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Cartoon Network: Super Secret Crisis War!
SAMURAI JACK created by GENNDY TARTAKOVSKY BEN 10 created by MAN OF ACTION STUDIOS DEXTER'S LABORATORY created by GENNDY TARTAKOVSKY THE POWERPUFF GIRLS created by CRAIG McCRACKEN ED, EDD N' EDDY created by DANNY ANTONUCCI Special thanks to Laurie Halal-Ono, Rick Blanco, Jeff Parker and Marisa Marionakis of Cartoon Network. Ted Adams, CEO & Publisher Facebook: facebook.com/idwpublishing Greg Goldstein, President & COO Robbie Robbins, EVP/Sr. Graphic Artist Twitter: @idwpublishing Chris Ryall, Chief Creative Officer/Editor-in-Chief YouTube: youtube.com/idwpublishing Matthew Ruzicka, CPA, Chief Financial Officer Alan Payne, VP of Sales Instagram: instagram.com/idwpublishing Dirk Wood, VP of Marketing deviantART: idwpublishing.deviantart.com www.IDWPUBLISHING.com Lorelei Bunjes, VP of Digital Services IDW founded by Ted Adams, Alex Garner, Kris Oprisko, and Robbie Robbins Jeff Webber, VP of Digital Publishing & Business Development Pinterest: pinterest.com/idwpublishing/idw-staff-faves SUPER SECRET CRISIS WAR! #1. JUNE 2014. FIRST PRINTING.™ and © Cartoon Network (s14). IDW Publishing, a division of Idea and Design Works, LLC. Editorial offices: 5080 Santa Fe St., San Diego, CA 92109. The IDW logo is registered in the U.S. Patent and Trademark Office. Any similarities to persons living or dead are purely coincidental. With the exception of artwork used for review purposes, none of the contents of this publication may be reprinted without the permission of Idea and Design Works, LLC. Printed in Korea. IDW Publishing does not read or accept unsolicited submissions of ideas, stories, or artwork. Louise Derek Charm Simonson (artist) lives in New (writer) has edited York City, where and written comics he works as an since the dawn illustrator creating of time. -
Is Hip Hop Dead?
IS HIP HOP DEAD? IS HIP HOP DEAD? THE PAST,PRESENT, AND FUTURE OF AMERICA’S MOST WANTED MUSIC Mickey Hess Library of Congress Cataloging-in-Publication Data Hess, Mickey, 1975- Is hip hop dead? : the past, present, and future of America’s most wanted music / Mickey Hess. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-275-99461-7 (alk. paper) 1. Rap (Music)—History and criticism. I. Title. ML3531H47 2007 782.421649—dc22 2007020658 British Library Cataloguing in Publication Data is available. Copyright C 2007 by Mickey Hess All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2007020658 ISBN-13: 978-0-275-99461-7 ISBN-10: 0-275-99461-9 First published in 2007 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 CONTENTS ACKNOWLEDGMENTS vii INTRODUCTION 1 1THE RAP CAREER 13 2THE RAP LIFE 43 3THE RAP PERSONA 69 4SAMPLING AND STEALING 89 5WHITE RAPPERS 109 6HIP HOP,WHITENESS, AND PARODY 135 CONCLUSION 159 NOTES 167 BIBLIOGRAPHY 179 INDEX 187 ACKNOWLEDGMENTS The support of a Rider University Summer Fellowship helped me com- plete this book. I want to thank my colleagues in the Rider University English Department for their support of my work. -
ENG 350 Summer12
ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog. -
Theaters 3 & 4 the Grand Lodge on Peak 7
The Grand Lodge on Peak 7 Theaters 3 & 4 NOTE: 3D option is only available in theater 3 Note: Theater reservations are for 2 hours 45 minutes. Movie durations highlighted in Orange are 2 hours 20 minutes or more. Note: Movies with durations highlighted in red are only viewable during the 9PM start time, due to their excess length Title: Genre: Rating: Lead Actor: Director: Year: Type: Duration: (Mins.) The Avengers: Age of Ultron 3D Action PG-13 Robert Downey Jr. Joss Whedon 2015 3D 141 Born to be Wild 3D Family G Morgan Freeman David Lickley 2011 3D 40 Captain America : The Winter Soldier 3D Action PG-13 Chris Evans Anthony Russo/ Jay Russo 2014 3D 136 The Chronicles of Narnia: The Voyage of the Dawn Treader 3D Adventure PG Georgie Henley Michael Apted 2010 3D 113 Cirque Du Soleil: Worlds Away 3D Fantasy PG Erica Linz Andrew Adamson 2012 3D 91 Cloudy with a Chance of Meatballs 2 3D Animation PG Ana Faris Cody Cameron 2013 3D 95 Despicable Me 3D Animation PG Steve Carell Pierre Coffin 2010 3D 95 Despicable Me 2 3D Animation PG Steve Carell Pierre Coffin 2013 3D 98 Finding Nemo 3D Animation G Ellen DeGeneres Andrew Stanton 2003 3D 100 Gravity 3D Drama PG-13 Sandra Bullock Alfonso Cuaron 2013 3D 91 Hercules 3D Action PG-13 Dwayne Johnson Brett Ratner 2014 3D 97 Hotel Transylvania Animation PG Adam Sandler Genndy Tartakovsky 2012 3D 91 Ice Age: Continetal Drift 3D Animation PG Ray Romano Steve Martino 2012 3D 88 I, Frankenstein 3D Action PG-13 Aaron Eckhart Stuart Beattie 2014 3D 92 Imax Under the Sea 3D Documentary G Jim Carrey Howard Hall -
Teachers Guide
Teachers Guide Exhibit partially funded by: and 2006 Cartoon Network. All rights reserved. TEACHERS GUIDE TABLE OF CONTENTS PAGE HOW TO USE THIS GUIDE 3 EXHIBIT OVERVIEW 4 CORRELATION TO EDUCATIONAL STANDARDS 9 EDUCATIONAL STANDARDS CHARTS 11 EXHIBIT EDUCATIONAL OBJECTIVES 13 BACKGROUND INFORMATION FOR TEACHERS 15 FREQUENTLY ASKED QUESTIONS 23 CLASSROOM ACTIVITIES • BUILD YOUR OWN ZOETROPE 26 • PLAN OF ACTION 33 • SEEING SPOTS 36 • FOOLING THE BRAIN 43 ACTIVE LEARNING LOG • WITH ANSWERS 51 • WITHOUT ANSWERS 55 GLOSSARY 58 BIBLIOGRAPHY 59 This guide was developed at OMSI in conjunction with Animation, an OMSI exhibit. 2006 Oregon Museum of Science and Industry Animation was developed by the Oregon Museum of Science and Industry in collaboration with Cartoon Network and partially funded by The Paul G. Allen Family Foundation. and 2006 Cartoon Network. All rights reserved. Animation Teachers Guide 2 © OMSI 2006 HOW TO USE THIS TEACHER’S GUIDE The Teacher’s Guide to Animation has been written for teachers bringing students to see the Animation exhibit. These materials have been developed as a resource for the educator to use in the classroom before and after the museum visit, and to enhance the visit itself. There is background information, several classroom activities, and the Active Learning Log – an open-ended worksheet students can fill out while exploring the exhibit. Animation web site: The exhibit website, www.omsi.edu/visit/featured/animationsite/index.cfm, features the Animation Teacher’s Guide, online activities, and additional resources. Animation Teachers Guide 3 © OMSI 2006 EXHIBIT OVERVIEW Animation is a 6,000 square-foot, highly interactive traveling exhibition that brings together art, math, science and technology by exploring the exciting world of animation. -
Raja Mohan 21M.775 Prof. Defrantz from Bronx's Hip-Hop To
Raja Mohan 21M.775 Prof. DeFrantz From Bronx’s Hip-Hop to Bristol’s Trip-Hop As Tricia Rose describes, the birth of hip-hop occurred in Bronx, a marginalized city, characterized by poverty and congestion, serving as a backdrop for an art form that flourished into an international phenomenon. The city inhabited a black culture suffering from post-war economic effects and was cordoned off from other regions of New York City due to modifications in the highway system, making the people victims of “urban renewal.” (30) Given the opportunity to form new identities in the realm of hip-hop and share their personal accounts and ideologies, similar to traditions in African oral history, these people conceived a movement whose worldwide appeal impacted major events such as the Million Man March. Hip-hop’s enormous influence on the world is undeniable. In the isolated city of Bristol located in England arose a style of music dubbed trip-hop. The origins of trip-hop clearly trace to hip-hop, probably explaining why artists categorized in this genre vehemently oppose to calling their music trip-hop. They argue their music is hip-hop, or perhaps a fresh and original offshoot of hip-hop. Mushroom, a member of the trip-hop band Massive Attack, said, "We called it lover's hip hop. Forget all that trip hop bullshit. There's no difference between what Puffy or Mary J Blige or Common Sense is doing now and what we were doing…” (Bristol Underground Website) Trip-hop can abstractly be defined as music employing hip-hop, soul, dub grooves, jazz samples, and break beat rhythms. -
Third Wave Feminism and the Powerpuff Girls Evie Kendal Introduction the Popular Children's
There’s No One Perfect Girl: Third Wave Feminism and The Powerpuff Girls Evie Kendal Introduction The popular children’s television series, The Powerpuff Girls, was originally conceived by animator Craig McCracken under the name The Whoopass Girls in 1992.1 Following a name change and three alternative pilot epi- sodes, the series was picked up by the Cartoon Network and ran from 1995 through to 2005. During this time the show won several awards, including two Primetime Emmy awards for Outstanding Individual Achievement in Animation (2000 and 2005), and two Annie awards for Production Design and Musical Score in an Animated Series (2001).2 In this article I will be exploring The Powerpuff Girls from a feminist perspective, focusing on what is unique about this series and where it is positioned in popular media culture, before addressing some of the common criticisms of the show and identifying some of its major strengths. It will be my contention that The Powerpuff Girls embraces third-wave feminist ideology, with its focus on “Girl Power” and consumerism, while also abandoning the more individual- istic aspects of this brand of feminism by exploring the meaning of sister- hood and female empowerment through community. COLLOQUY text theory critique 24 (2012). © Monash University. www.arts.monash.edu.au/ecps/colloquy/journal/issue024/kendal.pdf ░ Third Wave Feminism and The Powerpuff Girls 235 Background: The relationship between the second and third waves of feminism According to Lise Shapiro Sanders, one of the major distinguishing features of third-wave feminism is the privileging of the “diversity of women’s experi- ence over the similarities amongst women,” with a particular focus on ad- dressing the inadequacies of second-wave ideology to deal with women’s experience beyond its “white, middle-class biases.”3 In this way, women of colour and those from the developing world were recruited into the fight for equality, while at the same time a radical reclamation of the symbols asso- ciated with traditional femininity was initiated. -
Introduction
Introduction th My superhero creator is Genndy Tartakovsky, born in Russia on January 17 , 1970 to Boris and Miriam Tartakovsky. Genndy moved with his family to Italy, and from there to Chicago, Illinois. He attended Lane Technical College Prep High School, where he developed an interest in animation. He went on to pursue that interest at the California Institute of the Arts. There he met animators Craig McCracken and Bob Renzetti. His time at Cal Arts set him on his career. His first job in animation was in the country of Spain, where he worked on Batman: The Animated Series. But the decisive turning point in his career was when he was hired by the famed animation studio Hanna-Barbera, for whom Tartakovsky created his first and signature animated series, Dexter’s Laboratory, the story of a smart-alecky boy genius. Tartakovsky then served as Animation Director and Cinematographer for The Powerpuff Girls Movie, working with his good friend, the director, Craig McCracken. Nominated for several Emmy awards, The Powerpuff Girls TV series proved to be prelude to Tartakovsky’s greatest work, Samurai Jack, for which he won several Emmy and other awards. Major Works and Influences Samurai Jack is a story about a samurai warrior who experiences time travel in his effort to defeat the shape-shifting, demon wizard Aku, who had imprisoned Jack’s father. Like most superheroes, Jack has a secret identity, an identity so secret that we never discover his true name. Like most superheroes, Jack also has access to magic, in the form of his katana, a Japanese sword with special powers. -
Famous Cartoon Characters and Creators
Famous Cartoon Characters and Creators Sr No. Cartoon Character Creator 1 Archie,Jughead (Archie's Comics) John L. Goldwater, Vic Bloom and Bob Montana 2 Asterix René Goscinny and Albert Uderzo 3 Batman Bob Kane 4 Beavis and Butt-Head Mike Judge 5 Betty Boop Max Flasher 6 Bugs Bunny, Daffy Duck and Porky Pig Tex Avery 7 Calvin and Hobbes Bill Watterson 8 Captain Planet and the Planeteers Ted Turner, Robert Larkin III, and Barbara Pyle 9 Casper Seymour Reit and Joe Oriolo 10 Chacha Chaudhary Pran Kumar Sharma 11 Charlie Brown Charles M. Schulz 12 Chip 'n' Dale Bill Justice 13 Chhota Bheem Rajiv Chilaka 14 Chipmunks Ross Bagdasarian 15 Darkwing Duck Tad Stones 16 Dennis the Menace Hank Ketcham 17 Dexter and Dee Dee (Dexter's Laboratory) Genndy Tartakovsky 18 Doraemon Fujiko A. Fujio 19 Ed, Edd 'n' Eddy Danny Antonucci 20 Eric Cartman (South Park) Trey Parker and Matt Stone 21 Family Guy Seth MacFarlane Fantastic Four,Hulk,Iron Man,Spider-Man,Thor,X- 22 Stan Lee Men and Daredevil 23 Fat Albert Bill Cosby,Ken Mundie 24 Garfield James Robert "Jim" Davis 25 Goofy Art Babbitt 26 Hello Kitty Yuko Shimizu 27 Inspector gadget Jean Chalopin, Bruno Bianchi and Andy Heyward 28 Jonny Quest Doug Wildey 29 Johnny Bravo Van Partible 30 Kermit Jim Henson Marvin Martian, Pepé Le Pew, Wile E. Coyote and 31 Chuck Jones Road Runner 32 Mickey Mouse, Donald Duck and Pluto Walt Disney 33 Mowgli Rudyard Kipling 34 Ninja Hattori-kun Motoo Abiko 35 Phineas and Ferb Dan Povenmire and Jeff “Swampy” Marsh 36 Pinky and The Brain Tom Ruegger 37 Popeye Elsie Segar 38 Pokémon Satoshi Tajiri 39 Ren and Stimpy John Kricfalusi 40 Richie Rich Alfred Harvey and Warren Kremer Page 1 of 2 Sr No. -
David Derbes Resigns in Protest As Faculty Chair
UNIVERSITY HIGH SCHOOL • UNIVERSITY OF CHICAGO LABORATORY SCHOOLS 1362 EAST 59TH STREET,U-High CHICAGO, ILLINOIS 60637 APRIL Midway 25, 2017 VOLUME 93, NUMBER 8 David Derbes resigns in protest as faculty chair initial three-year reached following discussion be- were contacted but declined to Insufficient information following probationary pe- tween the department head and comment, citing confidentiality riod without pro- the administration, and that they regarding personnel matters. non-renewal spurs resignation viding a reason. usually come to the same conclu- Mr. Derbes noted that while he Mr. Martino’s sion. doesn’t think that his resignation by Clyde Schwab ings. The other five members de- probationary “What was very remarkable will result in the reversal of the ad- editor-in-chief cided to share leadership for the period was ex- was that there was absolutely no ministration’s decision, he hopes it David Derbes has resigned as remaining meetings. Learning co- tended an addi- discussion between the adminis- can serve to prevent this from hap- faculty chair and from the steering ordinator Kevin Van Eron will fill tional year, mak- tration and the department,” Mr. pening in the future. committee. In an email sent to fac- Mr. Derbes’ seat for the remainder ing this his final David Derbes said. “It’s one thing to have “In all candor, I don’t think any- ulty on April 4, he said his resigna- of the year. year. However, Derbes a disagreement. We understand thing can be done or will be done tion was to protest the non-renew- Mr. Derbes said in an interview Mr. -
Download Your Free Digital Copy of the June 2018 Special Print Edition of Animationworld Magazine Today
ANIMATIONWorld GOOGLE SPOTLIGHT STORIES | SPECIAL SECTION: ANNECY 2018 MAGAZINE © JUNE 2018 © PIXAR’S INCREDIBLES 2 BRAD BIRD MAKES A HEROIC RETURN SONY’S NINA PALEY’S HOTEL TRANSYLVANIA 3 BILBY & BIRD KARMA SEDER-MASOCHISM GENNDY TARTAKOVSKY TAKES DREAMWORKS ANIMATION A BIBLICAL EPIC YOU CAN JUNE 2018 THE HELM SHORTS MAKE THEIR DEBUT DANCE TO ANiMATION WORLD © MAGAZINE JUNE 2018 • SPECIAL ANNECY EDITION 5 Publisher’s Letter 65 Warner Bros. SPECIAL SECTION: Animation Ramps Up 6 First-Time Director for the Streaming Age Domee Shi Takes a Bao in New Pixar Short ANNECY 2018 68 CG Global Entertainment Offers a 8 Brad Bird Makes 28 Interview with Annecy Artistic Director Total Animation Solution a Heroic Return Marcel Jean to Animation with 70 Let’s Get Digital: A Incredibles 2 29 Pascal Blanchet Evokes Global Entertainment Another Time in 2018 Media Ecosystem Is on Annecy Festival Poster the Rise 30 Interview with Mifa 71 Golden Eggplant Head Mickaël Marin Media Brings Creators and Investors Together 31 Women in Animation to Produce Quality to Receive Fourth Mifa Animated Products Animation Industry 12 Genndy Tartakovsky Award 72 After 20 Years of Takes the Helm of Excellence, Original Force Hotel Transylvania 3: 33 Special Programs at Annecy Awakens Summer Vacation Celebrate Music in Animation 74 Dragon Monster Brings 36 Drinking Deep from the Spring of Creativity: Traditional Chinese Brazil in the Spotlight at Annecy Culture to Schoolchildren 40 Political, Social and Family Issues Stand Out in a Strong Line-Up of Feature Films 44 Annecy -
A Solution from Hell American Juggalo Pitchfork'd Cavell As Educator Someone Please Chat Us
A Solution from Hell American Juggalo Pitchfork’d Cavell as Educator Someone Please Chat Us ! " # $ %&"&' )&*+,,-$ '&* './&" Number Twelve fall 2011 The Shaltzes, The Juggalo IX‚, 2010, archival inkjet print, 24 × 36". American Juggalo Kent Russell ’d been driving for seventeen hours, much of it on two-lane I highways through Indiana and then southern Illinois. Red-green corn sidled closer to the road until it stooped over both shoulders. That early in the morning, a mist was tiding in the east. I figured I had to be close. A couple of times I turned off the state road to drive past family plots where the houses were white, right-angled ideals. On many of these plots were incongruous strips of grass—home- spun cemeteries. I wondered what it would be like to grow up in a place like this. Your livelihood would surround you, waving hello every time the wind picked up. You wouldn’t be able to see your neighbors, but you’d for sure know who they were. You’d go to one of the Protestant churches seeded in the corn, take off your Sunday best to shoot hoops over the garage, and drink an after-dinner beer on your porch swing, certain of your regular Americanness. And one day you’d get buried feet from where you lived, worked, and died. Doubt about the trip unfurled inside me as the odometer crawled on. I couldn’t have told you why I was doing this. Back on IL-1 I looked to my right and saw an upside-down SUV in the corn.