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Stage Violence, Power and the Director an Examination
STAGE VIOLENCE, POWER AND THE DIRECTOR AN EXAMINATION OF THE THEORY AND PRACTICE OF CRUELTY FROM ANTONIN ARTAUD TO SARAH KANE by Jordan Matthew Walsh Bachelor of Philosophy, University of Pittsburgh, 2012 Submitted to the Faculty of the University of Pittsburgh in partial fulfillment of the requirements for the degree of Bachelor of Philosophy. The University of Pittsburgh May 2012 UNIVERSITY OF PITTSBURGH ARTS & SCIENCES This thesis was presented by Jordan Matthew Walsh It was defended on April 13th, 2012 and approved by Jesse Berger, Artistic Director, Red Bull Theater Company Cynthia Croot, Assistant Professor, Theatre Arts Department Annmarie Duggan, Assistant Professor, Theatre Arts Department Dr. Lisa Jackson-Schebetta, Assistant Professor, Theatre Arts Department 2 Copyright © by Jordan Matthew Walsh 2012 3 STAGE VIOLENCE AND POWER: AN EXAMINATION OF THE THEORY AND PRACTICE OF CRUELTY FROM ANTONIN ARTAUD TO SARAH KANE Jordan Matthew Walsh, BPhil University of Pittsburgh, 2012 This exploration of stage violence is aimed at grappling with the moral, theoretical and practical difficulties of staging acts of extreme violence on stage and, consequently, with the impact that these representations have on actors and audience. My hypothesis is as follows: an act of violence enacted on stage and viewed by an audience can act as a catalyst for the coming together of that audience in defense of humanity, a togetherness in the act of defying the truth mimicked by the theatrical violence represented on stage, which has the potential to stir the latent power of the theatre communion. I have used the theoretical work of Antonin Artaud, especially his “Theatre of Cruelty,” and the works of Peter Brook, Jerzy Grotowski, and Sarah Kane in conversation with Artaud’s theories as a prism through which to investigate my hypothesis. -
Wegohealthchat Transcript
#WEGOHealthChat Transcript Healthcare social media transcript of the #WEGOHealthChat hashtag. Tue, March 13th 2018, 12:50PM – Tue, March 13th 2018, 2:10PM (America/Detroit). See #WEGOHealthChat Influencers/Analytics. Sign up for FREE Symplur Account Create Transcripts with Custom Dates Get Custom Influencer Lists 3x Hashtag Search Results Sign Up Now WEGO Health @wegohealth 7 days ago It's the final countdown. 10 min until we start chatting with @simonrstones and @mikeveny about combating the stigma of chronic illness. #wegohealthchat Simon Stones @simonrstones 7 days ago RT @abrewi3010: @Lacktman @AmolUtrankar @chrissyfarr @StanfordMedX @larrychu You ever participated in twitter chats like #patientchat, #wtf… Mike Veny @mikeveny 7 days ago RT @wegohealth: It's the final countdown. 10 min until we start chatting with @simonrstones and @mikeveny about combating the stigma of chr… Candace @rarecandace 7 days ago RT @wegohealth: If you're unfamiliar with #WEGOHealthChat, here's a great reference guide to get you started! https://t.co/MqDpALi1xs h… Simon Stones @simonrstones 7 days ago Super excited for today's #WEGOHealthChat - starting in 10 minutes! Grab a cuppa, find a comfy spot, and get ready for a great hour with like minded people https://t.co/b1iWX2P1JQ Simon Stones @simonrstones 7 days ago RT @wegohealth: It's the final countdown. 10 min until we start chatting with @simonrstones and @mikeveny about combating the stigma of chr… Julie Cerrone Croner @justagoodlife 7 days ago RT @SimonRStones: Super excited for today's #WEGOHealthChat -
1 Breakfast at Tiffany's Truman Capote, 1958 I Am Always Drawn Back To
1 Breakfast at Tiffany's surrounded by photographs of ice-hockey stars, there is always a large bowl of fresh Truman Capote, 1958 flowers that Joe Bell himself arranges with matronly care. That is what he was doing when I came in. I am always drawn back to places where I have lived, the houses and their "Naturally," he said, rooting a gladiola deep into the bowl, "naturally I wouldn't have neighborhoods. For instance, there is a brownstone in the East Seventies where, got you over here if it wasn't I wanted your opinion. It's peculiar. A very peculiar thing during the early years of the war, I had my first New York apartment. It was one room has happened." crowded with attic furniture, a sofa and fat chairs upholstered in that itchy, particular red "You heard from Holly?" velvet that one associates with hot days on a tram. The walls were stucco, and a color He fingered a leaf, as though uncertain of how to answer. A small man with a fine rather like tobacco-spit. Everywhere, in the bathroom too, there were prints of Roman head of coarse white hair, he has a bony, sloping face better suited to someone far ruins freckled brown with age. The single window looked out on a fire escape. Even so, taller; his complexion seems permanently sunburned: now it grew even redder. "I can't my spirits heightened whenever I felt in my pocket the key to this apartment; with all its say exactly heard from her. I mean, I don't know. -
Men's Glee Repertoire (2002-2021)
MEN'S GLEE REPERTOIRE (2002-2021) Ain-a That Good News - William Dawson All Ye Saints Be Joyful - Katherine Davis Alleluia - Ralph Manuel Ave Maria - Franz Biebl Ave Maria - Jacob Arcadet Ave Maria - Joan Szymko Ave Maris Stella - arr. Dianne Loomer Beati Mortui - Fexlix Mendelssohn Behold the Lord High Executioner (from The Mikado )- Gilbert and Sullivan Blades of Grass and Pure White Stones -Orin Hatch, Lowell Alexander, Phil Nash/ arr. Keith Christopher Blagoslovi, dushé moyá Ghospoda - Mikhail Mikhailovich Ippolitov-Ivanov Blow Ye Trumpet - Kirke Mechem Bright Morning Stars - Shawn Kirchner Briviba – Ēriks Ešenvalds Brothers Sing On - arr. Howard McKinney Brothers Sing On - Edward Grieg Caledonian Air - arr. James Mullholland Come Sing to Me of Heaven - arr. Aaron McDermid Cornerstone – Shawn Kirchner Coronation Scene (from Boris Goudonov ) - Modest Petrovich Moussorgsky Creator Alme Siderum - Richard Burchard Daemon Irrepit Callidu- György Orbain Der Herr Segne Euch (from Wedding Cantata ) - J. S. Bach Dereva ni Mungu – Jake Runestad Dies Irae - Z. Randall Stroope Dies Irae - Ryan Main Do You Hear the Wind? - Leland B. Sateren Do You Hear What I Hear? - arr. Harry Simeone Down in the Valley - George Mead Duh Tvoy blagi - Pavel Chesnokov Entrance and March of the Peers (from Iolanthe)- Gilbert and Sullivan Five Hebrew Love Songs - Eric Whitacre For Unto Us a Child Is Born (from Messiah) - George Frideric Handel Gaudete - Michael Endlehart Git on Boa'd - arr. Damon H. Dandridge Glory Manger - arr. Jon Washburn Go Down Moses - arr. Moses Hogan God Who Gave Us Life (from Testament of Freedom) - Randall Thompson Hakuna Mungu - Kenyan Folk Song- arr. William McKee Hark! I Hear the Harp Eternal - Craig Carnahan He’s Got the Whole World in His Hands - arr. -
Big Bang – Shout out to the World!
Big Bang – Shout Out To The World! (English Translation) [2009] Shout out to the World: TOP “I came here because of that string of hope. Where do I stand now? I ask myself this but even I don’t have a specific answer yet. During the process where I search for my other self, all my worries will fade away because I must find the person who will lend his shoulders to me.” ~TOP Name: Choi Seung-hyun Date of Birth: November 4, 1987 Skills: Rap, Writing lyrics, Beatbox *Starred in the KBS Drama, ‘I am Sam’ The power to awaken a soul, sometimes it takes pain to be re-born. [~ Pt.One~] -I once wanted to be a lyric poet that composed and recited verses.- I became mesmerized with ‘Hip-Hop’ music when I was in Grade 5. I went crazy for this type of music because I listened to it all day and carefully noted all the rap lyrics. If we have to talk about Hip-Hop music, I have to briefly talk about the roots of American Hip-Hop. When I first started listening to Hip-Hop, it was divided up into East Coast and West Coast in America. Wu Tang Clan and Notorius B.I.G. represented the East Coast (New York) scene and they focused largely on the rap and the lyrics, while representing the West Coast (LA) was 2Pac who focused more on the melody. Although at that time in Korea and from my memory, more people listened to West Coast hip hop but I was more into the East Coast style. -
US, JAPANESE, and UK TELEVISUAL HIGH SCHOOLS, SPATIALITY, and the CONSTRUCTION of TEEN IDENTITY By
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by British Columbia's network of post-secondary digital repositories BLOCKING THE SCHOOL PLAY: US, JAPANESE, AND UK TELEVISUAL HIGH SCHOOLS, SPATIALITY, AND THE CONSTRUCTION OF TEEN IDENTITY by Jennifer Bomford B.A., University of Northern British Columbia, 1999 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ENGLISH UNIVERSITY OF NORTHERN BRITISH COLUMBIA August 2016 © Jennifer Bomford, 2016 ABSTRACT School spaces differ regionally and internationally, and this difference can be seen in television programmes featuring high schools. As television must always create its spaces and places on the screen, what, then, is the significance of the varying emphases as well as the commonalities constructed in televisual high school settings in UK, US, and Japanese television shows? This master’s thesis considers how fictional televisual high schools both contest and construct national identity. In order to do this, it posits the existence of the televisual school story, a descendant of the literary school story. It then compares the formal and narrative ways in which Glee (2009-2015), Hex (2004-2005), and Ouran koukou hosutobu (2006) deploy space and place to create identity on the screen. In particular, it examines how heteronormativity and gender roles affect the abilities of characters to move through spaces, across boundaries, and gain secure places of their own. ii TABLE OF CONTENTS Abstract ii Table of Contents iii Acknowledgement v Introduction Orientation 1 Space and Place in Schools 5 Schools on TV 11 Schools on TV from Japan, 12 the U.S., and the U.K. -
UFO Music Video Promotion Details
Andy Gesner HIP Video Promo (732)-613-1779 [email protected] Music Video Promoter ‘UFO’ Cole Phoenix- USA, Canada, Latin America & International Web !Distribution/Servicing List- MTV VH1… is below proposal and company info. Here at HIP, we've had the great honor and privilege to promote over 1600 music videos over our thirteen year history. I encourage you to check out our client list, and there you can see we are not a promo company that just takes on any client no matter what the video looks like. Unlike others that do what we do, we are extremely selective about the videos we promote and are constantly searching for artists like Cole Phoenix to get in on the ground floor with. ! We will take all the necessary precautions to assure you that the Cole Phoenix "UFO" music video arrive to all of our programmers 100% ready for immediate programming. Here's the full national music video promotion proposal for you to check out, including both !internet and terrestrial television outlets in Canada and Latin America.! !Proposal:! At HIP Video Promo, music video promotion is the only thing we do! My staff and I are your guides through the treacherous terrain of music video promotion, and are here to make it as easy as possible for you to achieve maximum exposure for your video. We are fearless when it comes to promoting cliche-defying artists outside the mainstream, while always remaining highly selective in the projects we promote. Our constant goal is to supply our programmers with the videos their viewers really want to see.! HIP Video Promo has built the most impressive client roster in the industry, promoting videos by such epic talents as Pearl Jam, The B-52's, The Blind Boys of Alabama, Johnny Cash, Moby, Elvis Costello, and Motley Crue, as well being on the ground floor with artists like The Lumineers, Brooke Fraser, Iron and Wine, Death Cab For Cutie, Armin Van Buuren, Sharon Jones and the Dap Kings, Maroon 5, Bon Iver, and others on their way to stardom. -
Idioms-And-Expressions.Pdf
Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context. -
14. Swan Song
LISA K. PERDIGAO 14. SWAN SONG The Art of Letting Go in Glee In its five seasons, the storylines of Glee celebrate triumph over adversity. Characters combat what they perceive to be their limitations, discovering their voices and senses of self in New Directions. Tina Cohen-Chang overcomes her shyness, Kurt Hummel embraces his individuality and sexuality, Finn Hudson discovers that his talents extend beyond the football field, Rachel Berry finds commonality with a group instead of remaining a solo artist, Mike Chang is finally allowed to sing, and Artie Abrams is able to transcend his physical disabilities through his performances.1 But perhaps where Glee most explicitly represents the theme of triumph over adversity is in the series’ evasion of death. The threat of death appears in the series, oftentimes in the form of the all too real threats present in a high school setting: car accidents (texting while driving), school shootings, bullying, and suicide. As Artie is able to escape his wheelchair to dance in an elaborate sequence, if only in a dream, the characters are able to avoid the reality of death and part of the adolescent experience and maturation into adulthood. As Trites (2000) states, “For many adolescents, trying to understand death is as much of a rite of passage as experiencing sexuality is” (p. 117). However, Glee is forced to alter its plot in season five. The season begins with a real-life crisis for the series; actor Cory Monteith’s death is a devastating loss for the actors, writers, and producers as well as the series itself. -
Unicorn2008.Pdf
Original unicorn design © 1993 by Oscar Borges The purpose of The Unicorn, St. Mary’s Catholic Secondary School’s literary arts collection, is to encourage literary and artistic endeavours by publishing students’ work, and to showcase the many talents of St. Mary’s students to the community. Publisher: A. Della Mora Jurors: J. Cafiso J. Choi C. Gould J. Kielar C. Vitullo Faculty Advisors: E. Baguinho C. Falzon C. Giro Editor: Jordan Ronco Assistant Editor: Mary John Thayalanayakan Layout Editors: Jordan Ronco Mary John Thayalanayakan Scanning, Imaging, PDF File, and Website Link: Diego Ripley Typesetters: Diana Ribeiro and Jordan Ronco Copy Editor and Proofreaders: E. Baguinho and the Writing Class of 2008 Special thanks to the following for their invaluable support: St. Mary’s English Department The Writing Class of 2008 Ms. A. Romano Graphic Consultant: Anapaula Da Costa Printer: Carlos Pereira, TCDSB Printing We apologize for any errors and omissions. N.B.: Unicorn Publication provides a forum for the rights of expression consistent with the submission guidelines and our Gospel values. Each submission is pre- viewed, and may be edited. By submitting your work, you acknowledge that the Unicorn has the right to reproduce and publicize those works or any part thereof. Copyright © 2008 Copyright remains with the writers and artists. oetry Contributors PChristian Abcede Kevin Hana Ricardo Alves Ali Kassam Brandon Andrade Tristan Luyks William Andrade Philip Ionadi Manny Augusto Mary Chandrika John Thayalanayakan Ricky Araujo Paulin John -
Global Recorded Music Industry Revenues 2001-2020
GLOBAL MUSIC REPORT 2021 IFPI GLOBAL MUSIC REPORT 2021 3 CONTENTS STATE OF THE INDUSTRY Global Music Market 2020 in Numbers 04 Introduction 05 Global Charts 06 Global Market Overview 2020 10 Our mission to put creators Our continuing commitment The universe of opportunities 2020 Figures by Format 12 first has been more important is to harness our collective for artists and labels is than ever in the past year. talents and resources to diverse, vast, and fast Hits can now come from shape culture through the expanding. There’s strong 2020 Figures by Region 14 anywhere and artists are power of music and the growth in both subscription empowered by future-focused artistry and creativity at its and ad-supported streaming, Record Companies, Driving Global Opportunities for Music 16 insights, tools and resources core. When, in collaboration with plenty of runway to reach global audiences. with our artists, we come around the globe. At the Breaking down barriers and together as a company and same time, the pandemic Partnering with Artists, Delivering for Fans 24 borders of language, culture as a community, what we can has accelerated consumer Case Study: Chen Li Nong 28 and genre around the world, achieve is truly remarkable. adoption in areas like gaming, Case Study: Travis Scott music has made an incredible That mission is especially live streaming, social media 30 impact over the last year, important now, as the world and in-home fitness. Music Case Study: Dua Lipa 32 bringing communities has never needed music more. is a fundamental driving SIR LUCIAN GRAINGE together to tackle the Chairman & Chief Executive force in the success of these Officer, Universal Music Group Beyond the Music 34 challenges facing all of us. -
Platform, Vol. 3, No. 1
Platform, Vol. 3, No. 1 Richard Maxwell and the Paradox of Theatre Theron Schmidt (Queen Mary, University of London) The seemingly simple aesthetic form of performances by Richard Maxwell and the New York City Players, in which actors speak and move with minimal emotional affectation and in which the scripts are constructed largely out of apparently insignificant elements of everyday speech, seems to baffle academic and popular critics alike. We read into these choices a set of apparent contradictions and paradoxical strategies which seem to challenge our conception of how theatre works. So Philippa Wehle in Theatre Forum and Robin Pogrebin in the New York Times both grapple with the curious way in which they come to have emotional investment in the characters in Maxwell’s plays, with Wehle asking “what is the appeal of these curious stock figures who barely move and who deliver their mundane monologues in a flat monotone […]?” (75) and Pogrebin puzzling that “[s]omehow the less demonstrative their behavior, the deeper they seem” (1). In the Guardian, Lyn Gardner similarly describes the effect as “weirdly compelling” and “curiously moving” (my emphasis), and Sarah Hemming writes in the Financial Times, “paradoxically, [the characters] and their troubles seemed unusually vivid and moving.” There is clearly something enigmatic about Maxwell’s work, and as an audience member at 2006’s The End of Reality at the Barbican, London, I left not quite sure of what I had seen. Despite the presence of all the traditional elements of a play – including