIV DER JUGENDKULTUREN (HRSG.) DER Z/WEITE BLICK JUGENDKULTUREN UND DISKRIMINIERUNGEN Archiv der Jugendkulturen (Hrsg.) DER Z/WEITE BLICK JUGENDKULTUREN UND DISKRIMINIERUNGEN Ausstellungseröffnung im Archiv der Jugendkulturen e.V., Berlin, 2017, Foto: Boris Geilert IMPRESSUM Archiv der Jugendkulturen e. V. Fidicinstraße 3 10965 Berlin Tel. 030–6942934 Fax 030–6913016 E-Mail: [email protected] Web: www.jugendkulturen.de Autor*innen / Redaktion: DJ Freshfluke, Jule Naima Fröhlich, Martin Gegenheimer, Florian Hofbauer, Tino Kandal, Edyta Kopitzki, Svetla Koynova, Bianca Loy, Gabriele Rohmann, Lisa Schug, Farina Wäcker Illustrationen: Gabriel S Moses, www.gabsmoses.com Lektorat: Berlin Lektorat und Nadine Marcinczik © Archiv der Jugendkulturen e. V. 2018 Die Veröffentlichung stellt keine Meinungsäußerung des BMFSFJ bzw. des BAFzA dar. Für inhaltliche Aussagen trägt der Autor/die Autorin bzw. tragen die Autoren/Autorinnen die Verantwortung. VORWORT Jugendkulturen sind wichtige Orte für (überwiegend) junge Sexismus und Homo- und Transfeindlichkeit – aber auch Menschen, an denen sie ihren Gedanken, Einstellungen, Hal- positive Aspekte wie jugendkulturelle Initiativen oder Pop- tungen, Reflexionen über sich und die Welt in Kleidung, Spra- Künstler*innen, die sich gegen Diskriminierungen in ihren che, Musik und Medien kreativen Ausdruck verleihen können. Szenen oder im Mainstream wehren und sich auf diese Weise Sie bieten Heranwachsenden Möglichkeiten, künstlerisch, zivilgesellschaftlich für die Gleichwertigkeit von Menschen ein- gesellschaftlich -
Corporate Profile
Fae Pictures Inc. @FaePictures Los Angeles | Toronto +1 323 400 0610 www.faepictures.com [email protected] CORPORATE PROFILE The global media landscape today is ripe for a production company to declaratively operate with a modus operandi to DECOLONIZE HOLLYWOOD. Enter Fae Pictures. Founded in 2017 in Toronto & Los Angeles, Fae Pictures is a storytelling production company with a mandate to “Engage audiences with stories rooted in the perspectives of the Other.” We are committed to developing, producing, and delivering stories in a variety of mediums that impact the hearts and minds of audiences, while maximizing private investment through strategic packaging, government-based incentives, and innovative storytelling practices. Loosely defined under the categories of LGBTQ+, people of color, women, and differently-abled people, the Other encompasses a community of storytellers and audiences that have been wholly underserved in the motion picture industry, and one that we seek to have a strong and integral relationship with. The company’s strategy for employing its model has three key tenets that have been culled through experience in a disruptive and innovative media environment: 1. Engaging stories – Invest a majority of Fae Pictures’ capital into the curatorial and selective development, production, and exploitation of a lucrative catalogue of high-quality original stories; 2. Engaging audiences – Find the most effective and innovative means and medium of telling each story that not only reaches audiences, but keeps them actively invested as opposed to passively interested; 3. Engaging the Other – Work with under-represented talent and audiences domestically and internationally in marginalized spaces including the LGBTQ, people of color, women, and people who are differently-abled communities. -
Three ,Modest Prop Canadian Film "In by John Harkness
Three ,Modest Prop Canadian Film "In by John Harkness After looking at it for a long time, I've decided that Canadian Cinema is just fine. We make excep- tional films like Jesus de Montreal, Dead Ringers and Thirty-two Short Films About Glenn Gould. We • make interesting films like Masala. We make deadly dull films like The Lotus Eaters and The Burning Season. In the long run, it doesn't matter much what anyone says about the film industry, which will continue to lumber slowly along, much as it has for the past decade or so. Instead, I've decided to offer a series of proposals that I think would do the film business and the Canadian soul a world of good. They will no doubt be ignored. I prefer to think of myself as being ahead of my time. CLOSE ALL FILM SCHOOLS FOR AT LEAST FIVE YEARS We have more filmmakers than we have projects for them to make, yet our film schools keep churning out little baby directors. Jean Renoir, Kenji Mizoguchi, David Lean, John Ford, Howard Hawks, Orson Welles, Steven Spielberg, Federico Fellini, Billy Wilder, David Cronenberg - none of these people went to film school. More great films have been made by people who never saw the inside of a film school than by people with graduate degrees in filmmaking. I also have considerable doubts about what they are being taught. A few years ago, a friend of mine was working for the Academy of Canadian Cinema on their director-observer program that took young filmmaking students and put them on the sets of actual, in-production films. -
Nikola Stepic
RELIGION & CULTURE Volume 26, no. 2 The JRC would like to acknowledge the support of sponsors from within the Concordia University community: Dean of Students (Concordia Council on Student Life Special Projects Committee) Department of Religion Research & Graduate Studies Faculty of Arts & Sciences Office of the Vice-President Services We would also like to offer our special thanks to: Lynda Clarke, our very supportive department Chair; Tina Montandon and Munit Merid, administrators extraordinaire; The executive staff of the CRSA, for letting us drop by all their wine and cheese events; all of our referees, readers and everyone else who gave their time to the publication of this journal. A Canadian Graduate Student Journal 2016 Volume 26, no. 1 & 2 Journal Committee Executive Committee Alexander Nachaj Editor-in-Chief Elyse MacLeod Article Editor Joseph E. Brito Publication Editor Georgia Carter Book Review Editor Editorial Board Faculty Advisors Anthony Easton Marc P. Lalonde Laurel Andrew Marcel Parent Dalia Ramirez Cote Steven Lapidus Carly Daniel-Hughes André Gagné Jean-Michel Roessli The Journal of Religion and Culture is produced by the Graduate Students of the Department of Religion at Concordia University. © 2016 Journal of Religion and Culture, Concordia University, Montreal, Quebec. ISSN 1198-6395 Journal of Religion and Culture Volume 26, no. 1 & 2 (2015/2016) All rights reserved. No part of this journal may be used or reproduced in any matter without the express written permission of the editors except in the case of brief quotations embedded in critical articles and reviews. For information: Journal of Religion and Culture, Department of Religion (FA-101) Concordia University 1455 de Maisonneuve O., Montreal, Quebec H3G 1M8 JRC logo designed: Christopher Burkart Book design: Joseph E. -
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, -
Gener- Ations of Queer
MARCH 12 TO JUNE 28, 2014 GENER- ATIONS Robert Flack GENERATIONSOF QUEEREllsha Lim ROBERT FLACK | JOHN GREYSONJohn | ELISHA Greyson LIM | KILEY MAY OF QUEERKiley May Curated By: MARCH 12 to Lisa Deanne JUNE 28, 2014 SmithCURATED BY: LISA DEANNE SMITH ONSITE [at] OCAD U ONSITE [at] “My father Generations of Queer Generations 2 died on 3 September 3, 2012. He was 74 years old and a gay man.” John Greyson, Perils of Pedagogy (video still), 1984 My father died on September 3, 2012. He was 74 years old and a gay man. The following June, my sister and I spent a weekend going through my dad’s belongings. As we decided what to do with his leather pants and cap I thought about the queer community and how it has changed since my father came out in the 1970s. Back then, it wasn’t easy to be a gay man or a gay father but it was possible — barely. It had only been legal to participate in consensual homosexual acts in Canada since 1969, although George Klippert was arrested in the Northwest Territories just before the law changed as “incurably homosexual” and a dangerous sexual offender for admitting to having consensual homosexual sex with four separate adult men.1 He was not released from Canadian jail until ONSITE [at] OCAD U ONSITE [at] June 1971. I was six years old at the time and had no idea how brave my father was to publicly be who he was. of Queer Generations Through my father I learned there were alternative lifestyles to explore as the mainstream didn’t seem to fit either of us well. -
UAAC Conference.Pdf
Friday Session 1 : Room uaac-aauc1 : KC 103 2017 Conference of the Universities Art Association of Canada Congrès 2017 de l’Association d’art des universités du Canada October 12–15 octobre, 2017 Banff Centre for Arts and Creativity uaac-aauc.com UAAC - AAUC Conference 2017 October 12-15, 2017 Banff Centre for Arts and Creativity 1 Welcome to the conference The experience of conference-going is one of being in the moment: for a few days, we forget the quotidian pressures that crowd our lives, giving ourselves over to the thrill of being with people who share our passions and vocations. And having Banff as the setting just heightens the delight: in the most astonishingly picturesque way possible, it makes the separation from everyday life both figurative and literal. Incredibly, the members of the Universities Art Association of Canada have been getting together like this for five decades—2017 is the fifteenth anniversary of the first UAAC conference, held at Queen’s University and organized around the theme of “The Arts and the University.” So it’s fitting that we should reflect on what’s happened in that time: to the arts, to universities, to our geographical, political and cultural contexts. Certainly David Garneau’s keynote presentation, “Indian Agents: Indigenous Artists as Non-State Actors,” will provide a crucial opportunity for that, but there will be other occasions as well and I hope you will find the experience productive and invigorating. I want to thank the organizers for their hard work in bringing this conference together. Thanks also to the programming committee for their great work with the difficult task of reviewing session proposals.