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UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Jugadores del parque: Immigrants, play, and the creation of social ties Permalink https://escholarship.org/uc/item/6k3748jw Author Trouille, David Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Jugadores del parque: Immigrants, play, and the creation of social ties A dissertation submitted in partial satisfaction of the requirements of the degree of Doctor of Philosophy in Sociology by David Alexander Trouille ABSTRACT OF THE DISSERTATION Jugadores del parque: Immigrants, play, and the creation of social ties by David Alexander Trouille Doctor of Philosophy in Sociology University of California, Los Angeles, 2013 Professor Jack Katz, Chair This dissertation examines the social uses and meanings of a public park for a group of primarily working-class Latino immigrant men who regularly gather there to socialize and play soccer. Based on over five years of in-depth participant observation, the findings shed light on the men’s everyday experiences in and away from the park and uncover social processes and human concerns that resonate well beyond the particulars of the case. Specifically, the dissertation shows how a group of primarily immigrant men make and sustain social ties through their regular involvement in park life. The social life of the park works effectively as a site of network formation and resource exchange because it is made fun, compelling, and revealing. The findings show that people require shared commitments, in this case, a fascination with soccer and beer drinking, to create new relations. -
Reviviendo Al Tango: Interpretación Histórica-Mente Informada (HIP)
Luppi, Guillermo A. Reviviendo al tango: interpretación histórica- mente informada (HIP) en el tango joven, ca. 1998-2018 XV Semana de la Música y la Musicología, 2018 Jornadas Interdisciplinarias de Investigación Artística y Musicológica Facultad de Artes y Ciencias Musicales . Instituto de Investigación Musicológica “Carlos Vega” – UCA Este documento está disponible en la Biblioteca Digital de la Universidad Católica Argentina, repositorio institucional desarrollado por la Biblioteca Central “San Benito Abad”. Su objetivo es difundir y preservar la producción intelectual de la Institución. La Biblioteca posee la autorización del autor para su divulgación en línea. Cómo citar el documento: Luppi, Guillermo A. “Reviviendo al tango : interpretación históricamente informada (HIP) en el tango joven, ca. 1998- 2018 ” [en línea]. Semana de la Música y la Musicología ; el tango desde 1990 a nuestros días. Un panorama del género desde la composición, la danza, la musicología y los medios de comunicación, XV, 7-9 noviembre 2018. Universidad Católica Argentina. Facultad de Artes y Ciencias Musicales; Instituto de Investigación Musicológica “Carlos Vega”, Buenos Aires. Disponible en: http://bibliotecadigital.uca.edu.ar/greenstone/cgi-bin/library.cgi?a=d&c=Ponencias&d=reviviendo-interpretacion-tango- joven [Fecha de consulta: ….] Actas de la XV Semana de la Música y la Musicología. Jornadas Interdisciplinarias de Investigación REVIVIENDO AL TANGO: INTERPRETACIÓN HISTÓRICAMENTE INFORMADA (HIP) EN EL TANGO JOVEN, ca. 1998-2018 GUILLERMO A. LUPPI (DUKE UNIVERSITY, EE.UU.)1 [email protected] Resumen En este escrito se analiza la manera en que los conjuntos musicales de mayor trayectoria del tango joven se relacionan con el legado artístico del tango, a través de la filosofía sobre la interpretación musical conocida como Historically Informed Performance (HIP). -
Tango for Musicians at Reed College, June 19-26, 2016 Monday 20 Tuesday 21 Wednesday 22 Thursday 23 Friday 24
Tango for Musicians at Reed College, June 19-26, 2016 Monday 20 Tuesday 21 Wednesday 22 Thursday 23 Friday 24 8:00 to 9:00 am breakfast breakfast breakfast breakfast breakfast 9:00 to 11:00 am strings . group a . ramiro gallo | PAB 105 | strings . group a strings . group a strings . group a Instrumental techniques strings . group b . ramiro gallo | PAB 104 | strings . group b strings . group b strings . group b References Classes will be divided into woodwinds . group a . paulina fain | PAB 231 | woodwinds . group a woodwinds . group a woodwinds . group a smaller groups in order to facilitate student learning. woodwinds . group b . paulina fain | PAB 233 | woodwinds . group b woodwinds . group b woodwinds . group b arranging vocals . sofía tosello | PAB 332 | vocals vocals vocals advanced arranging and composition bandoneon . group a . eva wolff | PAB 131 | bandoneon . group a bandoneon . group a bandoneon . group a parrilla (tango improvisation) bandoneon . group b . eva wolff | PAB 130 | bandoneon . group b bandoneon . group b bandoneon . group b specialized skills piano . group a . hernán possetti | PAB 232 | piano . group a piano . group a piano . group a history of tango piano . group b . hernán possetti | PAB 234 | piano . group b piano . group b piano . group b tango styles fundamentals guitar . group a . adam tully | PAB 223 | guitar . group a guitar . group a guitar . group a pedagogy guitar . group b . adam tully | PAB 222 | guitar . group b guitar . group b guitar . group b bass . group a . ignacio varchausky | PAB 320 | bass . group a bass . group a bass . group a classes open to auditors bass . group b . -
T H E P Ro G
Friday, February 1, 2019 at 8:30 pm m a r Jose Llana g Kimberly Grigsby , Music Director and Piano o Aaron Heick , Reeds r Pete Donovan , Bass P Jon Epcar , Drums e Sean Driscoll , Guitar h Randy Andos , Trombone T Matt Owens , Trumpet Entcho Todorov and Hiroko Taguchi , Violin Chris Cardona , Viola Clarice Jensen , Cello Jaygee Macapugay , Jeigh Madjus , Billy Bustamante , Renée Albulario , Vocals John Clancy , Orchestrator Michael Starobin , Orchestrator Matt Stine, Music Track Editor This evening’s program is approximately 75 minutes long and will be performed without intermission. Please make certain all your electronic devices are switched off. Lead support provided by PGIM, the global investment management businesses of Prudential Financial, Inc. Endowment support provided by Bank of America This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano The Appel Room Jazz at Lincoln Center’s Frederick P. Rose Hall American Songbook Additional support for Lincoln Center’s American Songbook is provided by Rita J. and Stanley H. Kaplan Family Foundation, The DuBose and Dorothy Heyward Memorial Fund, The Shubert Foundation, Great Performers Circle, Lincoln Center Spotlight, Chairman’s Council, and Friends of Lincoln Center Public support is made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center Artist catering provided by Zabar’s and Zabars.com UPCOMING AMERICAN SONGBOOK EVENTS IN THE APPEL ROOM: Saturday, February 2 at 8:30 pm Rachael & Vilray Wednesday, February 13 at 8:30 pm Nancy And Beth Thursday, February 14 at 8:30 pm St. -
On State Power, Queer Aesthetics & Asian/Americanist Critique
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2016 Dislocating Camps: On State Power, Queer Aesthetics & Asian/ Americanist Critique Christopher Alan Eng The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1240 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] DISLOCATING CAMPS: ON STATE POWER, QUEER AESTHETICS & ASIAN/AMERICANIST CRITIQUE by CHRISTOPHER ALAN ENG A dissertation submitted to the Graduate Faculty in English in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 CHRISTOPHER ALAN ENG All Rights Reserved ii Dislocating Camps: On State Power, Queer Aesthetics & Asian/Americanist Critique By Christopher Alan Eng This manuscript has been read and accepted for the Graduate Faculty in English in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. _______________ ____________________________________________ Date Kandice Chuh Chair of Examining Committee _______________ ____________________________________________ Date Mario DiGangi Executive Officer Supervisory Committee: Eric Lott Robert Reid-Pharr Karen Shimakawa THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT DISLOCATING CAMPS: ON STATE POWER, QUEER AESTHETICS & ASIAN/AMERICANIST CRITIQUE by Christopher Alan Eng Advisor: Kandice Chuh My dissertation argues that the history of Asian racialization in the United States requires us to grapple with the seemingly counterintuitive entanglement between “the camp” as exceptional space of biopolitical management and “camp” as a performative practice of queer excess. -
Pio Abad Silverlens, Manila
Pio Abad Copyright © 2017 Silverlens Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic or otherwise, without the prior written consent of the above mentioned copyright holders, with the exception of brief excerpts and quotations used in articles, critical essays or research. Text © 2017 Pio Abad All rights reserved. No part of this essay may be reproduced, modified, or stored in a retrieval system or retransmission, in any form or by COUNTERNARRATIVES any means, for reasons other than personal use, without written permission from the author. PIO ABAD 29 MARCH - 27 APRIL 2017 Lapanday Center 2263 Don Chino Roces Avenue Extension Makati City 1231 T +632.8160044 F +632.8160044 M +63917.5874011 Tue-Fri 10am-7pm, Sat 10am- 6pm www.silverlensgalleries.com [email protected] image by Jessica de Leon (SILVERLENS) COUNTERNARRATIVES Pio Abad returns to Silverlens, Manila with Counternarratives. In his second exhibition at keeping with the triumphal spirit that Ninoy’s death brought to the political landscape, and it was sub- the gallery, Abad continues his engagement with Philippine political history, specifically looking at the sequently replaced with a more conventional statue. Abad’s installation revisits Caedo’s version—its problematic cultural legacy of the Marcos dictatorship in light of recent attempts to rehabilitate this insistent portrayal of terror and sacrifice a more appropriate symbol for the less triumphant times of dark chapter in the nation’s history. In a new body of work, he reconfigures familiar narratives and now. -
NÉLIDA RODRIGUEZ Tango Consultant and Rehearsal Director Nélida Rodríguez Was Born in Argentina
SIDI LARBI CHERKAOUI Choreographer My first dalliance with art was not dance, but drawing. As a child I wanted to draw reality and all the images I associated with it. For example, the clouds and what I could see in them, and people and the shadows they cast. They were ‘surrealist-type’ drawings: realistic but never just the bare facts. It was my way of interpreting the reality around me. But eventually I started to get impatient. The two dimensions were no longer enough. Then I started dancing, and the nice thing about dancing is that you have to dance constantly to see the drawing. Moreover, you are both the pencil and the draughtsman. Dance is always a temporary drawing, it disappears when the movement ends. So the drawing can be written over, or rewritten at any time. Each performance has to be drawn again the next evening. Sidi Larbi Cherkaoui’s first experience as a choreographer was with the ‘contemporary musical’ Anonymous Society, director Andrew Wale’s salute to the music of Jacques Brel. Cherkaoui also danced in this production for which he won several awards including the Fringe First Award and the Total Theatre Award in Edinburgh, and the Barclay Theatre award in London. Rien de Rien, Cherkaoui’s first choreography as a member of Les Ballets C. de la B. artistic team, toured Europe in 2000 and won the Special Prize at the BITEF Festival in Belgrade. He worked on this production with singer and dancer Damien Jalet, who introduced him to Italian folk songs and went on to have a great influence on his later creations. -
Intersections of Neoliberalism, Race, and Queerness in the Works of Jonas Hassen Khemiri and Ruben Östlund
Challenging Swedishness: Intersections of Neoliberalism, Race, and Queerness in the Works of Jonas Hassen Khemiri and Ruben Östlund by Christian Mark Gullette A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Scandinavian Languages and Literatures and the Designated Emphasis in Women, Gender, and Sexuality in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Linda Haverty Rugg, Chair Professor Mark Sandberg Professor Mel Y. Chen Spring 2018 © Christian Mark Gullette 2018 Abstract Challenging Swedishness: Intersections of Neoliberalism, Race, and Queerness in the Works of Jonas Hassen Khemiri and Ruben Östlund by Christian Mark Gullette Doctor of Philosophy in Scandinavian Languages and Literatures and the Designated Emphasis in Women, Gender, and Sexuality University of California, Berkeley Professor Linda Haverty Rugg, Chair This dissertation explores the work of author Jonas Hassen Khemiri and filmmaker Ruben Östlund, examining the ways both artists consistently negotiate racial identification and “Swedishness” in neoliberal economic contexts that are often at odds with other Swedish, exceptionalist discourses of social justice. Khemiri and Östlund represent contrasting perspectives and tonalities, yet both artists identify the successful competition for capital as a potentially critical component in achieving access to “Swedishness.” Khemiri and Östlund recognize that race and economics are intertwined in neoliberal arguments, even in Sweden, something their works help to elucidate. The implications of such similar observations from very different artists might go overlooked if discussed in isolation. I argue that it is crucial to analyze the negotiation of identity in these works not merely in abstract economic terms, but through their use of a very specific neoliberal economic discourse. -
Warrior Bards
WARRIOR BARDS by Kevin McCarthy & Michael E. Tigar A Performance in Six Scenes [Note: This play was originally performed in San Francisco by Kevin McCarthy. It is written for performance by one actor who portrays all five lawyers, using changes of dress, demeanor and style to mark their differences, while preserving the theme that their work is unified. It could be done by a series of actors.] COPYRIGHT (C) 1989 KEVIN MCCARTHY & MICHAEL E. TIGAR ALL RIGHTS RESERVED. Warrior Bards, Page 1 [The curtain rises on a stage set with a standup writing desk, a comfortable chair, a lectern, a hall tree, and an easel. On the easel is set a large portrait of Dan O'Connell, in the costume in which we will first see him. The hall tree has hooks to hang coats and hats and a mirror, in order to permit the actor to check his appearance when changing characters. There will also be a low railing to represent a jury rail. Among the props will be a copy of the New York Times for Malone, a copy of a book of judicial decisions, a schoolhouse ruler, and other items.] Scene One [Daniel O'Connell enters, wearing a cloak and shovel hat as depicted in pictures of him. Under the cloak he may have on a barrister's robe, and may then put on a wig. He is large, robust, energetic. He would probably have a habit of running his hands through his hair, which was curled and unruly. He has a gentle, cajoling voice. He may roll his eyes to emphasize a point.] [A lawyer who saw O'Connell (Sheil) describes O'Connell as "five-feet eleven and one- half inches, with a high forehead. -
May 2009 Edition
Volume XXVII, No. 5 May 2009 www.filipinostar.org Filipino community wants live-in caregivers program improved The serious allegations of abuses by a Liberal MP, Ruby Dhalla, touched a sensitive chord among Filipino-Canadians everywhere. This case has reinforced what has long been a common knowledge that live-in caregivers are exploited, underpaid, and abused. Although there are some good employers, they are not the majority. The problem has always been a concern but it seems that government policies do not change without active lobbying by the community. Almost at the same time that this high profile case hit the newspaper headlines, there was already a proposed consultation meeting with the Minister of Immigration, Citizenship & Multiculturalism, Honorable Jason Kenney, scheduled by the end of May which was the result of prior meetings held with him in the past when he was holding the position of Secretary of A group was formed to work on immigration issues, focusing on the live-in caregivers program. to prepare for a consultation meeting with the Minister of Immigration, Citizenship and Multiculturalism, Hon. Jason Kenney, on May 30, 2009. From left: Tess Tessalona, Riza Esmeralda, Au See Page 4 Live-in Caregivers Osdon, Julie Parado, Angie Ogerio, Joan Junio, Evelyn Calugay, and Zenaida Kharroubi. Not in photo: Annie Miaral and Grace Yip. (5/15/09) City renewal plan on Victoria to benefit local businesses Montreal, April 30, 2009 - Marvin Rotrand and Saulie Zajdel, Cote-des-Neiges-Notre-Dame-de- Grace borough councillors, today officially launched the concrete Contents improvements to be made to avenue Victoria in 2009, under the renewal plan Cooperative News . -
Abstract One Love: Collective Consciousness in Rap and Poetry
Abstract One Love: Collective Consciousness in Rap and Poetry of the Hip-Hop Generation by Austin Harold Hart April, 2012 Thesis Director: John Hoppenthaler Major Department: English (Literature and Poetry) This study aims to offer an understanding of hip-hop culture through which three concepts are elucidated: (1) the existence and dimensions of a collective consciousness within rap and poetry of the hip-hop generation (Allison Joseph, A. Van Jordan, Terrance Hayes, Major Jackson, Taylor Mali, and Kevin Coval); (2) a poetics of rap—to parallel the influence seen/suggested among the selected poets; and (3) an analysis of the manner(s) in which the poetry of these more serious, academic artists reflects an influence of hip-hop culture. My thesis suggests that these poets are indeed influenced by the culture in which they grew up, and in their verse, this influence can be seen through linguistic playfulness, sonic density, layered meaning and usage through form and content, and the connection to a larger cultural, collective consciousness fed by specific social bodies. Poetic analysis, as well as studies of vernacular and oral traditions, has allowed me to explore these concepts and theories from a wider spectrum, and with regard to the work of the poets, an original perspective. Providing a deeper understanding of artists, their identities, places, and dreams within their work, this study begins to offer some insight into notions of the ways in which individuals might participate in cultural conservation. One Love: Collective Consciousness -
Ernesto J. Abálsamo
-Ernesto J. Abálsamo- CRÓNICAS DE TANGO Sus protagonistas, las anécdotas EL FENÓMENO PIAZZOLLA (Su trayectoria y su vida) A mi Boedo Nací el 6 de mayo de 1930 en el Barrio de Boedo, en un hogar humilde, como toda la gente que vivía en esa casa de la calle México 3271, que ya no existe, o en las otras a las que cada dos o tres años nos mudábamos, siempre en los alrededores, como era común por esos años. Crecí rodeado de tangos. En todo ese barrio vivían músicos, autores, compositores y cantores. Fui el primer argentino de la familia, porque recién cinco años después nació mi hermana Leonor. Mis viejos habían llegado de Italia unos 8 años antes de 1930 con dos hijos, un varón, Egidio, y una mujer, Julia, que ya no viven, y en mi niñez, en medio de las penurias de esa época, me apasionaron la música y las letras de los tangos, que oía cuando los cantaba mi mamá, mientras lavaba la ropa en la pileta del patio, o mi papá, cuando se afeitaba o le limpiaba la jaula a los canarios, o a través de las viejas radios, aunque por entonces no muchas familias las tenían. Así fue como empecé a escuchar que contaban vivencias de la gente del pueblo, que uno veía y vivía a diario, que formaban parte de la vida cotidiana. Por eso se pretende en esta obra resumir experiencias y recordar a todos los que, de una forma u otra, hicieron algo por el tango. Solamente me animó una pasión, que es lo que despierta el tango.