DOCSLIB.ORG

Columbia Chronicle College Publications

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Columbia College Chicago Digital Commons @ Columbia College Chicago Columbia Chronicle College Publications 12-5-1988 Columbia Chronicle (12/05/1988) Columbia College Chicago Follow this and additional works at: http://digitalcommons.colum.edu/cadc_chronicle Part of the Journalism Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Columbia College Chicago, "Columbia Chronicle (12/5/1988)" (December 5, 1988). Columbia Chronicle, College Publications, College Archives & Special Collections, Columbia College Chicago. http://digitalcommons.colum.edu/cadc_chronicle/256 This Book is brought to you for free and open access by the College Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Columbia Chronicle by an authorized administrator of Digital Commons @ Columbia College Chicago. Columbia Chronicle \ Ol.l \IE 21 "l \IBER 8 DECE'VIRER 5, 1988 COLUMBIA COLLEGE, CHIC A(;() ;, ·Hokin funds fuel programs By Carla Jones The budget covers salaries for members at large who rec ruit the director, part-time staff. stu­ new members and decide on how The Hokin Student Center has dent work aids who are selected much money is to be allocated about $24,000 left from last by Hermann Conaway. dean of toward each proposal they year's budget which will be used student services; payments for receive. for bigger and better program­ outside speakers, bands, cultural Once a monetary proposal has ming this year. activities. maintenance. office been approved a check request is Hokin Center Director Bobbie supplies, printing. !-shirts, and authorized by the director who Stuart said she was very thrifty fi lm rentals. then has to get approval from in the first year of the center's One of the school c lubs that Executive Vice President Bert operation. Last year's monies has benefited from Hokin fund­ Gall. were spent to help provide ade­ ing is the Hispanic All iance. " There have been times when quate equipment in the Hokin " There has been more interest check requests have been vet­ but this year more will be spent in the student _community and I oed," said Ortega. on programming. think the center has had some­ "We would like more input The revenue for the budget th ing to do with that." club from faculty a nd stude nts comes from the $10 fee for full­ director Jorge Ortega said. especially because it (the Hokin) time students and the $5 fee for The Hispanic Alliance has is here for them and we have part-time students charged to submitted proposals to the Hoki~ plenty of money to be utilized ... students each semester. for most of its events and has Stuart said. The total projected income received food donations from For example. the Hokin spon­ from these fees is $98,000 fo r Appetizers Inc., La Mexicana, a sored Alcoh :>l Awareness Week George Buoot, P'"ldent of the Hokln Student Advfoory the 1988-89 school year. Spanish baker y. and La Pre­ board vot" on what He budget funds are spent on. during October in conjunction fe rida, a major Spanis h food with the National Collegiate • • company. Alcohol Awareness Week. It Neighborhood crime ·Increases On ega is also the vice chair­ sponsored two guest speakers, man of the Hokin Student one who was paid $500: the By Cathy Bentevis good and bad we're doing and even after we sat dow-n and my Advisory Board. other spoke at no cost. Fees vary what areas we need to foc us our friends thought it was funny." The board is comprised of one for outside speakers. bands and According to the Chicago all!! nlion on more. ll 's li ke a Because each police officer student representative from each activities. Police Departme nt's an nua l grading card, we can see the pro­ has a beat, he cannot spend all major disipline and several Continued on Page 3 report, " Statistical Summary," gress we' ve made and how far his time at downtown colleges. criminal sexual assault and rob­ we sti ll have to go." " Police drive by the Jackson beries are slowly increasing in Columbia College students Park el station as often as they the -Harrison district. have mixed reactio ns to these can and sometimes an off icer statist ics. M arnie Barron, a In 1985, there were 290 crimi­ stands in front of the station or broadcast journalism major, said nal sexual assault offenses, and across the street,·· Dorrough she was afraid "because of all 2,815 robberies. In 1986, there said. the crazy people out there." were 312 criminal sexual assault Dorrough does not think the Even though Barron rides the el offenses a nd robberies fe ll li th district is targeted by offen­ with friends, she once had a slightly to 2,852. · ders because of colleges and uni­ frightening experience when a Officer Hollis Dorrough, from versities in the area. The lith man was yelling obscene things the lith district said the statistics district's crime rate is very high, to her. Barron said, ·'I was so· are "a yardstick to measure how scared because he kept yelling Continued on Page 3 Amnesty International brings human rights back to the U.N. In t h ~ 40 years that have political, religious and economic Assembly in 1948. and the passed smce the Umted Nations bipartisanship. this is the first of human rights violations that are ratifred Us Declarat w n of a series exploring the aims of AI taking place wi thin their bor­ Human Rrghts, worldwide cit- and its ties with Columbia. ders. The Declaration states, izen mistreatment remains a amo ng other thi ngs, that " no problem. All U.N. members, By Mitch Hurst one shall be subjected to arbi­ including the United States, have trary arrest, detention or exile." disregarded the document's ten­ Dec. 10 is Intern ational (Article 9). ets i(t some •my. Human Rights Day and this year On Dec. 8, Amnesty Interna­ Amnesty International has marks the fortieth anni versary of tional officials will present the resorted to what may be the only the signing of the Universal Dec­ petit ions, containing more than solut ion -world citizen laration of Human Rights. It also three and a half million sig­ awareness. A starving Buddhist marks the culmination o f the natures from people around the monk imprisoned in Sri Lanka largest campaign ever organized world to Javier Perez de Cuellar, for his race and spiritual beliefs by Amnes ty International to Secretary General of the United may not be of direct concern to bring attention to the plight of Nations. A I officials will also residems of Chicago or studellts This award-winning photo taken by Columbia photography student political prisoners around the present pet itions with over and employees at Columbia Col­ Christopher Sander of Mo rton Grove won first place during a recent wo rld. For eight months 520.000 signatures from U.S. lege. But they all will face prob­ contest sponsored by the Palmer Group. Ltd. Eleven Columbia Amnesty staff members, vol un­ c itizens to President-elect lems of the em ire world in time. teers , students, rock and roll George Bush's transition team to students submitted 36 entries hoping to win the $100 cash prize. Columbia has taken a step in stars and anyone else who was show the future administration Other entries received $25 gilt certificates. The winning student has solving this problem by recently wi lling to lend a hand have been that U.S. citizens are concerned a lull-time lob with a construction company while seeking his instituting a campus chapter of AI. busily gathering signatures on a about human rights violation>. photography degree from Columbia. petitio n d esig ned to remind Sanders' pulsating photo reflects off next door neighbor 333 w. In willingness to cooperate countries o f the Declaration Wacker Dr. and shows the 225 W. Wacker Dr. neighbor. with the organization's social, ado pted by the U.N. General Continued on Page 3 PAGE 2 DECEMBER 5,1988 COLUMBIA CHRONICLE NEWS News Briefs Departments merge on festival Scholarship offered for sons and daughters By A. L. Neris the art ln,titute of Chicago and of veterans Edinboro nivcrsity. Edinboro. The dcparmcnb of dance. PA. The \dolph C<x>r' Comp<On) h"' <~nnounced the 'pon'>Or>h<p ol the 1 Eng li'h and interdi,ciplinary Poet Allen Ginsberg. sched­ 19KY C<x>r' Vcter"n' · Memori<OI Scholar,hip Fund <<nd will award am have joined force' to 'pon­ uled for the second night of the ))(KJ ,(J()(J 111 ,cholar,hip' to a minimum of 100 'on' and dau g hter~ of ~or it!> fir!>t ever special a1t~ festival at the Emma and Oscar t\mcru.:an veteran" W(Jrldwitlc. cxtrava2anza that featu res poet!> Gctz Theatre. d ivided h is pre ­ To be ciU.!ihlc for con ... idcrat ion. arplit:anh lllll!\( be 22 year\ of age A llen G insberg and Kenward sentation giving equal time to " r younger: ... of March 15 . I'JX'J. and al ready be enrolled fu ll-time in El msl ic. pcrf<;rmancc a rtis it reading and sing ing fro m his col­ an accredited lour-) car in..,titution of hight:r education 111 the Umtcd P ing C h o n g and art crit ic lected poems. A mong some of "itatc-. or an accredited two-)car program lc<.Jd ing. to a four-ye ar Maureen Sherlock in the "After the readings included PLUTO ­ undergraduate degree.
Recommended publications
  • Money from Music: Survey Evidence on Musicians’ Revenue and Lessons About Copyright Incentives

    Money from Music: Survey Evidence on Musicians’ Revenue and Lessons About Copyright Incentives

    MONEY FROM MUSIC: SURVEY EVIDENCE ON MUSICIANS’ REVENUE AND LESSONS ABOUT COPYRIGHT INCENTIVES Peter DiCola* According to the incentive theory of copyright, financial rewards are what the public trades for the production of creative works. To know whether this quid pro quo is working, one needs to know how much the creators are getting from the bargain. Based on an original, nationwide survey of more than 5,000 musicians, this Article addresses one of the key links in the incentive theory’s chain of logic. For most musicians, copyright does not provide much of a direct financial reward for what they are producing currently. The survey findings are instead consistent with a winner-take-all or superstar model in which copyright motivates musicians through the promise of large rewards in the future in the rare event of wide popularity. * Associate Professor, Northwestern University School of Law. A.B. 1998, Princeton University; J.D. 2005, Ph.D. (Economics) 2009, University of Michigan. I am grateful to my colleagues Jean Cook and Kristin Thomson of the Future of Music Coalition. We worked together to develop and analyze the Internet survey of musicians discussed in this Article, and I have benefited greatly from our discussions as a research team. The views expressed in this Article are my own, however, and not those of Jean, Kristin, or Future of Music Coalition. My thanks to Ken Ayotte, Scott Baker, Shari Diamond, Zev Eigen, Josh Fischman, Ezra Friedman, William Hubbard, Jessica Litman, Anup Malani, Mark McKenna, Tom Miles, Max Schanzenbach, and Avishalom Tor for helpful comments and advice.
  • Music Tech-1

    Music Tech-1

    Radnor Middle School Course Overview Music Technology I. Course Description Music Technology is offered as an eighth grade music elective, meeting three times a cycle. Students will be introduced to the study of music technology and music fundamentals. Areas of instruction will include instrument and equipment care, beginning level music literacy (reading and writing music), keyboard performance skills, music technology related history, concepts, terminology and experience with a variety of applications. II. Resources, Materials , Equipment • iMacs • GarageBand • Korg K61p MIDI Studio Contoller Keyboards • Student Journals III. Course Goals, Objectives (Essential Questions, Enduring Understandings) Students will be able to: 1. Accurately perform melody, harmony and rhythm parts of a composition and record the parts separately into the sequencer of the keyboard. 2. Accurately perform melody, harmony and rhythm parts of their own composition and record the parts separately into the sequencer of the keyboard. 3. Record multiple parts to an electronic “sound piece” using non-traditional instrument timbres and effects. 4. Orchestrate and perform three- and four-part synthesizer ensemble pieces within expected performance parameters for their individual levels of expertise. 5. Transfer sequenced MIDI files from the keyboard disk into the computer and, using appropriate software, edit needed corrections, format, and print out the composition. 6. Change instrumentation using an existing music composition stored as MIDI data; and alter tempo, range, and dynamics during the course of the piece, while still maintaining the original integrity of the composition. 7. Compose a four-part electronic sound piece using varied timbre (tone), texture, and dynamics of at least three minute length. Students may incorporate digitally recorded audio sounds into this piece.
  • Scale Agreement Between

    Scale Agreement Between

    Scale Agreement between and October 1, 2015 to September 30, 2020 NFB – CFM SCALE AGREEMENT Page 1 TABLE OF CONTENTS TABLE OF CONTENTS .............................................................................................. 1 RECOGNITION ....................................................................................................... 4 1. SCOPE ........................................................................................................... 4 2. DEFINITIONS ................................................................................................. 4 3. APPLICABLE FEES....................................................................................... 5 4. PENSION FUND ............................................................................................. 5 5. MEMBERSHIP ............................................................................................... 5 6. TEMPORARY MEMBER PERMITS ............................................................... 6 7. TELEVISION CLIPS OR FILLERS ................................................................. 7 8. LICENCE FEES .............................................................................................. 7 9. SCORING IN CANADA .................................................................................. 7 10. CONDITIONS AND FEES .............................................................................. 7 11. WORK DUES DEDUCTIONS ......................................................................... 8 12. CONTRACTS ................................................................................................
  • 10 Chapter 2

    10 Chapter 2

    10 Chapter 2 Answer 2.3 The ER diagram is shown in Figure 2.1. Exercise 2.4 A company database needs to store information about employees (iden- tified by ssn,withsalary and phone as attributes), departments (identified by dno, with dname and budget as attributes), and children of employees (with name and age as attributes). Employees work in departments; each department is managed by an employee; a child must be identified uniquely by name when the parent (who is an employee; assume that only one parent works for the company) is known. We are not interested in information about a child once the parent leaves the company. Draw an ER diagram that captures this information. Answer 2.4 Answer omitted. Exercise 2.5 Notown Records has decided to store information about musicians who perform on its albums (as well as other company data) in a database. The company has wisely chosen to hire you as a database designer (at your usual consulting fee of $2500/day). Each musician that records at Notown has an SSN, a name, an address, and a phone number. Poorly paid musicians often share the same address, and no address has more than one phone. Each instrument used in songs recorded at Notown has a unique identification number, a name (e.g., guitar, synthesizer, flute) and a musical key (e.g., C, B-flat, E-flat). Each album recorded on the Notown label has a unique identification number, a title, a copyright date, a format (e.g., CD or MC), and an album identifier. Each song recorded at Notown has a title and an author.
  • The Compositional Influence of Wolfgang Amadeus Mozart on Ludwig Van Beethoven’S Early Period Works

    The Compositional Influence of Wolfgang Amadeus Mozart on Ludwig Van Beethoven’S Early Period Works

    Portland State University PDXScholar Young Historians Conference Young Historians Conference 2018 Apr 18th, 12:30 PM - 1:45 PM The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works Mary L. Krebs Clackamas High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Musicology Commons Let us know how access to this document benefits ou.y Krebs, Mary L., "The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works" (2018). Young Historians Conference. 7. https://pdxscholar.library.pdx.edu/younghistorians/2018/oralpres/7 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. THE COMPOSITIONAL INFLUENCE OF WOLFGANG AMADEUS MOZART ON LUDWIG VAN BEETHOVEN’S EARLY PERIOD WORKS Mary Krebs Honors Western Civilization Humanities March 19, 2018 1 Imagine having the opportunity to spend a couple years with your favorite celebrity, only to meet them once and then receiving a phone call from a relative saying your mother was about to die. You would be devastated, being prevented from spending time with your idol because you needed to go care for your sick and dying mother; it would feel as if both your dream and your ​ ​ reality were shattered. This is the exact situation the pianist Ludwig van Beethoven found himself in when he traveled to Vienna in hopes of receiving lessons from his role model, Wolfgang Amadeus Mozart.
  • Contemporary Christian Music & The

    Contemporary Christian Music & The

    PLAYING THE MARKET: CONTEMPORARY CHRISTIAN MUSIC & THE THEORY OF RELIGIOUS ECONOMY by Jamie Carrick B.A., The University of Calgary, 2007 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Religious Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) October 2012 © Jamie Carrick, 2012 Abstract Contemporary Christian music (CCM) is a fascinating and understudied part of the religious vitality of modern American religion. In this dissertation the theory of religious economy is proposed as a valuable and highly serviceable methodological approach for the scholarly study of CCM. The theory of religious economy, or the marketplace approach, incorporates economic concepts and terminology in order to better explain American religion in its distinctly American context. In this study, I propose three ways in which this method can be applied. Firstly, I propose that CCM artists can be identified as religious firms operating on the “supply-side” of the religio-economic dynamic; it is their music, specifically the diverse brands of Christianity espoused there within, that can allow CCM artists to be interpreted in such a way. Secondly, the diversity within the public religious expressions of CCM artists can be recognized as being comparable to religious pluralism in a free marketplace of religion. Finally, it is suggested that the relationship between supply-side firms is determined, primarily, by the competitive reality of a free market religious economy. ii Table of Contents Abstract . ii Table of Contents . iii List of Figures . iv Acknowledgements . v 1 Introduction . 1 1.1 Introduction . 1 1.2 Religion & Popular Culture .
  • The Importance of Music in Different Religions

    The Importance of Music in Different Religions

    The Importance of Music in Different Religions By Ruth Parrott July 2009 Silverdale Community Primary School, Newcastle-under-Lyme. Key Words Spirituality Greetings Calls to Worship Blessings Dance in Hindu Worship Celebrations 2 Contents Introduction p4 The Teaching of RE in Staffordshire Primary Schools p6 Music and Spirituality p7 Assembly – ‘Coping with Fear’ p11 Suggestions for Listening and Response p14 Responses to Music and Spirituality p16 Worksheet – ‘Listening to Music’ KS2 p18 Worksheet – ‘Listening to Music’ KS1 p19 Judaism p20 Christianity p24 Islam p26 Sikhism p30 Hinduism p34 Welcomes, Greetings and Calls to Prayer/Worship p36 Lesson Plan – ‘Bell Ringing’ p38 Judaism – ‘The Shofar p42 Islam – ‘The Adhan’ p44 Lesson Plan – ‘The Islamic Call to Prayer’ p45 Celebrations p47 Lesson Plan – Hindu Dance ‘Prahlad and the Demon’ p50 Lesson Plan – Hindu Dance ‘Rama and Sita’ (Diwali) p53 Song: ‘At Harvest Time’ p55 Song: ‘Lights of Christmas’ p57 Blessings p61 Blessings from different religions p65 Lesson Plan – ‘Blessings’ p71 Conclusion p74 Song: ‘The Silverdale Miners’ p75 Song: ‘The Window Song’ p78 Acknowledgements, Bibliography p80 Websites p81 3 Introduction I teach a Y3 class at Silverdale Community Primary School, and am also the RE, Music and Art Co-ordinator. The school is situated in the ex- mining village of Silverdale in the borough of Newcastle- under-Lyme on the outskirts of Stoke-on-Trent and is recognised as a deprived area. The school is a one class entry school with a Nursery, wrap-around care and a breakfast and after school club. There are approximately 200 children in the school: 95% of pupils are white and 5% are a variety of mixed ethnic minorities.
  • FOOTBALL CROWD BEHAVIORAL RESPONSES to a UNIVERSITY MARCHING BAND's MUSICAL PROMPTS by AMANDA L. SMITH a THESIS Presented To

    FOOTBALL CROWD BEHAVIORAL RESPONSES to a UNIVERSITY MARCHING BAND's MUSICAL PROMPTS by AMANDA L. SMITH a THESIS Presented To

    FOOTBALL CROWD BEHAVIORAL RESPONSES TO A UNIVERSITY MARCHING BAND’S MUSICAL PROMPTS by AMANDA L. SMITH A THESIS Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Music June 2018 THESIS APPROVAL PAGE Student: Amanda L. Smith Title: Football Crowd Behavioral Responses to a University Marching Band’s Musical Prompts This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Music degree in the School of Music and Dance by: Dr. Eric Wiltshire Chair Dr. Melissa Brunkan Member Dr. Beth Wheeler Member and Sara D. Hodges Interim Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2018. ii © 2018 Amanda L. Smith iii THESIS ABSTRACT Amanda L. Smith Master of Music School of Music and Dance June 2018 Title: Football Crowd Behavioral Responses to a University Marching Band’s Musical Prompts Decades of market research have investigated how music can influence consumer purchase, food consumption, and alcoholic drinking. Before market researchers declared music an influencer of atmospheric perception, sociologists discovered the sway of music on crowd collective action in sporting events, political rallies, and societal unrest. There remains a lack of research on how live music may influence football fan behavior during a game. Therefore, this study observed the number of behavioral responses from university students elicited by a university marching band’s music prompts (N = 11) at an American university football game.
  • Gospel with a Groove

    Gospel with a Groove

    Southeastern University FireScholars Selected Honors Theses Spring 4-28-2017 Gospel with a Groove: A Historical Perspective on the Marketing Strategies of Contemporary Christian Music in Relation to its Evangelistic Purpose with Recommendations for Future Outreach Autumn E. Gillen Southeastern University - Lakeland Follow this and additional works at: http://firescholars.seu.edu/honors Part of the Christianity Commons, Liturgy and Worship Commons, Marketing Commons, Music Commons, and the Practical Theology Commons Recommended Citation Gillen, Autumn E., "Gospel with a Groove: A Historical Perspective on the Marketing Strategies of Contemporary Christian Music in Relation to its Evangelistic Purpose with Recommendations for Future Outreach" (2017). Selected Honors Theses. 76. http://firescholars.seu.edu/honors/76 This Thesis is brought to you for free and open access by FireScholars. It has been accepted for inclusion in Selected Honors Theses by an authorized administrator of FireScholars. For more information, please contact [email protected]. GOSPEL WITH A GROOVE: A HISTORICAL PERSPECTIVE ON THE MARKETING STRATEGIES OF CONTEMPORARY CHRISTIAN MUSIC IN RELATION TO ITS EVANGELISTIC PURPOSE WITH RECOMMENDATIONS FOR FUTURE OUTREACH by Autumn Elizabeth Gillen Submitted to the Honors Program Committee in partial fulfillment of the requirements for University Honors Scholars Southeastern University 2017 GOSPEL WITH A GROOVE 2 Copyright by Autumn Elizabeth Gillen 2017 GOSPEL WITH A GROOVE 3 Abstract Contemporary Christian Music (CCM) is an effective tool for the evangelism of Christianity. With its origins dating back to the late 1960s, CCM resembles musical styles of popular-secular culture while retaining fundamental Christian values in lyrical content. This historical perspective of CCM marketing strategies, CCM music television, CCM and secular music, arts worlds within CCM, and the science of storytelling in CCM aims to provide readers with the context and understanding of the significant role that CCM plays in modern-day evangelism.
  • Italian Forces in Ethiopia Surrender; 120 Amerieans On

    Italian Forces in Ethiopia Surrender; 120 Amerieans On

    T *d,gmop ---------- ---- -■ .... .... Italian Forces in Ethiopia Surrender; 120 Amerieans on '_______________ _________ ;------- C Chosen to Wear Crown of Croatia cean’s Broad Reach Fascist Forces Up to British Today Uoaks Liner’s Fate; Duke of Aosta List of Passengers Surrender Necessary Re- i Capitulation of Last Ma« 24 Ambulance Drivers Japs Believe Urges. Goods cause Italians Rail Out jor - Stronghold hi Included Among Those O f Food, and Water; Northeast Ethiopia ] «.299-T oh EgypUan America Will About Egyptian Steam* Be Delivered Amba Alaji Defenders Conies After Italian^: er 2amzam Several m > TgT • : Liner Reported Sunk Reduced to Material Go into War Allowed One Day ^ Groups of Missionar* 1 0 J M a Z l f o e s On voyage from New Impossibility of Tak­ Collect the Woundedjl ics Also Aboard Ves­ - - - - - - I York to Alexandria No ing Care of Wounded Own Position Is One of Duke and General .t|$ Nelson Rockefeller Says' Definite Word as to sel Reported Sunk in And Cease Fighting. Waiting for Roosevelt Surrender Tomontraf* South Atlantic Ocean, Trade in HUler-Domi- What Occurred to Ship To Move Must Abide noted W orld Would Rome, M ay 19.— (A>)— The Cairo, Egypt, May 19. , New York, May 19.— (/P)— New York, May 19.— (A*)— Duke of Aosta, viceroy of By AxU Pact Terms. — About 7,000 Italian aoldiem Be Impossible Task. The broad expanse of the Philip Faversham, 33-year- Ethiopia, has surrendered are surrendering in E ^ o ” " old son of the late William V ■ South Atlantic— or possibly Tokyo, May 19.—(JP)—The Japa­ today and their commai New York, May 19.-r(P)—Nel­ limself and his troops to the Faversham, actor, was among {he Indian ocean— cloaked the nese press declared today that at Alma Alaji, the Duke son A.
  • The Production of Gospel Music: an Ethnographic Study of Studio-Recorded Music in Bellville, Cape Town

    The Production of Gospel Music: an Ethnographic Study of Studio-Recorded Music in Bellville, Cape Town

    The production of gospel music: An ethnographic study of studio-recorded music in Bellville, Cape Town A mini thesis submitted in partial fulfillment of the degree of Master of Arts in Anthropology Robin L. Thompson Department of Anthropology and Sociology University of the Western Cape November 2015 Supervisor: Professor Heike Becker Table of Contents Abstract ................................................................................................ ......................................................... i Declaration ................................................................ ................................................................................... ii Acknowledgements ..................................................................................................................................... iii CHAPTER 1: Introduction ...........................................................................................................................1 1.1 The prevalence of Pentecostalism and music in Christian households, churches and media in Cape Town .............................................................................................................................................................4 1.2 Rethinking the idea of genre through ‘Pentecospel’ music ....................................................................8 1.3 Going forth ............................................................................................................................................10 1.4 Chapter Outline
  • Paul Mccartney, 1980-1999

    Paul Mccartney, 1980-1999

    Paul McCartney from Wings through the 90's McCartney II Columbia FC‐36511 May 21, 1980 About ten years after recording McCartney by himself, Paul got several songs together and recorded them‐‐again alone‐‐on somewhat of a lark. Then Paul embarked on his ill‐fated 1980 tour of Japan (which resulted in his being jailed for drug possession). After returning to the safety of his own home, he was urged to release the album, and he did. The album contrasts well with McCartney, for this second production contains numerous instruments and electronic tricks that were not present on the 1970 release. Side One is particularly interesting. The solo version of "Coming Up" is followed by the fun track, "Temporary Secretary" (released as a single in England). The almost‐lament, "On the Way," is then succeeded by "Waterfalls," Paul's second (US) single from the album. "Bogey Music," from Side Two, is also a standout. John Lennon heard a song from McCartney II and thought that Paul sounded sad. When the album was released in the US, a bonus one‐sided single ‐‐ the hit version of "Coming Up"‐‐was included with the LP. This hit was enough to propel the album to the #3 position on the charts, during a time when disco was now on the wane. "Waterfalls" Columbia 1‐11335 Jul. 22, 1980 The lovely ballad about protectiveness was one of the standouts from McCartney II. After "Coming Up," it received the most airplay and the most positive response from Paul's friends. As a single, though, the song fared poorly, only reaching #83...one of Paul's worst showings to date.