Pair of Girls up for the Challenge
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At the Jericho Tavern on Saturday NIGHTSHIFT PHOTOGRAPHER 10Th November
[email protected] nightshift.oxfordmusic.net Free every month NIGHTSHIFT Issue 207 October Oxford’s Music Magazine 2012 Alphabet Backwards photo: Jenny Hardcore photo: Jenny Hardcore Go pop! NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 NEWS Nightshift: PO Box 312, Kidlington, OX5 1ZU Phone: 01865 372255 email: [email protected] Online: nightshift.oxfordmusic.net DAMO SUZUKI is set to headline The album is available to download this year’s Audioscope festival. The for a bargain £5 at legendary former Can singer will www.musicforagoodhome.com. play a set with The ODC Drumline at the Jericho Tavern on Saturday NIGHTSHIFT PHOTOGRAPHER 10th November. Damo first headlined Johnny Moto officially launches his Audioscope back in 2003 and has new photo exhibition at the Jericho SUPERGRASS will receive a special Performing Rights Society Heritage made occasional return visits to Tavern with a gig at the same venue Award this month. The band, who formed in 1993, will receive the award Oxford since, including a spectacular this month. at The Jericho Tavern, the legendary venue where they signed their record set at Truck Festival in 2009 backed Johnny has been taking photos of deal back in 1994 before going on to release six studio albums and a string by an all-star cast of Oxfordshire local gigs for over 25 years now, of hit singles, helping to put the Oxford music scene on the world map in the musicians. capturing many of the best local and process. Joining Suzuki at Audioscope, which touring acts to pass through the city Gaz Coombes, Mick Quinn and Danny Goffey will receive the award at the raises money for homeless charity in that time and a remains a familiar Tavern on October 3rd. -
Quarterly Magazine
FLORIDA- CARIBBEAN Caribbean Cruising CRUISE THE FLORIDA-CARIBBEAN CRUISE ASSOCIATION MAGAZINE ASSOCIATION Third Quarter 2007 EXECUTIVE FEATURES COMMITTEE FCCAMicky Chairman, Arison Chairman & CEO 9 The 2007 FCCA Caribbean Cruise Conference and Trade Show. Carnival Corporation Join us in Cozumel, Mexico to foster new relationships. PresidentThomas M. McAlpin 12 A Look Inside Playa Mia Grand Beach Park. Disney Cruise Line 18 What Destinations Can Learn From Disney Cruise Line. PresidentRichard &E. CEO Sasso MSC Cruises (USA) Inc. By Tom McAlpin, President - Disney Cruise Line. PresidentColin V eitch& CEO 24 Port Everglades Expands for the Future. Norwegian Cruise Line 28 Tours - Thinking Outside the Box. VStephenice President, A. Nielsen By Darius Mehta, Director Land Programs - Regent Seven Caribbean & Atlantic Shore Operations Seas Cruises. Princess Cruises/Cunard Line 30 Cozumel - An Island of Cultural Treasures. PrAdamesident Goldstein Royal Caribbean International RCCL’s Patrick Schneider, Director of Shore Excursions Shares FCCA STAff 34 RCCL’s Patrick Schneider, Director of Shore Excursions Shares His Goals With Us. GraphicsOmari BrCoordinatoreakenridge 36 Cruise Control - Managing the Cruise Industry. Director,Terri Cannici Special Events By Vincent Vanderpool-Wallace, Secretary General & CEO, Caribbean Tourism Organization. VAdamice President Ceserano 40 NCL Welcomes New Billion Dollar Shareholder to Freestyle ExecutiveJessica LalamaAssistant Cruising and the Industry’s Youngest Fleet. Star Cruises and Apollo Team Up to Boost -
Afrofuturism: the World of Black Sci-Fi and Fantasy Culture
AFROFUTURISMAFROFUTURISM THE WORLD OF BLACK SCI-FI AND FANTASY CULTURE YTASHA L. WOMACK Chicago Afrofuturism_half title and title.indd 3 5/22/13 3:53 PM AFROFUTURISMAFROFUTURISM THE WORLD OF BLACK SCI-FI AND FANTASY CULTURE YTASHA L. WOMACK Chicago Afrofuturism_half title and title.indd 3 5/22/13 3:53 PM AFROFUTURISM Afrofuturism_half title and title.indd 1 5/22/13 3:53 PM Copyright © 2013 by Ytasha L. Womack All rights reserved First edition Published by Lawrence Hill Books, an imprint of Chicago Review Press, Incorporated 814 North Franklin Street Chicago, Illinois 60610 ISBN 978-1-61374-796-4 Library of Congress Cataloging-in-Publication Data Womack, Ytasha. Afrofuturism : the world of black sci-fi and fantasy culture / Ytasha L. Womack. — First edition. pages cm Includes bibliographical references and index. ISBN 978-1-61374-796-4 (trade paper) 1. Science fiction—Social aspects. 2. African Americans—Race identity. 3. Science fiction films—Influence. 4. Futurologists. 5. African diaspora— Social conditions. I. Title. PN3433.5.W66 2013 809.3’8762093529—dc23 2013025755 Cover art and design: “Ioe Ostara” by John Jennings Cover layout: Jonathan Hahn Interior design: PerfecType, Nashville, TN Interior art: John Jennings and James Marshall (p. 187) Printed in the United States of America 5 4 3 2 1 I dedicate this book to Dr. Johnnie Colemon, the first Afrofuturist to inspire my journey. I dedicate this book to the legions of thinkers and futurists who envision a loving world. CONTENTS Acknowledgments .................................................................. ix Introduction ............................................................................ 1 1 Evolution of a Space Cadet ................................................ 3 2 A Human Fairy Tale Named Black .................................. -
Performing Manchyna: Unmapping Promissory Exaltation, Multicultural
Performing ManChyna: Unmapping Promissory Exaltation, Multicultural Eugenics, and the New Whiteness (Or, “Call Me Dr. ManChyna”) By Andrew Wei Ling (A.W.) William Lee A thesis submitted to the Graduate Program in Cultural Studies in conformity with the requirements for the Degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada September, 2015 Copyright © Andrew Wei Ling William Lee, 2015 Abstract Creating art and performing as ManChyna collectively function as my entry into an autoethnographic mapping of mobility and space within liberal multiculturalism. I introduce the research creative method of autoethnographic creatography, because creation and performance are my interventions into and tools for analyzing social space. My parody of queer Asian racialization upends liberal multiculturalism’s promise of incorporation, or promissory exaltation (invoking Sunera Thobani’s, “racial exaltation”), which instrumentally disciplines and includes putative model minorities and homonorms alike. Thus, assimilation into a queer liberal multiculturalism is my primary theoretical target. Building on José Muñoz’s idea of disidentification, I introduce the notion of disassimilation as a performative embodiment of critical analysis and theory. How can individuals articulate the current contours of liberal ideology? How can one counter an ever-shifting dominant culture from a ‘minor’ point of view when one crucial aim of the latter’s evasive energy is the incorporation of that minor gaze? And how does the minoritarian subject represent -
"N*Ggas Ain't Sticking Unless They Lick the Kitten"
LINKÖPINGS UNIVERSITET Institutionen för kultur och kommunikation Litteraturvetenskap Kandidatuppsats ”N*ggas ain’t sticking unless they lick the kitten” En intersektionell analys av cunnilingus i kvinnlig rap ”N*ggas ain’t sticking unless they lick the kitten” – An Intersectional Analysis of Cunnilingus in Female Rap HT 2014 Författare: Ellen Rosdahl Handledare: Johanna Vernqvist Innehållsförteckning Inledning 1 Syfte 2 Material 2 Disposition 3 Tidigare forskning 3 Teori 5 Objektifierade svarta kvinnokroppar i amerikansk popkultur 6 Hiphop 10 Definierandet av kvinnlig sexualitet 12 Metod 19 Analys 19 Diskussion 32 Källförteckning 34 Bilaga 1: Azealia Banks – ”212” 37 Bilaga 2: Iggy Azalea – ”Pu$$y” 38 Bilaga 3: Khia – ”My Neck, My Back” 38 Bilaga 4: Lil’ Kim – ”Not Tonight” 39 Bilaga 5: Lil’ Kim ft. Diddy & Notorious B.I.G. – ”Queen Bitch pt. II” 39 Bilaga 6: Lil’ Kim ft. Mr. Bristal – ”Suck My Dick” 40 Bilaga 7: Missy Elliott – ”Work It” 41 Bilaga 8: Nicki Minaj – ”Anaconda” 42 Bilaga 9: Nicki Minaj ft. PTAF – ”Boss Ass Bitch” 43 Bilaga 10: Trina ft. Trick Daddy – ”Da Baddest Bitch” 44 Bilaga 11: ”Honey, I’se Waitin’ Fo’ You Down South” 45 Inledning N*ggas1 ain’t sticking unless they lick the kitten Too many bitches just be lickin’ the dick —Lil’ Kim När jag började lyssna på kvinnliga rapartister lade jag snabbt märke till ett ämne i deras texter som inte vanligen huseras varken i annan västerländsk populärmusik eller populärkulturella yttringar såsom film, teater, och skönlitteratur. Cunnilingus 2 diskuteras sällan i offentligheten utanför erotiska kulturuttryck och sexualupplysning, och såvitt jag har märkt så är fellatio3 betydligt mer uppmärksammat och accepterat som ett vardagligt fenomen, och en frekvent använd referens i populärkultur. -
Azealia Banks, Seapunk and Atlantis
AZEALIA BANKS, SEAPUNK AND ATLANTIS: An Embattled Humanist Mixtape [Received September 10th 2016; accepted October 3rd 2016 – DOI: 10.21463/shima.10.2.09] Justin D Burton <[email protected]> Rider University, Lawrenceville, USA ABSTRACT: Azealia Banks’s 2012 Atlantis music video garnered attention for its use of imagery that borrowed its visual aesthetic from a group of internet artists who identified themselves as “seapunk.” Banks released the video months after seapunk’s originators had declared the scene dead and she herself responded to questions about her style by saying “seapunk isn’t real, you know?” Starting at Banks’s declaration of fakery, this article considers Atlantis in the context of the first four songs of the rapper’s Fantasea mixtape, which map a space/sea continuum that uses Afrofuturist signifiers but also frustrates the future-oriented teleology of Afrofuturism. This frustration works as what Sylvia Wynter calls “embattled humanism,” which extends beyond a conception of Afrofuturism that combines the vision of a future elsewhere with the commitment to a present struggle over what it means to be human. KEY WORDS: Atlantis, Azealia Banks, Afrofuturism, embattled humanism, Sylvia Wynter Introduction Azealia Banks released Fantasea while her 2011 debut single ‘212’ was still a radio hit. The rapper, whose instrumental tracks span a variety of pop and dance genres, had first caught the attention of listeners in 2008 when, under the name Miss Bank$, she posted ‘Gimme a Chance’ (which she would later re-record with new vocals for her 2014 debut studio album, Broke with Expensive Taste) and ‘Seventeen’ to YouTube. -
Meltdown in Valhalla
BOOKS & ARTS ble, of gigantic momentum and cumulative new house, Walhall, is almost finished. Wotan power, was largely lacking. has had a few good times but, right now, is This was mainly a Ring of moments. The Meltdown in broke. The construction company, Fasolt & production, which seemed to lack any over- Fafner Inc., had feared as much when they all direction and to delight in mischievous Valhalla accepted Wotan’s building contract and, novelty, added to the wrong sense of disin- fortunately for them, had insisted on some tegration. Steffen Huck draws parallels collateral, which Wotan had somewhat flip- However, with the orchestra on such between Wagner’s Ring cycle pantly granted in the form of his sister-in- stupendous form, and some individual per- law, Freia. Freia, for her part, grows, as a sort formances of distinction by some of the and today’s economic crisis of hobby, fine apples that play a crucial role leading singers, it was a Ring which offered in the gods’ diet. more rewards than buffets. As I’ve indicated, What begins with the borrowing of some cap- At the beginning of the second scene Bryn Terfel was everything a Wotan should ital ends 14 hours later with cataclysmic dis- of part one (on the trilogy’s eve, as Wagn- be, and it was especially exciting to note how aster. It is a drama thousands and thousands er wanted Rheingold to be known) we see easily the full tone, the intelligent inflection, in the western hemisphere watch these days Wotan’s wife Fricka worried about the bills. -
Ibrahim-Mastersreport-2015
Copyright by Amina McKenna Ibrahim 2015 The Report Committee for Amina McKenna Ibrahim Certifies that this is the approved version of the following report: Radical Re-envisionings: Ancient Egypt, Afrofuturism, and FKA twigs APPROVED BY SUPERVISING COMMITTEE: Supervisor: Kathryn Fuller-Seeley Karin Gwinn Wilkins Radical Re-envisionings: Ancient Egypt, Afrofuturism, and FKA twigs by Amina McKenna Ibrahim, B.A. Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2015 Abstract Radical Re-envisionings: Ancient Egypt, Afrofuturism, and FKA twigs Amina McKenna Ibrahim, M.A. The University of Texas at Austin, 2015 Supervisor: Kathryn Fuller-Seeley This report considers the role of ancient Egyptian culture and iconography within the genre/aesthetic known as Afrofuturism. It aims to position Afrofuturism at the juncture between alternative and activist media and genre media, highlighting the similar strains of thought and intentions within each body of academic literature, and argues that because genre media and alternative media have comparable goals, Afrofuturism is itself a radical genre/aesthetic. It supports this assertion by discussing the importance of ancient Egypt within Afrofuturism in relation to ancient Egypt’s more general cultural significance to the wider North American and European communities. This report concludes with a case study that investigates the use of ancient Egypt by -
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Romancing the Reef: History, Heritage and the Hyper-Real
Romancing the Reef: history, heritage and the hyper-real Thesis submitted by Celmara Anne POCOCK BA (Hons) UWA in December 2003 for the degree of Doctor of Philosophy in the School of Anthropology, Archaeology and Sociology James Cook University ii Abstract The Great Barrier Reef is regarded as one of the natural wonders of the world and is recognised as having World Heritage significance. The wealth and complexity of its natural attributes form the basis of a rich and complementary human history. However, management of the region is focused on the conservation of natural attributes, sometimes at the cost of human interests and cultural values. This is symptomatic of the way in which many heritage properties are managed and is a source of problems in the identification and interpretation of heritage. There is a need to better understand the human dimensions of such ‘natural wonders’ to ensure effective management. In order to address some of these issues, this thesis explores visitor experiences and knowledge of the Great Barrier Reef with a particular focus on the non-local experiences and knowledge that underpin the region’s global recognition. One of the major issues for management is the mutable nature of heritage values. This research therefore seeks to develop an understanding of how such heritage values are formed, transformed and sustained over time. It takes an historical approach to understand the ways in which visitor knowledge of the Reef has been constructed and transmitted both temporally and spatially. Methods novel to heritage assessments are developed and implemented to identify and contrast visitor experiences in the past and those of the present. -
What Can We Learn from Rapper and Provocateur, Azealia Banks?
City University of New York (CUNY) CUNY Academic Works Capstones Craig Newmark Graduate School of Journalism Fall 12-14-2018 What can we learn from rapper and provocateur, Azealia Banks? Robert A.R. Dozier Craig Newmark Graduate School of Journalism How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gj_etds/312 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] What can we learn from rapper and provocateur, Azealia Banks? By Rob Dozier “My name is Azealia Banks and I’m from New York City. Are you ready to have a good fuckin’ time?” It’s no easy feat for an artist to distill down what they’re trying to do creatively and artistically in one line, but for Banks, making sure you know where she’s reppin, and just having a “good fuckin’ time,” does seem to hit the main points. It’s April 2015, and the Harlem-born rapper is kicking off her set on Coachella’s opening day, her second appearance at the California music festival, the first time being in 2012. In the three-year gap between those performances, Banks had gone from promising rap neophyte to established artist, carving out a lane as someone willing to experiment with different sounds, pulling from hip-hop to house and dance music with three projects—a mixtape, Fantasea, an EP, 1991, leading up to her first full-length album, Broke With Expensive Taste, all debuting to varying amounts of critical acclaim.