Hemispheric Regionalism: Border Discourse and the Boundaries of American Studies
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EMPOWERING SILENCED VOICES CHOROSYNTHESIS SINGERS Wendy Moy & Jeremiah Selvey, Co-Artistic Directors with Camel Heard & Chorale
CONNECTICUT COLLEGE DEPARTMENT OF MUSIC & DAYTON ARTIST IN RESIDENCE PROGRAM PRESENT EMPOWERING SILENCED VOICES CHOROSYNTHESIS SINGERS Wendy Moy & Jeremiah Selvey, Co-Artistic Directors with Camel Heard & Chorale April 13, 2019, 7:30p.m. Evans Hall DAYTON ARTIST IN RESIDENCE PROGRAM Guests Chorosynthesis Singers, Jeremiah Selvey, & Stephen Lancaster Connecticut College Choirs Wendy Moy, Director of Choral Activities PEACE & HUMAN RIGHTS AUDIENCE SING-ALONG Dona Nobis Pacem (Grant us peace) Wolfgang A. Mozart (1756-1791) When Thunder Comes (2009) Mari Esabel Valverde (b. 1987) CC Camel Heard, CC Chorale, and Chorosynthesis Singers Tristan Filiato, John Frascarelli, and Naveen Gooneratne, percussion Kathleen Bartkowski, piano Wendy Moy, conductor WAR & DEVASTATION A Clear Midnight (2015) Thomas Schuttenhelm (b. 1970) CC Camel Heard and Chorosynthesis Singers Wendy Moy, conductor Come Up from the Fields (1995) C. G. Walden (b. 1955) Diane Walters, Lauren Vanderlinden, and Anthony Ray, soloists Reconciliation (2015) Michael Robert Smith (b. 1989) Chorosynthesis Singers Jeremiah Selvey, conductor 2 Salut Printemps Claude Debussy (1862-1918) CC Camel Heard Ruby Johnson and Sara Van Deusen, soloists Kathleen Bartkowski, piano Wendy Moy, conductor COLONIALISM & BEYOND NORTH AMERICA Evening (2015/2016) Conrad Asman (b. 1996) Chorosynthesis Singers Diane Walters and Anthony Ray, soloists Jeremiah Selvey, conductor Risa Fatal (2015/2016) Tomás Olano (b. 1983) Chorosynthesis Singers Wendy Moy, conductor Blue Phoenix (from Gather These Mirrors) (2009) Kala Pierson (b. 1977) SI, SE PUEDE/YES, WE CAN! Do You Hear How Many You Are? (2010) Keane Southard (b. 1987) CC Camel Heard, CC Chorale, and Chorosynthesis Singers Wendy Moy, conductor INTERMISSION SUICIDE & PULSE CLUB MASS SHOOTING Testimony (2012) Stephen Schwartz (b. -
Label: Artwork Location: Title: Review Locati
Bob Dylan Title: 04271992 Start Date: 04/27/1992 Location: Paramount Theater, Seattle, WA Label: Artwork Location: Review Location: Recording Source: Disc Number: 1 73:28 1 Rainy Day Women #12 & 35 01:24 2 I Don't Believe You 04:40 3 Union Sundown 04:23 4 Just Like A Woman 05:24 5 Tangled Up In Blue 08:23 6 She Belongs To Me 05:01 7 Everything's Broken 04:02 8 Love Minus Zero/No Limit 02:39 9 Little Moses 03:47 10 A Hard Rain's A-Gonna Fall 06:48 11 It;s All Over Now, Baby Blue 06:32 12 Cats In The Well 04:36 13 Idiot Wind 09:12 14 The Times They Are A-Changin' 06:37 Disc Number: 2 65:22 1 Highway 61 06:35 2 Absolutely Sweet Marie 05:38 3 All Along The Watchtower 04:20 cut 4 Blowin' In The Wind 03:25 start of 4/28 filler 5 Sally Sue Brown 02:56 6 Stuck Inside Of Mobile 06:35 7 Simple Twist Of Fate 07:40 8 Watching The River Flow 03:45 9 Female Rambling Sailor 03:04 10 Gates Of Eden 04:51 11 Shooting Star 05:24 12 Like A Rolling Stone 05:33 13 Ballad Of A Thin Man 05:36 Bob Dylan Title: 07011978 Start Date: 07/01/1978 Location: Zeppelindfeld, Nurnberg, West Germany Label: Artwork Location: http://www.angelfire.com/yt/tyamabe/nurnberg/ Review Location: Recording Source: Disc Number: 1 70:28 1 She's Love Crazy 02:30 2 Baby Stop Crying 05:39 3 Mr, Tambourine Man 04:28 4 Shelter From The Storm 04:51 5 It's All Over Now, Baby Blue 04:24 6 Tangled Up In Blue 07:07 7 Ballad Of A Thin Man 04:35 8 Maggie's Farm 04:47 9 I Don't Belive You 04:26 10 Like A Rolling Stone 06:39 11 I Shall Be Released 04:13 12 Going, Going, Gone 04:23 13 A Change Is -
"The Culture of the 1970S Reflected Through Bruce Springsteen's Music"
"The Culture of the 1970s Reflected Through Bruce Springsteen's Music" Senior Honors Thesis Presented To The Honors College Written By Melody S. Jackson Spring, 1983 Advised By Dr. Anthony Edmonds .;,- () -- "The Culture of the 1970s Reflected Through Bruce Springsteen's Music" I have seen the future of rock and roll and it is Bruce Springsteen. Jon Landau the advent of Bruce Springsteen, who made rock and roll a matter of life and death again, seemed nothing short of a miracle to me . Bruce Springsteen is the last of rock's great innocents. Dave Marsh Whether these respected critics see Springsteen as the future of great rock or the end of it, they do regard him with respect for his ability to convey the basic feeling of rock. And they are not alone in this opinion. From the start of his career, Springsteen has received a great deal of critical acclaim. This acclaim, in part because of his performing ability, seems quite fitting since his shows usually last for two and a half hours and often continue for four or even five hours. Relentlessly, he gives of himself to the thousands of fans -- his cult following -- who have come to see their own Rock Messiah. Upon analysis of the lyrics of Springsteen's songs, lyrics which he has written, one sees that he has a unique talent f()r reflecting the situation of the lower-middle class which he grew up in. In fact, in all of the albums he has released up to this time, he has written about the culture of the lower-middle class. -
Spring Commencement
University of West Florida Spring Commencement Saturday, May 8, 2021 Letter from the President Dear 2021 Graduates, Today marks the day you have long anticipated— graduation. On behalf of everyone at the University of West Florida, I want to tell you how proud we are of you. It took hard work and determination, along with countless hours of study, to get here. Your degree, whether a bachelor’s, master’s, specialist or doctorate, marks an important step toward your future successes. Some of you will be starting the career that you have dreamed of while others will begin working towards that next degree. Whichever path you have chosen, your Argo family will be cheering you on. Throughout your UWF career, you’ve had a team who encouraged you and supported your efforts. I want to thank the parents, spouses, children and friends of our graduates who helped along the way. They share a feeling of pride in your accomplishments and excitement for your journey ahead. Martha D. Saunders, Ph.D. President The word “commencement” signifies moving forward. You are starting out and blazing a new trail. Your time at UWF has given you a foundation for your journey. My wish is for you to go with a sense of optimism and confidence that you can face the challenges you encounter. You now share in the rich history of UWF. Since our first graduation in June 1968, we have conferred more than 100,000 degrees to UWF graduates like you. Congratulations on joining that elite group and thank you for being a part of the Argo story. -
Bruce Springsteen: America’S Poet Laureate
Bruce Springsteen: America’s Poet Laureate Thursdays, 7:00-9:00pm September 16th - October 21st 6-Weeks on Zoom with Pete Elman Week-by-Week Course Outline and Syllabus Suggested reading and viewing for the course, suggested listening by week, plus audio playlist and video clips for each week which represent songs and performances specific to that week. Reading: Born to Run: The Bruce Springsteen Story, Dave Marsh, 1979 Springsteen, Robert Hilburn, 1985 Glory Days: Bruce Springsteen in the 1980s, Dave Marsh, 1987. Springsteen: Point Blank by Chris Sandford, 1999 Bruce Springsteen: Songs, 2001 It Ain't No Sin To Be Glad You're Alive: The Promise of Bruce Springsteen, Eric Alterman, 2001 Bruce Springsteen: Two Hearts: The Definitive Biography, Dave Marsh , 2005 The Ties That Bind: Bruce Springsteen A to E to Z. Gary Graff, 2005 Bruce, Peter Carlin, 2012 Talk About a Dream: The Essential Interviews of Bruce Springsteen, Chris Phillips, editor of Backstreets magazine, 2013 Springsteen on Springsteen: Interviews, Speeches, and Encounters, 2013 Boss: Bruce Springsteen & E Street Band --Illustrated History, Gillian Garr, 2016 Born to Run, Bruce Springsteen, 2016 Viewing (documentary films): Born To Run: 30th Anniversary 3-Disc Set (CD/2DVD) 2005 The Promise: The Darkness on the Edge of Town Story, 2010 No Nukes, 1980-- first official appearance of Bruce & the E Street Band on film The Ties That Bind: The River Collection, 4 CD--3 DVD box set, 2015 Bruce Springsteen and the E-Street Band DVD - Blood Brothers 2001 Bruce Springsteen - The Complete Video Anthology, 1978-2000, 2001 Bruce Springsteen & the E Street Band - Live in New York City, 2001, Western Stars: a concert film 2019 Week 1: 1949-71; “He only wanted to play the goddam guitar.” Childhood in New Jersey: Catholicism, family life, alienation, the loner. -
The Backstreets Liner Notes
the backstreets liner notes BY ERIK FLANNIGAN AND CHRISTOPHER PHILLIPS eyond his insightful introductory note, Bruce Springsteen elected not to annotate the 66 songs 5. Bishop Danced RECORDING LOCATION: Max’s Kansas City, New included on Tracks. However, with the release York, NY of the box set, he did give an unprecedented RECORDING DATE: Listed as February 19, 1973, but Bnumber of interviews to publications like Billboard and MOJO there is some confusion about this date. Most assign the which revealed fascinating background details about these performance to August 30, 1972, the date given by the King songs, how he chose them, and why they were left off of Biscuit Flower Hour broadcast (see below), while a bootleg the albums in the first place. Over the last 19 years that this release of the complete Max’s set, including “Bishop Danced,” magazine has been published, the editors of Backstreets dated the show as March 7, 1973. Based on the known tour have attempted to catalog Springsteen’s recording and per- chronology and on comments Bruce made during the show, formance history from a fan’s perspective, albeit at times an the date of this performance is most likely January 31, 1973. obsessive one. This booklet takes a comprehensive look at HISTORY: One of two live cuts on Tracks, “Bishop Danced” all 66 songs on Tracks by presenting some of Springsteen’s was also aired on the inaugural King Biscuit Flower Hour and own comments about the material in context with each track’s reprised in the pre-show special to the 1988 Tunnel of Love researched history (correcting a few Tracks typos along the radio broadcast from Stockholm. -
"G" S Circle 243 Elrod Dr Goose Creek Sc 29445 $5.34
Unclaimed/Abandoned Property FullName Address City State Zip Amount "G" S CIRCLE 243 ELROD DR GOOSE CREEK SC 29445 $5.34 & D BC C/O MICHAEL A DEHLENDORF 2300 COMMONWEALTH PARK N COLUMBUS OH 43209 $94.95 & D CUMMINGS 4245 MW 1020 FOXCROFT RD GRAND ISLAND NY 14072 $19.54 & F BARNETT PO BOX 838 ANDERSON SC 29622 $44.16 & H COLEMAN PO BOX 185 PAMPLICO SC 29583 $1.77 & H FARM 827 SAVANNAH HWY CHARLESTON SC 29407 $158.85 & H HATCHER PO BOX 35 JOHNS ISLAND SC 29457 $5.25 & MCMILLAN MIDDLETON C/O MIDDLETON/MCMILLAN 227 W TRADE ST STE 2250 CHARLOTTE NC 28202 $123.69 & S COLLINS RT 8 BOX 178 SUMMERVILLE SC 29483 $59.17 & S RAST RT 1 BOX 441 99999 $9.07 127 BLUE HERON POND LP 28 ANACAPA ST STE B SANTA BARBARA CA 93101 $3.08 176 JUNKYARD 1514 STATE RD SUMMERVILLE SC 29483 $8.21 263 RECORDS INC 2680 TILLMAN ST N CHARLESTON SC 29405 $1.75 3 E COMPANY INC PO BOX 1148 GOOSE CREEK SC 29445 $91.73 A & M BROKERAGE 214 CAMPBELL RD RIDGEVILLE SC 29472 $6.59 A B ALEXANDER JR 46 LAKE FOREST DR SPARTANBURG SC 29302 $36.46 A B SOLOMON 1 POSTON RD CHARLESTON SC 29407 $43.38 A C CARSON 55 SURFSONG RD JOHNS ISLAND SC 29455 $96.12 A C CHANDLER 256 CANNON TRAIL RD LEXINGTON SC 29073 $76.19 A C DEHAY RT 1 BOX 13 99999 $0.02 A C FLOOD C/O NORMA F HANCOCK 1604 BOONE HALL DR CHARLESTON SC 29407 $85.63 A C THOMPSON PO BOX 47 NEW YORK NY 10047 $47.55 A D WARNER ACCOUNT FOR 437 GOLFSHORE 26 E RIDGEWAY DR CENTERVILLE OH 45459 $43.35 A E JOHNSON PO BOX 1234 % BECI MONCKS CORNER SC 29461 $0.43 A E KNIGHT RT 1 BOX 661 99999 $18.00 A E MARTIN 24 PHANTOM DR DAYTON OH 45431 $50.95 -
Quantico Football 1918 Thru 1942 ROSTERS
QUANTICO FOOTBALL 1918 thru 1942 ROSTERS 1918 Balloon Detachment, Rifle Range and 1st, 11th and 13th Companies competed in a base league. Attempts were made to line up outside games. Willis “Pops” Backs: Maury McMains. Roster: not available. Ryckman Running 1919 Back Record: 7-0 Catholic Univ. Reserves, 19-7 Bethany Athletic Club. (2-0). Coach: Dutch Moulthen (Montana) (Mare Island 1917). Team captain: de Rooche. Roster: not available. Joe Cercek One of 1919 Quantico Marines Team Old Corps “All-Time Linemen” 1920 Record: 0-14 Rex Athletic Club, defeated III Corps, 7-7 Great Lakes Navy (postseason in Baltimore) (incomplete). Coach: not available. Assistant: not available. Ends: Clemens, Horn; Tacides: Herstrom, Harry Liversedge (Cal) (AEF 1918). Guards: Dutcher, Foley; centers: Jones; hacks: Walter “Boots” (also “Jap”) Browii (Washington St.) (Mare Island 1917), Cornstock, Cooper, Hainmill, Horace “Hoke” Palmer (Navy), Six, Whall. Also: Leroy Hunt (Cal), Miller, Spicer, Twey (Incomplete). xx- played in NFL, AAFC and/or AFL 1921 Record: 21-0 Hampton Roads Navy, 21-0 Baltimore Pros, 20-0 Virginia Military Institute Reserves, 21-0 George Washington Reserves, 33-0 Norfolk Navy, 20-0 III Corps, 28-7 Dreadnaughts (semipro), 33-0 Hampton Roads Navy. (8-0). Coach: Lt. John Beckett (Oregon) (player-coach Mare Island 1917; player AEF 1918; assistant Mare Island 1919, coach 1920) Assistant: not available: Athletic officer: not available. Ends: E.J. Farrell (Carleton), Kyle, E.W. Skinner (Kansas St.). Tackles: Beckett (p-c), Elmer Hall (Oregon) (Mare Island 1917, coach 1919), Harry Liversedge (Cal) (AEF 1918). Guards: Joe Cercek (Mare Island 19 19-20), Rogers. -
Bruce Springsteen the Collection 1973-84 Mp3, Flac, Wma
Bruce Springsteen The Collection 1973-84 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: The Collection 1973-84 Country: Europe Released: 2010 Style: Classic Rock, Folk Rock, Rock & Roll, Rhythm & Blues, Acoustic, Pop Rock MP3 version RAR size: 1130 mb FLAC version RAR size: 1295 mb WMA version RAR size: 1669 mb Rating: 4.9 Votes: 322 Other Formats: MP2 AC3 ASF VQF APE RA AHX Tracklist Greetings From Asbury Park, N.J. 1-1 Blinded By The Light 5:04 1-2 Growin' Up 3:05 1-3 Mary Queen Of Arkansas 5:21 1-4 Does This Bus Stop At 82nd Street? 2:05 1-5 Lost In The Flood 5:18 1-6 The Angel 3:25 1-7 For You 4:40 1-8 Spirit In The Night 5:00 1-9 It's Hard To Be A Saint In The City 3:12 The Wild, The Innocent And The E Street Shuffle 2-1 The E Street Shuffle 4:31 2-2 4th Of July, Asbury Park (Sandy) 5:37 2-3 Kitty's Back 7:09 2-4 Wild Billy's Circus Story 4:48 2-5 Incident On 57th Street 7:45 2-6 Rosalita (Come Out Tonight) 7:05 2-7 New York City Serenade 9:55 Born To Run 3-1 Thunder Road 4:50 3-2 Tenth Avenue Freeze-Out 3:12 3-3 Night 3:02 3-4 Backstreets 6:30 3-5 Born To Run 4:30 3-6 She's The One 4:31 3-7 Meeting Across The River 3:19 3-8 Jungleland 9:33 Darkness On The Edge Of Town 4-1 Badlands 4:04 4-2 Adam Raised A Cain 4:35 4-3 Something In The Night 5:14 4-4 Candy's Room 2:48 4-5 Racing In The Street 6:55 4-6 The Promised Land 4:29 4-7 Factory 2:20 4-8 Streets Of Fire 4:03 4-9 Prove It All Night 4:01 4-10 Darkness On The Edge Of Town 4:28 The River (CD1) 5-1 The Ties That Bind 3:34 5-2 Sherry Darling 4:03 5-3 Jackson Cage 3:04 -
Civil War Manuscripts
CIVIL WAR MANUSCRIPTS CIVIL WAR MANUSCRIPTS MANUSCRIPT READING ROW '•'" -"•••-' -'- J+l. MANUSCRIPT READING ROOM CIVIL WAR MANUSCRIPTS A Guide to Collections in the Manuscript Division of the Library of Congress Compiled by John R. Sellers LIBRARY OF CONGRESS WASHINGTON 1986 Cover: Ulysses S. Grant Title page: Benjamin F. Butler, Montgomery C. Meigs, Joseph Hooker, and David D. Porter Library of Congress Cataloging in Publication Data Library of Congress. Manuscript Division. Civil War manuscripts. Includes index. Supt. of Docs, no.: LC 42:C49 1. United States—History—Civil War, 1861-1865— Manuscripts—Catalogs. 2. United States—History— Civil War, 1861-1865—Sources—Bibliography—Catalogs. 3. Library of Congress. Manuscript Division—Catalogs. I. Sellers, John R. II. Title. Z1242.L48 1986 [E468] 016.9737 81-607105 ISBN 0-8444-0381-4 The portraits in this guide were reproduced from a photograph album in the James Wadsworth family papers, Manuscript Division, Library of Congress. The album contains nearly 200 original photographs (numbered sequentially at the top), most of which were autographed by their subjects. The photo- graphs were collected by John Hay, an author and statesman who was Lin- coln's private secretary from 1860 to 1865. For sale by the Superintendent of Documents, U.S. Government Printing Office, Washington, D.C. 20402. PREFACE To Abraham Lincoln, the Civil War was essentially a people's contest over the maintenance of a government dedi- cated to the elevation of man and the right of every citizen to an unfettered start in the race of life. President Lincoln believed that most Americans understood this, for he liked to boast that while large numbers of Army and Navy officers had resigned their commissions to take up arms against the government, not one common soldier or sailor was known to have deserted his post to fight for the Confederacy. -
Blues Music and the Art of Narrative Self-Invention
UNIVERSITY OF CALIFORNIA Los Angeles The Fictional Black Blues Figure: Blues Music and the Art of Narrative Self-Invention A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in English by Kimberly Renee Mack 2015 © Copyright by Kimberly Renee Mack 2015 ABSTRACT OF THE DISSERTATION The Fictional Black Blues Figure: Blues Music and the Art of Narrative Self-Invention by Kimberly Renee Mack Doctor of Philosophy in English University of California, Los Angeles, 2015 Professor Richard A Yarborough, Chair My dissertation examines representations of black American blues musicians in contemporary American fiction, drama, and popular music, and it argues that blues music can be examined as a narrative art rooted in the tradition of fictionalized autobiographical self- fashioning. I contend that the contemporary, multi-racial, literary and musical characters in my project who participate in so-called “authentic” blues expression create, sometimes consciously and sometimes unwittingly, a fiction on top of a fiction. This project questions the belief held by many blues scholars, critics, and fans that blues music is a racially essentialized form instead of a narrative tradition made possible through carefully constructed autobiographical and biographical fictions. ii My project makes two important interventions into traditional discussions of blues production and the representations of blues figures in 20th- and 21st-century American literature. First, it destabilizes racial, socio-cultural, temporal, and gendered blues tropes by shifting blues expression from an innate skill to a storytelling art form through which its makers invent themselves. Second, this study allows for a different, interdisciplinary approach to autobiographical and biographical expression. -
Parody As a Borrowing Practice in American Music, 1965–2015
Parody as a Borrowing Practice in American Music, 1965–2015 A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by John P. Thomerson BM, State University of New York at Fredonia, 2008 MM, University of Louisville, 2010 Committee Chair: bruce d. mcclung, PhD ABSTRACT Parody is the most commonly used structural borrowing technique in contemporary American vernacular music. This study investigates parody as a borrowing practice, as a type of humor, as an expression of ethnic identity, and as a response to intellectual trends during the final portion of the twentieth century. This interdisciplinary study blends musicology with humor studies, ethnic studies, and intellectual history, touching on issues ranging from reception history to musical meaning and cultural memory. As a structural borrowing technique, parody often creates incongruity—whether lyrical, stylistic, thematic, evocative, aesthetic, or functional—within a recognized musical style. Parodists combine these musical incongruities with other comic techniques and social conventions to create humor. Parodists also rely on pre-existing music to create, reinforce, and police ethnic boundaries, which function within a racialized discourse through which parodists often negotiate ethnic identities along a white-black binary. Despite parody’s ubiquity in vernacular music and notwithstanding the genre’s resonance with several key themes from the age of fracture, cultivated musicians have generally parody. The genre’s structural borrowing technique limited the identities musicians could perform through parodic borrowings. This study suggests several areas of musicological inquiry that could be enriched through engagement with parody, a genre that offers a vast and largely unexplored repertoire indicating how musical, racial, and cultural ideas can circulate in popular discourse.