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St. Nick Spotted Near Campus
October 12, 2009 WWW.UNEWS.COM Vol. 77, Issue 8 St. Nick spotted near campus Continuing campus crime posses threat Tyler Allen Assistant News Editor Crime is a looming problem on campus. Last year alone, there were 142 crimes reported at UMKC. “Even though UMKC is sur- rounded by some bad streets I always felt safe here,” student Kelsey Gos- sen said, “but now that I’m hearing about everything going on, I worry and I try to watch my back.” Other students are not too wor- ried. “I’m not concerned about crime on campus, quite simply because I know exactly how to avoid it,” stu- dent Rachael Herndon said. Unfortunately, not everyone on campus can avoid crime. In the past month, there have been two burglaries at 4747 Troost Ave., the building that houses the In- Blistery, cold weather blew into Kansas City stitute for Entrepreneurship and In- novation. The first incident occurred on Saturday morning and along with it around noon on Sept. 21 when a victim’s money was stolen out of his came a jolly Christmas spirit. desk. painted interior and exterior walls, laid The second incident occurred on Alexia Stout-Lang News Editor carpet, pulled weeds and even moved Sept. 25 and involved Cary Clark, some furniture. Sam Walton Fellow and director of pproximately 20 stu- “This is just such a blessing,” Freddie Students in Free Enterprise. dents, staff and faculty from UMKC bundled up Slaughter, one of the homeowners, said and faced the chill to par- as tears ran down her cheeks. “I just don’t “It’s just sort of random ticipate in the second an- know how to thank you all.” crime. -
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 .................................. -
Like Musical Theatre and Scripted Television, Jazz and Hip-Hop Are Uniquely, Undeniably North American Art Forms
Like musical theatre and scripted television, jazz and hip-hop are uniquely, undeniably North American art forms. Though the latter genre was born out of funk and disco in the late 1970s, many of its landmark artists embody the ethos of jazz: loose, visceral, instinctive. Some hip-hop acts--A Tribe Called Quest, or more recently Kendrick Lamar--have successfully repurposed jazz, but the older genre has seldom made successful inroads into new generations of rap fans. And that's what makes BADBADNOTGOOD, the four-piece, Toronto-bred jazz outfit that has melded jazz and instrumental hip-hop into something elusive, something altogether their own, so unique. On their latest full-length effort, IV (due out via Innovative Leisure on July 8th), BBNG decide to expand their universe, which was already one of the most compelling, labyrinthine worlds in pop music today. Saxophonist Leland Whitty, a long-time collaborator, joins Chester Hansen, Matthew Tavares, and Alexander Sowinski on a full-time basis; for the first time, guest vocalists are welcomed into the fold. Some artists find collaboration stressful and cluttering, but BBNG simply seems freer to chase down creative rabbit holes than ever before. The effect is apparent immediately. See "Lavender," a collaboration with the Montreal-based producer Kaytranada, which pairs delicate, skittering production with a punishing low end. Or take the virtuosic closer, which underscores superb performances by Whitty and Tavares with a grand swell of strings. On "Hyssop of Love," upstart Chicago rapper Mick Jenkins moves languidly, stretching out taunts ("I heard your plug was drrrrry") before he snaps upright ("Never needed no dollars to prove worth"). -
Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time. -
Collective Memory and the Constructio
Liljedahl: Recalling the (Afro)Future: Collective Memory and the Constructio RECALLING THE (AFRO)FUTURE: COLLECTIVE MEMORY AND THE CONSTRUCTION OF SUBVERSIVE MEANINGS IN JANELLE MONÁE’S METROPOLIS-SUITES Everywhere, the “street” is considered the ground and guarantee of all reality, a compulsory logic explaining all Black Music, conveniently mishearing antisocial surrealism as social realism. Here sound is unglued from such obligations, until it eludes all social responsibility, thereby accentuating its unreality principle. (Eshun 1998: -41) When we listen to music in a non-live setting, we do so via some form of audio reproduction technology. To most listeners, the significant part about the technology is not the technology itself but the data (music) it stores and reverberates into our ears (Sofia 2000). Most of these listeners have memories tied to their favourite songs (DeNora 2000) but if the music is at the centre of the history of a people, can the songs themselves be seen as a form of recollection? In this paper, I suggest that sound reproduction technology can be read as a storage of memories in the context of Black American popular music. I will turn my attention to the critical potential of Afrofuturist narratives in the field of memory- technology in order to focus on how collective memory is performed as Afrofuturist technology in Black American popular music, specifically in the music of Janelle Monáe. At play in the theoretical backdrop of this article are two key concepts: Signifyin(g) and collective memory, the first of which I will describe in simplified terms, while the latter warrants a more thorough discussion. -
25Th Super Bock Super Rock
25th Super Bock Super Rock New line-up announcement: Janelle Monáe July 20, Super Bock Stage July 18, 19, 20 Herdade do Cabeço da Flauta, Meco - Sesimbra superbocksuperrock.pt | facebook.com/sbsr | instagram.com/superbocksuperrock After the line up confirmations of Lana Del Rey, Cat Power, Charlotte Gainsbourg and Christine and The Queens, there’s another feminine talent on her way to Super Bock Super Rock: the North American Grammy-nominated, singer, songwriter, arranger and producer Janelle Monáe, performs on July 20 at the Super Bock Stage. JANELLE MONÁE Janelle Monáe Robinson was born and raised in Kansas City but soon felt the need to go in search of her dreams and headed out to New York. She enrolled in the American Musical and Dramatic Academy and at the time, her goal was to make musicals. Life ended up givigin Janelle some other possibilities and shortly thereafter, she began to participate in several songs by Outkast, having been invited by Big Boi. She began to appear under the spotlight thanks to her enormous talent, being a multifaceted and very focused artist. She released her first EP in 2007, “Metropolis: Suite I (The Chase)”. These first songs caught the producer Diddy’s eyes (Sean “Puffy” Combs) who soon hired Janelle for his label, Bad BoY Records. Her first Grammy nomination came at this time with the single “Many Moons”. Three years later, in 2010, Monae released her debut album. “The ArchAndroid” was inspired by the German film “Metropolis”, which portrays a futuristic world, a dystopian projection of humanity. The album’s whole concept raised some ethical issues and enriched the songs, these authentic pop pearls, filled with soul and funk. -
Resume | Dop Kelly Jeffrey | 2018 09 20 | Page 1 [ 2 ]
Resume | DoP Kelly Jeffrey | 2018 09 20 | Page 1 [ 2 ] Resume DoP Kelly Jeffrey Short Films PRACTICE!, Dir. Fantavious Fritz Paradise Falls, Dir. Fantavious Fritz Lessons with Toro y Moi, Dir. Liam McRae Her friend Adam, Dir. Ben Petrie 5 Films about technology, Dir. Peter Huang Maverick, Dir. Cara Stricker For nonna Anna, Dir. Luis De Filippis Commercials Ralph Lauren, BVLGARI, Stella McCartney, Nike, Asics, Adidas, Bai, Double Magazine, Nike x Clinique, Habitat For Humanity, Milo, Hermes, Shea Moisture, SportChek, Wrigley’s, LA2024, OVO ft. Drake, Air Canada, Samsung, People’s Jewellery, Pepsi x Puma, Instagram, CNN, Apple. Music Videos Charlotte Day Wilson, Troye Sivan, Emily Yacina, Majid Jordan, TOPS, Alicia Keys, Badbadnotgood, KAYTRANADA, Braids, Okay Kaya, Daniel Caesar, The Weekend, Tegan and Sara, PARTYNEXTDOOR, The Vaccines, Big Sean, Future. Directors Columbine Goldsmith, A.V. Rockwel, Albert Moya, Andrew B Myers, Bardia Zeinali, Ben Petrie, BRTHR, Cara Sticker, Common Good, Fantavious Fritz, Henry Busby, Jeremy Power Regimbal & Justin Tyler, Close, Joachim Jonson, Kevan Funk, Kid Studio, Laurent Barthelemy, Liam MacRae, Luis de Filippis, Natalie Rae, Nick Jaseovic, Omri Cohen, Peter Huang, Sam Kuhn, Sophie Savides, Tamir Moscovici, TJ O’Grady Peyton, Tom Gould. Production Companies OPC, Anonymous Content, Pulse Films, Alldayeveryday, Decon, Everything All At Once, FF Films, Fra Diavolo Films, Arts & Sciences, Voyager Creative, Lion Attack Motion Picture, Vision Film, Markham Street Films, Unicorns & Unicorns, Matte Projects, The Herd Films & Purbrook Entertainment, Must Films, The Creator Class, Nice is Cool, The Collective Shift, Part & Parcel, Strangelove, Spy Films, HPLA, Agence VE, Sanctuary. Website www.kellyjeffrey.com MGMT XO | Brahegatan 27 | 114 37 Stockholm | www.xomgmt.se | +46 73-93 93 693 | [email protected] Resume | DoP Kelly Jeffrey | 2018 09 20 | Page 2 [ 2 ] Resume DoP Kelly Jeffrey Awards 2018 For nonna Anna Winner. -
Masculinity in Emo Music a Thesis Submitted to the Faculty of Arts and Social Science in Candi
CARLETON UNIVERSITY FLUID BODIES: MASCULINITY IN EMO MUSIC A THESIS SUBMITTED TO THE FACULTY OF ARTS AND SOCIAL SCIENCE IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF MUSIC BY RYAN MACK OTTAWA, ONTARIO MAY 2014 ABSTRACT Emo is a genre of music that typically involves male performers, which evolved out of the punk and hardcore movements in Washington DC during the mid-80s. Scholarly literature on emo has explored its cultural and social contexts in relation to the “crisis” of masculinity—the challenging of the legitimacy of patriarchy through “alternative” forms of masculinity. This thesis builds upon this pioneering work but departs from its perpetuation of strict masculine binaries by conflating hegemonic and subordinate/alternative masculinities into a single subject position, which I call synergistic masculinity. In doing so, I use emo to explicate this vis-à-vis an intertextual analysis that explores the dominant themes in 1) lyrics; 2) the sites of vocal production (head, throat, chest) in conjunction with pitch and timbre; 3) the extensional and intensional intervallic relationships between notes and chords, and the use of dynamics in the musical syntax; 4) the use of public and private spaces, as well as the performative masculine body in music video. I posit that masculine emo performers dissolve these hierarchically organized masculinities, which allows for a deeper musical meaning and the extramusical signification of masculinity. Keywords: emo, synergistic masculinity, performativity, music video, masculinities, lyrics, vocal production, musical syntax, dynamics. ABSTRAIT Emo est un genre musical qui implique typiquement des musiciens de sexe masculine et qui est issu de movement punk et hardcore originaire de Washington DC durant les années 80. -
Agency in the Afrofuturist Ontologies of Erykah Badu and Janelle Monáe
Open Cultural Studies 2018; 2: 330–340 Research Article Nathalie Aghoro* Agency in the Afrofuturist Ontologies of Erykah Badu and Janelle Monáe https://doi.org/10.1515/culture-2018-0030 Received May 21, 2018; accepted September 26, 2018 Abstract: This article discusses the visual, textual, and musical aesthetics of selected concept albums (Vinyl/CD) by Afrofuturist musicians Erykah Badu and Janelle Monaé. It explores how the artists design alternate projections of world/subject relations through the development of artistic personas with speculative background narratives and the fictional emplacement of their music within alternate cultural imaginaries. It seeks to establish that both Erykah Badu and Janelle Monáe use the concept album as a platform to constitute their Afrofuturist artistic personas as fluid black female agents who are continuously in the process of becoming, evolving, and changing. They reinscribe instances of othering and exclusion by associating these with science fiction tropes of extraterrestrial, alien lives to express topical sociocultural criticism and promote social change in the context of contemporary U.S. American politics and black diasporic experience. Keywords: conceptual art, Afrofuturism, gender performance, black music, artistic persona We come in peace, but we mean business. (Janelle Monáe) In her Time’s up speech at the Grammys in January 2018, singer, songwriter, and actress Janelle Monáe sends out an assertive message from women to the music industry and the world in general. She repurposes the ambivalent first encounter trope “we come in peace” by turning it into a manifest for a present-day feminist movement. Merging futuristic, utopian ideas with contemporary political concerns pervades Monáe’s public appearances as much as it runs like a thread through her music. -
The Road Ahead New Label, New Album: the Used Preps for an Exciting 2011
PULSE / bEATS by Ian JoulaIn The Road Ahead New label, New album: The used preps for aN exciTiNg 2011 94 March 2011 / 944.com March 2011 / 944.com 95 The Used has been around the proverbial had four singles per release, Artwork only will be performing at MusInk on March block, and a decade into their careers, the had one. 6, a three-day music and tattoo festival, band members are ready for what’s next. Alternative Press and allmusic.com which takes place at the Orange County After achieving early success and heavy praised Artwork, but the album’s commercial Fairgrounds. The band performed at the radio airplay, the band has had albums success hinged on the label doing its job in festival in 2008 and is happy to be back. certified gold and platinum, gone on promoting the record. But after the album “The MusInk show coming up should be numerous world tours and become the pride was leaked two months before its release, really fun,” McCracken says. “I think that and joy of Orem, Utah. That last one may be Howard believes that their label, Reprise, we are doing the day with Hot Water Music, a stretch, but the band’s humble beginnings just gave up. “They kind of lost faith in and anyone who knows Hot Water Music have certainly led it to where it is now. doing anything with [Artwork],” Howard should be really stoked.” Bert McCracken, vocals; Jeph Howard, says. “They didn’t push any of the songs, McCracken also disclosed that the band bass; Dan Whitesides, drums; and Quinn and they really just kind of stopped caring. -
The Retriever, Issue 6, Volume 39
18 Features October 5, 2004 THE RETRIEVER By Noah Albro Music review corner Albums with style and soul Anything but Used up The Used: In Love and Death (in stores now) This CD has to be one of the most high- tarist for the band, concocts such intriguing ly anticipated albums of 2004 and man, does it and provocative riffs that he continues to prove deliver. Now I know what a lot of Used fans why he is one of the most original guitarists in must be saying right now: “where the hell did this genre of music. Jeph Howard absolutely the hardcore edge go?” Have the Used pussied enriches his earlier work with the bass riffs on out on us…absolutely not! If anything, I this album…he doesn’t just provide rhythm believe that this CD has served to better estab- with his bass he adds another completely inde- lish these guys as a band that isn’t just a passing pendent layer to each song. Drummer fad. Many fans were drawn in by Used lead Branden Steineckert was incredible on the first singer Bert McCracken’s raging screams and self-titled debut album and he continues to melodic vocal riffs and people, all of that isn’t carry the listener to another level of rhythmic gone. mayhem left untouched by so many main- Songs like “Take It Away,” “I’m a Fake” stream drummers today. and “Sound Effects and Overdramatics” still But the real draw to this album has to be deliver that undeniable vocal power to its the incorporation of so many different sound fullest and serve to pacify the hardcore screamo nuances and stylistic liberties. -
Faculty Weighs Housing Options
SPARTAN DAILY Serving San Jose State University since /934 VOLUME 124, NUMBER 43 THURSDAY. APRIL 7. 2005 N Di X OPINION Faculty Ministry set to honor pope Three events weighs scheduled today Wasted Days and Wasted Nights By Enn Caballero Recalling the pope p. 2 housing Daily Stalf Writer Millions of Catholics are mourning the death of Pope John Paul II. who led the Roman Catholic Church out ()I the 20th century and into the 2Ist. To honor SJSUCK his life and legacy. the Catholic Campus Wendy's chili is not options Ministry is holding a PowerPoint presen- finger-licking good p.2 tation titled "The Life of Pope John Paul IL" from 14:30 p.m. to I() p.m. today in By Jean Blomo the chapel. Daily Staff Writer In addition, two Eucharists will he NI WS held in the San Jose State Unisersit Spartan Memorial, one starting at noon Illegal Drugs Faculty members face the same high and one at 5 p.m. today. UPD reports 23 drug-related housing prices students grapple with, and "He was a wonderful leader who left cases in 2005 p. 3 for many. making enough to live com- an enduring legacy on us." said Sister fortahly is a challenge. Marcia Krause. director of the campus President's Scholar Award ’Many (professional) engineers. es- nunistr. "He raised awareness for our Inger Sagatun-Edwards receives pecially in management. make S150,010 stance on the poor, defenseless and the honor p. 3 to 5"4)0,000 more than instructors.- said marg inal tied." Haluk 0/einek.