DOCSLIB.ORG

1882. Congressional Record-House. 6467

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1882. Congressional Record-House. 6467 r 1882. CONGRESSIONAL RECORD-HOUSE. 6467 HOUSE OF REPRESENTATIVES. controver y at all I say there can be no doubt that the first allusion was made by the ~entlernan from Pennsylvania. TUESDAY, July 25, 1882. Mr. REED. Will the gentleman from Kentucky perrrut me to say, I am informed the language of the gentleman from Pennsylvania al­ The House met at eleven o'clock a. m. Prayer by the Chaplain, luded not to the Senator from South Carolina for anything which took Rev. F. D. POWER. place in the Senate of the United States 'I The Journal of yeste1·day's proceedings was read and approved. Mr. 1\IILLER. Not one word was uttered a.ato anything that took PERSO~AL EXPLANATIO~. place in the Senate, but it was as to what occurred hefore lie was a. Mr. :MILLER. I rise to a question of personal privilege. member of that body. The SPEAKER. The gentleman will state it. Mr. CARLISLE. I have no purpose to go into t he merit of the Mr. MILLER. On my return to this city yesterday, after an ab­ controversy. sence of three days, I observed in the CONGRESSIO~AL RECORD of Mr. REED. I submit to the gentleman from Kentucky for what July 22, 1882, the remarks which I send to the Clerk's desk to be it is worth that the gentleman from Pennsylvania in speaking on the r ad. floor of this House violated no rule of the Honse, because he did not The Clerk read as follows : allude to any transaction in the Senate, while on the contrary ~e Mr. BUTLER. Mr. President, I observe in the R E CORD of this morning that a speech which was made in another place was made in reference to a per on in another ~lace made a wanton attack on my character and committed a transaction which took place in the House, and evidently by per­ b reach of the privileues of this body, for which be was not called to order, in dis­ sonal solicitation was made especially offensive by being printed on cusRing a contested-e'iection case. I shall not at this late day be betrayed into a controversy with this individual, whose acquaintance I have never had the mis­ the first page at the head of the first column of the RECORD, evidently fortune to make, but shall rather leave him to the judgment :md contempt of all by an arrangement of some kind or other, because other speeches were honorable men for attacking another in a forum where he could not be answered, in before it. under cover of the privileges of that forum, for declinin~ to allow the correction l\Ir. CARLISLE. I know nothing about that, of cour e. of t he falsehoods he was uttering, the go.rblin~ of the eVIdence, perversion of the truth, falsidcation of the record, and for refusmg t~ give the person attacked the Mr. KASSON. I wish to state this, Mr. Speaker, on the point of benefit of his own statement. I have withstood the mastiffs of the radical party order. in the pa-st, and can afford to dismiss wiih this brief notice the yelping of this cur The SPEAKER. ·The gentleman from Iowa 'vill proceed. of low degree. The name of this creature I believe is SAMUEL H. MILLER. Mr. KASSON. What constitutes a question of p1ivilege of this :Mr. MILLER. Mr. Speaker, I now send to the Clerk's desk the nature is clearly stated in our rules: CONGRESSIONAL RECORD of July 21, 1882, and ask that the para­ Second. The rights, reputation, and conduct of members individually in their graphs marked be read. They are found on pages 1 and 2 of the representative capacity. • RECORD of that day. · The gentleman from Pennsylvania [Mr. MILLER] evidently in the :Mr. BUCKNER. I rise to a point of order. There is no personal paragraph already read was attacked in his representative capacity privilege involved in this question. We understand what it is thor­ for what occurred on this floor, and whatever may have preceded it, oughly. it certainly is a question of privilege for him to explain in proper :Mr. O'NEILL. There is a question of personal privilege involved terms. .And I hope, (and I express the hope most earnestly,) he will here on the part of my colleague from Pennsylvania, and he ought not imitate the language in another place on that subject, but will to be hea~·d. If it were a question of personal privilege on the part in a manly way respond on this floor to the impeachment of his rep­ of the Senator from South Carolina, it is certainly as much a ques­ resentative conduct in that speech. tion of pri vileO'e on the part of my colleague. Now, sir, that is clearly in order; but if the gentleman from Penn­ . Mr. CARLISLE. While the gentleman may feel aggrieved by sylvania goes beyond that he is liable in his turn to be called to something contained in the extract just read, yet the rules of the order as, in my judgment, the gentleman should have been who . House forbid allusions here to what transpired in the other House, uttered what he did in another place. as the roles in that House forbid reference there to what transpires I say this irrespective of the merits of the controversy. No one here; and unless there can be a line drawn somewhere, Mr. Speaker, can re(J'ret more profoundly than myself that either here or there this House, it seems to me, is in danger of getting into inextricable there should have been language uttered where there was no oppor­ confusion and interminable discus ions and disputes with members tunity to reply. That is the admitted and indisputable record. But in the other end of the Capitol. Now, inasmuch as the gentleman on the point of order I think the gentleman from Pennsylvania has from Pennsylvania has had an opportunity on this floor to say what the right to speak in order as to what concerns his reputation as a he desired to say in reference to the gentleman who uttered those member of the Honse. words, and that gentleman has seen proper to take some notice of Mr. EVINS. Mr. Speaker, in the first place the gentleman from them at the other end of the Capitol, the matter ought to stop. Pennsylvania did violate the rules of this House in making refer­ Mr. MILLER. I have observed in this Honse, l\Ir; Speaker, that ence to a member of the other body. He alluded to him repeatedly members have sent to the Clerk's desk to be read articles from news­ as "uow a Senator from South Carolina," and that gentleman sim­ papers-- ply responded to what he and what everybody disposed to be fair A MEMBER. Entirely too much of it altogether-- and just will regard as an unjustifiable and unwarranted attack on Mr. MILLER. Which were not authenticated by any person, but his character. It seems to me, as my friend from Kentucky [Mr. rising in their seats to a question of personal privilege in reference CARLISLE] has already said, there must be an end put to this sort to what might be contained therein. The REcoRD1 which I send to of controversy somewhere. The gentleman from Pennsylvania [Mr. the Clerk's desk, is the official record of the proceedings of this body,· MILLER] declined to be interrup'ied so that any correction of the and it seems, sir, from that RECORD that some one, at the other end statements he was making might be made fu this House. of the Capitol it may be, bas seen fit to impugn the veracity, the I made an effort to correct one or two of his statements, but he de­ truthfnlnes, the correctness of the statements made on the floor of clined to be interrupted. Now, Mr. Speaker, it does seem to me that the House. there is nothing in this subject which presents really a question of The gentleman from Kentucky [1\Ir. CARLISLE] sayswemustdraw privilege. The language used by the gentleman referred teas a mem­ the line somewhere. It strikes me thatifthemembersof this House ber of another body does not make any charges of corruption or any have any regard for the dignity of this body it should be drawn when charge affecting the gentleman from Pennsylvania in his representa­ one speaking in a co-ordinate bra.nch of the Government rise in his tive capacity. Therefore it does not strike me that there is any seat and uses unparliamentary language toward a member of the question whatever of privilege involved in the matter. Rouse which appears in that RECOIU>. I ask, therefore, that the The SPEAKER. The point of order is made that the matter which remarks which I have marked in the RECORD of the 21st instant be has been just read from the RECORD does not present a question of read. I ask it as my right as a member of the Congress of the United per~onal privilege. These questions are always very delicate ones States. for the Chair to undertake to dispose of. It seems to the Chair, leav­ Mr. CARLISLE. I have no objection to the reading of the re­ ing entirely out of view the question as to the source from whence marks which the gentleman from Pennsylvania asks to have read. these remarks came, that they constitute an attack upon the repu­ I wish to say that I take no part in this contro>ersy on the one side tation and the condnct·of a member of this body, not only individ­ or the other, havin~ no purpose to discu s its merits.
Load more

Recommended publications
  • John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
    THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums.
    [Show full text]
  • The Brute Caricature
    The Brute Caricature MORE PICTURES The brute caricature portrays black men as innately savage, animalistic, destructive, and criminal -- deserving punishment, maybe death. This brute is a fiend, a sociopath, an anti-social menace. Black brutes are depicted as hideous, terrifying predators who target helpless victims, especially white women. Charles H. Smith (1893), writing in the 1890s, claimed, "A bad negro is the most horrible creature upon the earth, the most brutal and merciless"(p. 181). Clifton R. Breckinridge (1900), a contemporary of Smith's, said of the black race, "when it produces a brute, he is the worst and most insatiate brute that exists in human form" (p. 174). George T. Winston (1901), another "Negrophobic" writer, claimed: When a knock is heard at the door [a White woman] shudders with nameless horror. The black brute is lurking in the dark, a monstrous beast, crazed with lust. His ferocity is almost demoniacal. A mad bull or tiger could scarcely be more brutal. A whole community is frenzied with horror, with the blind and furious rage for vengeance.(pp. 108-109) During slavery the dominant caricatures of blacks -- Mammy, Coon, Tom, and picaninny -- portrayed them as childlike, ignorant, docile, groveling, and generally harmless. These portrayals were pragmatic and instrumental. Proponents of slavery created and promoted images of blacks that justified slavery and soothed white consciences. If slaves were childlike, for example, then a paternalistic institution where masters acted as quasi-parents to their slaves was humane, even morally right. More importantly, slaves were rarely depicted as brutes because that portrayal might have become a self-fulfilling prophecy.
    [Show full text]
  • Defining Music As an Emotional Catalyst Through a Sociological Study of Emotions, Gender and Culture
    Western Michigan University ScholarWorks at WMU Dissertations Graduate College 12-2011 All I Am: Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture Adrienne M. Trier-Bieniek Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the Musicology Commons, Music Therapy Commons, and the Sociology Commons Recommended Citation Trier-Bieniek, Adrienne M., "All I Am: Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture" (2011). Dissertations. 328. https://scholarworks.wmich.edu/dissertations/328 This Dissertation-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. "ALL I AM": DEFINING MUSIC AS AN EMOTIONAL CATALYST THROUGH A SOCIOLOGICAL STUDY OF EMOTIONS, GENDER AND CULTURE. by Adrienne M. Trier-Bieniek A Dissertation Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Department of Sociology Advisor: Angela M. Moe, Ph.D. Western Michigan University Kalamazoo, Michigan April 2011 "ALL I AM": DEFINING MUSIC AS AN EMOTIONAL CATALYST THROUGH A SOCIOLOGICAL STUDY OF EMOTIONS, GENDER AND CULTURE Adrienne M. Trier-Bieniek, Ph.D. Western Michigan University, 2011 This dissertation, '"All I Am': Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture", is based in the sociology of emotions, gender and culture and guided by symbolic interactionist and feminist standpoint theory.
    [Show full text]
  • December 8, 2016 President Daniel F. Mahony Winthrop University
    December 8, 2016 President Daniel F. Mahony Winthrop University Office of the President 114 Tillman Hall Rock Hill, South Carolina 29733 URGENT Sent via U.S. Mail and Electronic Mail ([email protected]) Dear President Mahony: The Foundation for Individual Rights in Education (FIRE) is a nonpartisan, nonprofit organization dedicated to defending liberty, freedom of speech, due process, academic freedom, legal equality, and freedom of conscience on America’s college campuses. The National Coalition Against Censorship (NCAC), founded in 1974, is an alliance of over 50 national nonprofit organizations, including literary, artistic, religious, educational, professional, labor, and civil liberties groups dedicated to promoting the right to free speech. FIRE and NCAC are concerned for the state of freedom of expression at Winthrop University due to the spurious charges and threats of expulsion or suspension levied against student Samantha Valdez over her alleged involvement in an art installation criticizing Winthrop’s naming of Tillman Hall. The following is our understanding of the facts; please inform us if you believe we are in error. On the night of November 12 or the morning of November 13, 2016, figures—made of nylon stockings stuffed with dirt, spray-painted black, and shaped like bodies—were placed in the trees outside Winthrop’s Tillman Hall, and a piece of paper that said “Tillman’s Legacy” was taped over the sign outside the hall.1 Tillman Hall has, for months, been at the center of 1 For a photograph of the installation, see Caroline Fountain (@FountainFox46) TWITTER (Nov. 14, 2016 1:23 PM), https://twitter.com/FountainFox46/status/798229762246406144?ref_src=twsrc%5Etfw.
    [Show full text]
  • The Political Rise and Fall of the Farmer in the Gilded Age
    AP U.S. History: Unit 6.4 Teacher’s Edition The Political Rise and Fall of the Farmer in the Gilded Age Themes of the Gilded Age: Industrialism: U.S. became the world’s most powerful economy by 1890s (exceeding combined output of Britain and Germany; railroads, steel, oil, electricity, banking Unions and reform movements sought to curb the injustices of industrialism. Urbanization: America was transformed from an agrarian nation to an urban nation between 1865 (where 50% of Americans were farmers) and 1920 (where only 25% were farmers). (2% today) Millions of "New Immigrants" came from Southern and Eastern Europe, mostly to cities to work in factories. By 1900 society had become more stratified into classes than any time before or since. The “Great West": farming, mining, & cattle frontiers Farmers increasingly lost ground in the new industrial economy and eventually organized (Populism). In 1880, 25% of those who farmed did not own their land. 90% of African Americans lived in the South; 75% were tenant farmers or sharecroppers. Politics: hard vs. soft money ('70s & '90s); tariff ('80s); corruption due to political machines, patronage & trusts (throughout late 19th c.); election of 1896 ©2014 HistorySage.com All Rights Reserved This material may not be posted on any website other than HistorySage.com HistorySage.com APUSH Lecture Notes Page 2 Unit 6.4: Political Rise and Fall of the Farmer I. The Money Issue and Tariffs A. The Panic of 1873 and subsequent depression resulted in deflation during the presidency of Ulysses S. Grant (1869-1877). 1. Western mining states and farmers sought the introduction of silver to the nation’s monetary standard in order to create inflation.
    [Show full text]
  • CHAIRMEN of SENATE STANDING COMMITTEES [Table 5-3] 1789–Present
    CHAIRMEN OF SENATE STANDING COMMITTEES [Table 5-3] 1789–present INTRODUCTION The following is a list of chairmen of all standing Senate committees, as well as the chairmen of select and joint committees that were precursors to Senate committees. (Other special and select committees of the twentieth century appear in Table 5-4.) Current standing committees are highlighted in yellow. The names of chairmen were taken from the Congressional Directory from 1816–1991. Four standing committees were founded before 1816. They were the Joint Committee on ENROLLED BILLS (established 1789), the joint Committee on the LIBRARY (established 1806), the Committee to AUDIT AND CONTROL THE CONTINGENT EXPENSES OF THE SENATE (established 1807), and the Committee on ENGROSSED BILLS (established 1810). The names of the chairmen of these committees for the years before 1816 were taken from the Annals of Congress. This list also enumerates the dates of establishment and termination of each committee. These dates were taken from Walter Stubbs, Congressional Committees, 1789–1982: A Checklist (Westport, CT: Greenwood Press, 1985). There were eleven committees for which the dates of existence listed in Congressional Committees, 1789–1982 did not match the dates the committees were listed in the Congressional Directory. The committees are: ENGROSSED BILLS, ENROLLED BILLS, EXAMINE THE SEVERAL BRANCHES OF THE CIVIL SERVICE, Joint Committee on the LIBRARY OF CONGRESS, LIBRARY, PENSIONS, PUBLIC BUILDINGS AND GROUNDS, RETRENCHMENT, REVOLUTIONARY CLAIMS, ROADS AND CANALS, and the Select Committee to Revise the RULES of the Senate. For these committees, the dates are listed according to Congressional Committees, 1789– 1982, with a note next to the dates detailing the discrepancy.
    [Show full text]
  • Thefairophelia Joseph Summer’S the Shakespeare Concerts Series
    Joseph summer’s The Shakespeare Concerts Series 2 TheFairOphelia Joseph summer’s The Shakespeare Concerts Series The Fair Ophelia is the second offering in Navona’s THE SHAKESPEARE CONCERTS SERIES, consisting of diverse settings of Ophelia’s mad scene and Gertrude’s reflection on Ophelia’s death from Shakespeare’s The Tragedy of Hamlet, Prince of Denmark by Berlioz, Brahms, Schumann, Saint-Saëns, Strauss, Cage, and Summer. The parallax views of Ophelia experienced by the composers present the listener with an unusual opportunity to hear Ophelia in a three dimensional perspective. Is this tragic Shakespearean maiden mad because she’s angry with those characters who inhabit her world, or should we be angry with those characters who inhibit her predilections, and thus have made mad the hapless heroine? The next offering in Navona’s THE SHAKESPEARE CONCERTS SERIES is GODDESSES, featuring The Tempest’s three goddesses: Juno, Ceres, and Iris in a setting of Honour, Riches, Marriage-Blessing by Joseph Summer. Other highlights are Andrea Chenoweth singing Ariel songs by Thomas Linley accompanied by Massachusetts’ renowned period ensemble, Arcadia Players, under the direction of Ian Watson; mezzo-soprano Kellie Van Horn performing Shall I compare Thee To A Summer’s Day with Jessica Lizak on flute; and In The Old Age Black Was Not Counted Fair with tenor Luke Grooms, baritone Paul Soper, and Clark Matthews on French horn. 2 Program Notes BY JOSEPH SUMMER 3 Introduction There being a myriad of interpretations of the character of Ophelia from Shakespeare’sThe Tragedy of Hamlet, Prince of Den- mark, when it was time for me to create program notes for the 2012 concert, it seemed to me that like the program itself, within which seven composers’ interpretations were realized, the program books should reflect this diversity; ergo, instead of creating a singular template from which every copy would be manufactured, I drew up many different versions.
    [Show full text]
  • I the ROLE of MUSIC THEORY in MUSIC PRODUCTION AND
    THE ROLE OF MUSIC THEORY IN MUSIC PRODUCTION AND ENGINEERING by GEORGE A. WIEDERKEHR A THESIS Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts September 2015 i THESIS APPROVAL PAGE Student: George A. Wiederkehr Title: The Role of Music Theory in Music Production and Engineering This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the School of Music and Dance by: Jack Boss Chair Stephen Rodgers Member Lance Miller Member and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded September 2015 ii © 2015 George A. Wiederkehr This work is licensed under a Creative Commons Attribution (United States) License. iii THESIS ABSTRACT George A. Wiederkehr Master of Arts School of Music and Dance September 2015 Title: The Role of Music Theory in Music Production and Engineering Due to technological advancements, the role of the musician has changed dramatically in the 20 th and 21 st centuries. For the composer or songwriter especially, it is becoming increasingly expected for them to have some familiarity with music production and engineering, so that they are able to provide a finished product to employers, clients, or listeners. One goal of a successful production or engineered recording is to most effectively portray the recorded material. Music theory, and specifically analysis, has the ability to reveal important or expressive characteristics in a musical work.
    [Show full text]
  • Totalitarian Dynamics, Colonial History, and Modernity: the US South After the Civil War
    ADVERTIMENT. Lʼaccés als continguts dʼaquesta tesi doctoral i la seva utilització ha de respectar els drets de la persona autora. Pot ser utilitzada per a consulta o estudi personal, així com en activitats o materials dʼinvestigació i docència en els termes establerts a lʼart. 32 del Text Refós de la Llei de Propietat Intel·lectual (RDL 1/1996). Per altres utilitzacions es requereix lʼautorització prèvia i expressa de la persona autora. En qualsevol cas, en la utilització dels seus continguts caldrà indicar de forma clara el nom i cognoms de la persona autora i el títol de la tesi doctoral. No sʼautoritza la seva reproducció o altres formes dʼexplotació efectuades amb finalitats de lucre ni la seva comunicació pública des dʼun lloc aliè al servei TDX. Tampoc sʼautoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant als continguts de la tesi com als seus resums i índexs. ADVERTENCIA. El acceso a los contenidos de esta tesis doctoral y su utilización debe respetar los derechos de la persona autora. Puede ser utilizada para consulta o estudio personal, así como en actividades o materiales de investigación y docencia en los términos establecidos en el art. 32 del Texto Refundido de la Ley de Propiedad Intelectual (RDL 1/1996). Para otros usos se requiere la autorización previa y expresa de la persona autora. En cualquier caso, en la utilización de sus contenidos se deberá indicar de forma clara el nombre y apellidos de la persona autora y el título de la tesis doctoral.
    [Show full text]
  • The Vulcan Historical Review Daniel Fowler, William Watt, Deborah Hayes, Rebecca Dobrinski, Kaye Cochran Nail, John Wiley, George O
    Donna L. Cox, Colin J. Davis, David M. Brewer, Robert Maddox, Sameera Hasan, Jerry Snead, Stacy S. Simon, Eric Knudsen, Patricia A. Donna L. Cox, Colin J. Davis, David M. Brewer, Robert Maddox, Sameera Hasan, Jerry Snead, Stacy S. Simon, Eric Knudsen, Patricia A. Matthews, Scott M. Speagle, Will C. Holmes, J. D. Jackson, Aimee Armstrong Belden, Carol Balmer, Alan Dismukes, Jack E. Davis, Kenneth Matthews, Scott M. Speagle, Will C. Holmes, J. D. Jackson, Aimee Armstrong Belden, Carol Balmer, Alan Dismukes, Jack E. Davis, Ken- Homsley, Kurt E. Kinbacher, Jonathan L. Foster, Howard J. Fox III, Jeremy P. Soileau, Catherine L. Druhan, Andrew T. Baird, Averil Charles neth Homsley, Kurt E. Kinbacher, Jonathanth L. Foster, Howard J. Fox III, Jeremy P. Soileau, Catherine L. Druhan, Andrew T. Baird, Averil Ramsey, Mary B. Ashley, J. Kyle Irvin, Ellen M. Griffin, Tiffany Bence, Michelle L. Devins, Kelly Hamilton, Rhonda K. Mitchell, Roger K. Charles Ramsey, Mary B. Ashley,20 J. Kyle Irvin,ANNIVERSARY Ellen M. Griffin, Tiffany Bence, Michelle L.ISSUE Devins, Kelly Hamilton, Rhonda K. Mitchell, Steele, Lindsay Stainton-James, Sanford E. Jeames, Timothy L. Pennycuff, Donnelly F. Lancaster, Melinda Holm, Ron Bates, Jessica Lacher Roger K. Steele, Lindsay Stainton-James, Sanford E. Jeames, Timothy L. Pennycuff, Donnelly F. Lancaster, Melinda Holm, Ron Bates, Jes- Feldman, Horace Huntley, Cynthia A. Luckie, Elizabeth Wells, Becky Strickland, Wayne Coleman, Ashley C. Grantham, Allie A. Hanna, sica Lacher Feldman, Horace Huntley, Cynthia A. Luckie, Elizabeth Wells, Becky Strickland, Wayne Coleman, Ashley C. Grantham, Allie Robert W. Heinrich, Christopher M. Long, Jerry Tiarsmith, Jennifer Marie Wilson, Pamela E.
    [Show full text]
  • Jamming As a Curriculum of Resistance: Popular Music, Shared Intuitive Headspaces, and Rocking in the "Free" World
    Georgia Southern University Digital Commons@Georgia Southern Electronic Theses and Dissertations Graduate Studies, Jack N. Averitt College of Spring 2015 Jamming as a Curriculum of Resistance: Popular Music, Shared Intuitive Headspaces, and Rocking in the "Free" World Mike Czech Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/etd Part of the Art Education Commons, and the Curriculum and Instruction Commons Recommended Citation Czech, Mike, "Jamming as a Curriculum of Resistance: Popular Music, Shared Intuitive Headspaces, and Rocking in the "Free" World" (2015). Electronic Theses and Dissertations. 1270. https://digitalcommons.georgiasouthern.edu/etd/1270 This dissertation (open access) is brought to you for free and open access by the Graduate Studies, Jack N. Averitt College of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. JAMMING AS A CURRICULUM OF RESISTANCE: POPULAR MUSIC, SHARED INTUITIVE HEADSPACES, AND ROCKING IN THE “FREE” WORLD by MICHAEL R. CZECH (Under the Direction of John Weaver) ABSTRACT This project opens space for looking at the world in a musical way where “jamming” with music through playing and listening to it helps one resist a more standardized and dualistic way of seeing the world. Instead of having a traditional dissertation, this project is organized like a record album where each chapter is a Track that contains an original song that parallels and plays off the subject matter being discussed to make a more encompassing, multidimensional, holistic, improvisational, and critical statement as the songs and riffs move along together to tell why an arts-based musical way of being can be a choice and alternative in our lives.
    [Show full text]
  • A Looking of Another
    Bard College Bard Digital Commons Senior Projects Spring 2016 Bard Undergraduate Senior Projects Spring 2016 A Looking of Another Grace Anne Caiazza Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2016 Part of the Fiction Commons, Painting Commons, and the Women's Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Caiazza, Grace Anne, "A Looking of Another" (2016). Senior Projects Spring 2016. 222. https://digitalcommons.bard.edu/senproj_s2016/222 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. A Looking of Another Senior Project submitted to The Division of Languages and Literature of Bard College by Grace Caiazza Annandale-on-Hudson, New York May 2016 Acknowledgements To Mary, my friend, my mentor, for bringing me home (in every way) To Weardseld, my fellow birds—I will always knock on your door N. & N., for Rilke in the rain and Tolstoy at the hospital To C., for being always and everywhere To the swoon, who holds To my family, who have circled it all and have encircled me I love you all, would not have made it if For FX 1 When I was so much younger, I would take off my shoes when I went to the museum.
    [Show full text]