DOCSLIB.ORG

Cover 4-14-2010.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Fordham University’s journal of news, comment, analysis, and review volume XXXIX The Paper issue IV Suspense! With: Michael Sulick, p. 3 Douchebags, p. 9 The Blend Cafe, p. 15 Also Starring: Comix, p. 24 Romance! In Theaters April 14, 2010 page 2 the paper april 14, 2010 Every issue online & blog posts about everything and nothing. Check us out online: fupaper.wordpress.com Fan mail? Hate mail? “ Deepest, darkest secrets” Write to us! Editors-in-Chief the paper Bobby “Is the Zodiac Killer” Cardos c/o Offi ce of Student Leadership Alex “Jerked Off in the Print Shop Once” Gibbons and Community Development Fordham University Executive Editors Bronx, NY 10458 Sean “Evangelical Christian” Kelly [email protected] Emily “Hates Her Vagina” Genetta the paper, Fordham University’s student journal of news, analysis, com- News Editors ment, and review, is a product solely of the students. No part of the publication Alex “Cat Lady” Orf may be reproduced without written consent of the editors. the paper is produced Sean “Has a Fake Moustache” Bandfi eld using Adobe InDesign, Adobe Photoshop, Microsoft Word, and the incredibly hard work of the people to the right. Photos are “borrowed” from Internet sites like: www.google.com, www.imdb.com, www.nambla.org, www.rollingstone. Arts Editors com, www.cnn.com. Sorry mom, subscriptions are not available. Ad rates are Kaitlin “Suffers from Bouts of the Vapours” Campbell unreasonable – don’t ask. Open staff meetings are held Tuesdays at 8PM near our Mickie “Never Nude” Meinhardt offi ce, McGinley B-57, in The Ramskellar, located in the basement of McGinley. Articles and letters to the editor may be submitted via e-mail to paper.fordham@ Earwax Editor gmail.com, or scrawled incoherently in White-Out on back issues of Penthouse Sarah “Rush Limbaugh Superfan” Madges magazine. Submissions are always considered, usually printed, and occasionally used to make origami rhinoceroses. If you do not wish your letter to the editor to be published, just say so. We do not advocate wussitude; all letters must be Chief Copy Editor signed. We reserve the right to edit any material submitted for publication. We Elena “Baths Only” Lightbourn will, however, work with the writer and see that content is as true to the writer’s original as possible. We publish this rag ten times a year (fi ver per semester). Copy Staff So why not come down and write for us? We are a constantly evolving pub- Lenny “Graduated” Raney lication, and have been since 1972. And we try our best to second guess main- Aly “Farts In Church” Kravitz stream opinion and buck the system, even if there is no call to do so. But hey, Nick “Ghostwrites for Asher Roth” Murray writing isn’t for everyone. Try reading a good book like Eternity Soup: Inside the Quest to End Aging, by Greg Critser. You might just learn something. Jake “Minor Character in Grapes of Wrath” Sanders Lauren “Canadian” Duca our aim Will “Possibly Didn’t Copyedit” Yates the paper is Fordham University’s student journal of news, analysis, comment, and review. Our aim is to give the Fordham community fresh insights on old is- Contributors sues, new thoughts on new issues, and information that other campus publications may not be able to report. We do not claim to be a newspaper of record – facts, Not Parents, Katie Levitt, Primary Colors, Caroline Egan, Sonic fi gures, and dates. Instead, we focus on the Fordham student perspective, on the Hedgehog, William Dudley, Candy, Munchiez, Munchies, thoughtful analysis, and on the comprehension of the full scope of events, rather Chris Gramuglia, Public Urination, Danny Miami, Strawberry than staggered and straight news coverage. In short, our emphasis is on the obvi- Cough, Andrew Craig, Prospective Students, Learning About ous and active role of the student writer in his or her work. We also aim to provide Hip-Hop, Keelin O’Donoghue, Large Marge, Grace Waltemyer, Fordham students a less fettered venue for expression, something they may not be Uppers and Downers, Diction, Holden McGroin, Catered Events, able to fi nd at other student publications. McShanehawk, Humphery Bogart, Real Talk, Beasts Anonymous, Basically, if we make you laugh, piss you off, or move you in some way, then Pop Physicists, Not Sunlight, PBR Cat, Car and Driver Magazine we’re doing our job. If you don’t like it, shut your pie hole (or come write for us)! April 14, 2010 the paper page 3 news CIA Clandestine Services Director Lectures, But Offers No Substance Fordham, USG Rise to the Occasion By Censoring Student Questions by Sarah Madges stan, where 80% of those killed ture on Leadership and Gov- Gordon received, it is infuriat- the president secret information EARWAX EDITOR are civilians. After compiling a ernment Service” began with ing that not one was asked and about security threats and over- list of such questions, McGov- laudatory remarks about Su- answered. seeing “covert action,” though n Thursday, March 25th, ern warned us to “anticipate him lick’s humanitarian relief ef- Moreover, never did Mi- he never elucidated what that Oformer CIA analyst/cur- fudging [the answers].” forts, service in Vietnam, and chael Sulick even mention even meant. Amidst the palaver rent pastoral associate Ray Good advice. It didn’t take his 25+ years in the CIA. Here words like “interrogation tech- Sulick did discuss the chang- McGovern spoke to Fordham long to realize Michael Sulick I’d like to make a few conces- niques” (he’d never actually ing realities post-9/11, and even Anti-War Coalition members to had no intention of answering sions. First, as a student-run use the word “torture”) or “Af- talked about how the U.S. “re- brainstorm pertinent questions any of our kinds of questions, event (before which the admin- ghanistan and Pakistan,” which moved the regime and restored preceding the USG-sponsored ironic given that event promo- istration told student leaders to are current buzzwords in his the Shah [of Iran] to his throne” Michael Sulick lecture. Both tions quoted the Gos- Sulick, looking mildly surprised that his specialized line of in the 1950s, though he didn’t he and Sulick attended Ford- pel of John: “the truth audience expects him to talk about some- work. Instead, Su- clarify that this referred to the ham University, majored in and shall set you free,” as thing substantive. lick spoke vaguely elected Mossadegh government mastered Russian Language & Dan LoPreto (FCRH about how cool it that the CIA overthrew. Despite Literature, and spent decades Class of 2011) point- was to be the fi rst nods to his Jesuit upbringing, working for the CIA, but devi- ed out to me. The truth CIA offi cer to alight Sulick’s only acknowledgment ated paths when McGovern re- of the CIA-trained in the Soviet Re- of such morally dubious ac- tired and began to expose the guerillas who killed publics after 1991 tivities were brief mentions of CIA, believing it is no longer six Jesuits as well as and how the CIA the “moral compass” a job in what President Truman intend- thousands of civilians didn’t issue super- the CIA required, and the fact ed. For example, Sulick, as the in El Salvador (while high-tech cars, if that “public service requires Director of the National Clan- Fordham annually that’s what we ex- sacrifi ce and tough decisions,” destine Service, is in charge of sends students to Fort pected. This self- though he never provided any “covert action,” a euphemism Benning to protest declared “Fordham specifi c examples. for unmanned drones deployed such horrors) wasn’t boy” began with a While you’d think during over combat zones in Afghani- mentioned. Nor was shout-out to other Q&A we’d learn details about stan and Pakistan to search it said that the pro- CIA/Fordham al- exactly what Sulick’s been do- and destroy insurgents. Debra posed counterinsur- ums (clearly trying ing those three decades in the Sweet of the World Can’t Wait gency tactics in Iraq to raise a new army CIA, most of the hand-selected (an organization that repudi- have been called “the of CIA agents), like questions (Gordon screened the ates the occupations of Iraq El Salvador Method.” John Brennan and questions to limit irrelevant or and Afghanistan) told us about How about Sulick’s Ray McGovern. infl ammatory remarks, though Georgetown professor Gary position’s role in doz- Without mention- it smelled suspiciously of cen- Solis’s article in the Washing- ens of covert coups, ing he and Bren- sorship) were comparatively ton Post that claimed those CIA such as the 1973 nan’s infamous benign softball questions, ask- agents under Sulick’s aegis are overthrow of Chilean waterboarding tor- ing, for example, what being unlawful combatants. As civil- President Allende? ture program, he in the CIA is like. When some- ians, they lack uniforms and Never touched upon. began his lecture one asked about the unintended insignia, as well as clearance to You’d think he’d complain quell any protest planned), the by talking about the terrorists loss of civilian lives from drone participate directly in hostilities about how diffi cult it is to fi ght lecture focused on how Ford- who “threaten to destroy our warfare, Sulick joked: “Security according to the Geneva Con- terrorists using the tactics the ham infl uenced Sulick’s career, way of life,” and from there breach!” and didn’t answer. ventions. For the Q&A section CIA trained them (in the 1980s not his policy decisions. Sec- proceeded to gush about how The second time this pro- of the lecture, McGovern sug- the U.S.
Recommended publications
  • Harem Fantasies and Music Videos: Contemporary Orientalist Representation

    Harem Fantasies and Music Videos: Contemporary Orientalist Representation

    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2007 Harem Fantasies and Music Videos: Contemporary Orientalist Representation Maya Ayana Johnson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, and the Music Commons Recommended Citation Johnson, Maya Ayana, "Harem Fantasies and Music Videos: Contemporary Orientalist Representation" (2007). Dissertations, Theses, and Masters Projects. Paper 1539626527. https://dx.doi.org/doi:10.21220/s2-nf9f-6h02 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Harem Fantasies and Music Videos: Contemporary Orientalist Representation Maya Ayana Johnson Richmond, Virginia Master of Arts, Georgetown University, 2004 Bachelor of Arts, George Mason University, 2002 A Thesis presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Master of Arts American Studies Program The College of William and Mary August 2007 APPROVAL PAGE This Thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Maya Ayana Johnson Approved by the Committee, February 2007 y - W ^ ' _■■■■■■ Committee Chair Associate ssor/Grey Gundaker, American Studies William and Mary Associate Professor/Arthur Krrtght, American Studies Cpllege of William and Mary Associate Professor K im b erly Phillips, American Studies College of William and Mary ABSTRACT In recent years, a number of young female pop singers have incorporated into their music video performances dance, costuming, and musical motifs that suggest references to dance, costume, and musical forms from the Orient.
  • The Influence of Rap in the Arab Spring

    The Influence of Rap in the Arab Spring

    Augsburg Honors Review Volume 6 Article 12 2013 The Influence of apr in the Arab Spring Samantha Cantrall Augsburg College Follow this and additional works at: https://idun.augsburg.edu/honors_review Part of the Political Science Commons Recommended Citation Cantrall, Samantha (2013) "The Influence of apr in the Arab Spring," Augsburg Honors Review: Vol. 6 , Article 12. Available at: https://idun.augsburg.edu/honors_review/vol6/iss1/12 This Article is brought to you for free and open access by the Undergraduate at Idun. It has been accepted for inclusion in Augsburg Honors Review by an authorized editor of Idun. For more information, please contact [email protected]. THE IruFLUENCE oF RAP IN THE AnAB SPRING ey SaHaANTHA Carurneu-AuGSBURc CollEGE Enculry Anvrson: Dn. Roeenr Srecrcr BSTRACT: Throughout history, music has been influential in social, reli- gious, and political disputes. In the early 21st century, change in the estab- order can be found in expressing the need for reform halfway around the world in the Middle East's Arab Spring. Rap artists such as El General (Tunisia), GAB (Libya), and Omar Offendum (Syria) used their talents to both spark and en- courage protestors during the early days of the Middle Eastern protests that began in late 2010; these protests have since been coined "The Arab Spring." The energy that could have been used to wield guns and bombs was instead poured into protest music that these and other artists produced during this time period. The relatively Western genre of rap music became integral in peaceful citizens protests happening all over the Middle East.
  • Rapping the Arab Spring

    Rapping the Arab Spring

    Rapping the Arab Spring SAM R. KIMBALL UNIS—Along a dusty main avenue, past worn freight cars piled on railroad tracks and Tyoung men smoking at sidewalk cafés beside shuttered shops, lies Kasserine, a town unremarkable in its poverty. Tucked deep in the Tunisian interior, Kasserine is 200 miles from the capital, in a region where decades of neglect by Tunisia’s rulers has led ANE H to a state of perennial despair. But pass a prison on the edge of town, and a jarring mix of neon hues leap from its outer wall. During the 2011 uprising against former President Zine El-Abdine Ben Ali, EM BEN ROMD H prisoners rioted, and much of the wall was destroyed HIC in fighting with security forces. On the wall that re- 79 Downloaded from wpj.sagepub.com at COLUMBIA UNIV on December 16, 2014 REPORTAGE mains, a poem by Tunisian poet Abu al in it for fame. But one thing is certain— Qassem Chebbi stretches across 800 feet the rebellions that shook the Arab world of concrete and barbed wire, scrawled in tore open a space for hip-hop in politics, calligraffiti—a style fusing Arabic callig- destroying the wall of fear around freedom raphy with hip hop graffiti—by Tunisian of expression. And governments across the artist Karim Jabbari. On each section of region are now watching hip-hop’s advance the wall, one elaborate pattern merges into with a blend of contempt and dread. a wildly different one. “Before Karim, you might have come to Kasserine and thought, PRE-ARAB SPRING ‘There’s nothing in this town.’ But we’ve “Before the outbreak of the Arab Spring, got everything—from graffiti, to break- there was less diversity,” says independent dance, to rap.
  • The Concert Hall As a Medium of Musical Culture: the Technical Mediation of Listening in the 19Th Century

    The Concert Hall As a Medium of Musical Culture: the Technical Mediation of Listening in the 19Th Century

    The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century by Darryl Mark Cressman M.A. (Communication), University of Windsor, 2004 B.A (Hons.), University of Windsor, 2002 Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the School of Communication Faculty of Communication, Art and Technology © Darryl Mark Cressman 2012 SIMON FRASER UNIVERSITY Fall 2012 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for “Fair Dealing.” Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Darryl Mark Cressman Degree: Doctor of Philosophy (Communication) Title of Thesis: The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century Examining Committee: Chair: Martin Laba, Associate Professor Andrew Feenberg Senior Supervisor Professor Gary McCarron Supervisor Associate Professor Shane Gunster Supervisor Associate Professor Barry Truax Internal Examiner Professor School of Communication, Simon Fraser Universty Hans-Joachim Braun External Examiner Professor of Modern Social, Economic and Technical History Helmut-Schmidt University, Hamburg Date Defended: September 19, 2012 ii Partial Copyright License iii Abstract Taking the relationship
  • When Art Is the Weapon: Culture and Resistance Confronting Violence in the Post-Uprisings Arab World

    When Art Is the Weapon: Culture and Resistance Confronting Violence in the Post-Uprisings Arab World

    Religions 2015, 6, 1277–1313; doi:10.3390/rel6041277 OPEN ACCESS religions ISSN 2077-1444 www.mdpi.com/journal/religions Article When Art Is the Weapon: Culture and Resistance Confronting Violence in the Post-Uprisings Arab World Mark LeVine 1,2 1 Department of History, University of California, Irvine, Krieger Hall 220, Irvine, CA 92697-3275, USA; E-Mail: [email protected] 2 Center for Middle Eastern Studies, Lund University, Finngatan 16, 223 62 Lund, Sweden Academic Editor: John L. Esposito Received: 6 August 2015 / Accepted: 23 September 2015 / Published: 5 November 2015 Abstract: This article examines the explosion of artistic production in the Arab world during the so-called Arab Spring. Focusing on music, poetry, theatre, and graffiti and related visual arts, I explore how these “do-it-yourself” scenes represent, at least potentially, a “return of the aura” to the production of culture at the edge of social and political transformation. At the same time, the struggle to retain a revolutionary grounding in the wake of successful counter-revolutionary moves highlights the essentially “religious” grounding of “committed” art at the intersection of intense creativity and conflict across the Arab world. Keywords: Arab Spring; revolutionary art; Tahrir Square What to do when military thugs have thrown your mother out of the second story window of your home? If you’re Nigerian Afrobeat pioneer Fela Kuta, Africa’s greatest political artist, you march her coffin to the Presidential compound and write a song, “Coffin for Head of State,” about the murder. Just to make sure everyone gets the point, you use the photo of the crowd at the gates of the compound with her coffin as the album cover [1].
  • Hip Hop from '48 Palestine

    Hip Hop from '48 Palestine

    Social Text Hip Hop from ’48 Palestine Youth, Music, and the Present/Absent Sunaina Maira and Magid Shihade This essay sheds light on the ways in which a particular group of Palestin- ian youth offers a critical perspective on national identity in the colonial present, using hip hop to stretch the boundaries of nation and articulate the notion of a present absence that refuses to disappear. The production of identity on the terrain of culture is always fraught in relation to issues of authenticity, displacement, indigeneity, and nationalism and no more so than in the ongoing history of settler colonialism in Palestine. In the last decade, underground hip hop produced by Palestinian youth has grown and become a significant element of a transnational Palestinian youth culture as well as an expression of political critique that has begun to infuse the global Palestinian rights movement. This music is linked to a larger phenomenon of cultural production by a Palestinian generation that has come of age listening to the sounds of rap, in Palestine as well as in the diaspora, and that has used hip hop to engage with the question of Palestinian self- determination and with the politics of Zionism, colonial- ism, and resistance. Our research focuses on hip hop produced by Palestinian youth within the 1948 borders of Israel, a site that reveals some of the most acute contradictions of nationalism, citizenship, and settler colonialism. Through hip hop, a new generation of “1948 Palestinians” is construct- ing national identities and historical narratives in the face of their ongoing erasure and repression.1 We argue that this Palestinian rap reimagines the geography of the nation, linking the experiences of “ ’48 Palestinians” to those in the Occupied Territories and in the diaspora, and producing an archive of censored histories.
  • Open Hearing: Nomination of Gina Haspel to Be the Director of the Central Intelligence Agency

    Open Hearing: Nomination of Gina Haspel to Be the Director of the Central Intelligence Agency

    S. HRG. 115–302 OPEN HEARING: NOMINATION OF GINA HASPEL TO BE THE DIRECTOR OF THE CENTRAL INTELLIGENCE AGENCY HEARING BEFORE THE SELECT COMMITTEE ON INTELLIGENCE OF THE UNITED STATES SENATE ONE HUNDRED FIFTEENTH CONGRESS SECOND SESSION WEDNESDAY, MAY 9, 2018 Printed for the use of the Select Committee on Intelligence ( Available via the World Wide Web: http://www.govinfo.gov U.S. GOVERNMENT PUBLISHING OFFICE 30–119 PDF WASHINGTON : 2018 VerDate Sep 11 2014 14:25 Aug 20, 2018 Jkt 030925 PO 00000 Frm 00001 Fmt 5011 Sfmt 5011 C:\DOCS\30119.TXT SHAUN LAP51NQ082 with DISTILLER SELECT COMMITTEE ON INTELLIGENCE [Established by S. Res. 400, 94th Cong., 2d Sess.] RICHARD BURR, North Carolina, Chairman MARK R. WARNER, Virginia, Vice Chairman JAMES E. RISCH, Idaho DIANNE FEINSTEIN, California MARCO RUBIO, Florida RON WYDEN, Oregon SUSAN COLLINS, Maine MARTIN HEINRICH, New Mexico ROY BLUNT, Missouri ANGUS KING, Maine JAMES LANKFORD, Oklahoma JOE MANCHIN III, West Virginia TOM COTTON, Arkansas KAMALA HARRIS, California JOHN CORNYN, Texas MITCH MCCONNELL, Kentucky, Ex Officio CHUCK SCHUMER, New York, Ex Officio JOHN MCCAIN, Arizona, Ex Officio JACK REED, Rhode Island, Ex Officio CHRIS JOYNER, Staff Director MICHAEL CASEY, Minority Staff Director KELSEY STROUD BAILEY, Chief Clerk (II) VerDate Sep 11 2014 14:25 Aug 20, 2018 Jkt 030925 PO 00000 Frm 00002 Fmt 5904 Sfmt 5904 C:\DOCS\30119.TXT SHAUN LAP51NQ082 with DISTILLER CONTENTS MAY 9, 2018 OPENING STATEMENTS Burr, Hon. Richard, Chairman, a U.S. Senator from North Carolina ................ 1 Warner, Mark R., Vice Chairman, a U.S. Senator from Virginia ........................ 3 WITNESSES Chambliss, Saxby, former U.S.
  • Deal Likely for Release of Hostag^

    Deal Likely for Release of Hostag^

    MANCHESTER ‘Glean campaign’ MHS, EC enjoy Manchester's \ in 9th District successful days i f " store of plenty ... page 3 ... page 11 r ... magatine Inside iManrlipatpr HpralJi Manchester — A City of Village Charm 30 Cents Saturday, Nov. 1,1986 N Loans sjseed replacement Deal likely of creches for release By Alex GIrelll Associate Editor Figures for two Manchester nativity scenes will be ordered Monday to repiace two scenes of h o s ta g ^ destroyed by fire Oct. 17 at Center Springs Lodge. By Joseph Panosslan Waite, the special envoy of The decision to buy the two The Associated Press Archbishop of Canterbury Robert^ scenes was made by an ad hoc Runcie. made three previous trips V committee Thursday after two of LARNACA. Cyprus — Anglican to Beirut to win the hostages the committee members offered Church envoy Terry Waite flew release. Waite was whisked away loans to finance the purchases. The here Friday night by U.S. military in a U.S. Embassy car after loans will be repaid from a public helicopter after a surprise visit to landing in Cyprus, reporters and fund drive. Beirut, where he reported progress airport officials said. William Johnson, president of in efforts to free the American An immigration official who did the Savings Bgnk of Manchester, hostages. not give his name said Waite was said the bank wouid loan about A Christian radio station in , expected to return to Lebanon on $10,000 needed for one set of figures Beirut said a hostage release was ' Saturday. to be used in the center of town, in the works, starting with the Throughout the more than two while Daniel Reale said he would transfer to Syrian hands of two years foreigners have been held ask the Manchester Board of French captives.
  • COMING out on JUNE 10, 2014 New Releases from TEEN AGERS • the ANGINA PECTORIS • DAS PROJEKT HELLECTRIFIED EXPOSURE VOL

    COMING out on JUNE 10, 2014 New Releases from TEEN AGERS • the ANGINA PECTORIS • DAS PROJEKT HELLECTRIFIED EXPOSURE VOL

    COMING OUT ON JUNE 10, 2014 new releases from TEEN AGERS • THE ANGINA PECTORIS • DAS PROJEKT HELLECTRIFIED EXPOSURE VOL. 1 • MAN IS THE BASTARD KILLWHITNEYDEAD • THE ADOLESCENTS • FLYBOYS THE MIDDLE CLASS • CLITGORE • SCROTOCTOMY STAGES OF DECOMPOSITION • BITE • THE CROISSANTS HE WHO CANNOT BE NAMED • KEEP THEM GAGGIN’ SIEGE • FLAG OF DEMOCRACY Exclusively Distributed by TEEN AGERS I Hate It, LP STREET DATE: June 10th, 2014 INFORMATION: Artist Hometown: Orlando, FL Key Markets: Philadelphia, PA; Orlando, FL; New York, NY For Fans of: HOW DARE YOU, SAVES THE DAY, THE GET UP KIDS Erupting like a sonic Cthulhu from beneath the Florida swamps comes TEEN AGERS, the brainchild of four gentlemen, current and former members of HOW DARE YOU, GO RYDELL, PROTAGONIST, and DIRECT EFFECT. With plenty of melody to satisfy the crowd at your rad wine mixers and hearty helpings of riffage guaranteed to satiate your unresolved adolescent angst, TEEN AGERS are the result of an unstoppable force meeting an immovable object; just a bit slower, so as to not pull something. A product of blood, sweat, and icy-hot, TEEN AGERS’ initial offering I Hate It was recorded at The Moathouse in ARTIST: TEEN AGERS Gainesville by Roger Lima (LESS THAN JAKE) and mixed/mastered by Stephen Egerton. TITLE: I Hate It LABEL: Anchorless Records CAT#: ALR02301-1 MARKETING POINTS: FORMAT: LP GENRE: Indie/punk - Recorded and Produced by Roger Lima of LESS THAN JAKE BOX LOT: 40 - Mixed and Mastered by Stephen Egerton SRLP: $13.98 - Extensive US and European touring UPC: 616822010419 EXPORT: NO RESTRICTIONS - Festival Appearances - PR by Beartrap Media - Color Vinyl with Mp3 coupon! TRACK LIST: Also Available from ILD: 1.
  • Blumenthal and Clinton Come to Wilbur Cross!

    Blumenthal and Clinton Come to Wilbur Cross!

    The Proclamation Wilbur Cross High School Issue #1 -- October 2010 “Let Truth Be The Prejudice.” --W. Eugene Smith IN THIS ISSUE Opinion Blumenthal and Clinton -“I’m Mad!” Come to Wilbur Cross! -The Cordoba House BY Elizabeth Case and Sarah Curtis -Is the Iraq War Over? On September 26, the -Clinton’s Speech Wilbur Cross Gymnasi- -Thea’s Thoughts um held a crowd of over News 2,000 people to see for- mer President Bill Clin- -BP Oil Spill Update ton campaign for Sen- -Connecticut Political Race ate candidate Richard -Blumenthal & Clinton at Blumenthal. Among the Cross attendees waiting for ,VUDHOL3DOHVWLQHFRQÀLFW speeches by Clinton, Rosa DeLauro, and Dan Mal- -Apple Update! loy were students and Features teachers at Wilbur Cross. -New Staff Bios One supporter, -The First Week of School Dee Marshall, talked about how she has been to the school before and likes it as a location. -Work Study Marshall stated that she knows the new principal is one of the few real Arts educators left in New Haven, and knows she will do a fantastic job. -Inception Review She spoke positively of the diversity in the audience, and was happy -Scary Movies to see all the young people there. “It’s the way it should be,” she said. -Writers Playlists Many audience members see Wilbur Cross as a mixture of class and culture. They said that the choice of Cross as a location for the rally -Katy Perry’s Teenage showed the values of the Blumenthal campaign. “They could’ve done it Dream at Yale, but they chose a high school location,” said one woman.
  • Anti-Theist and Christian Debate Religion Hall First ROTC Holds Iron

    Anti-Theist and Christian Debate Religion Hall First ROTC Holds Iron

    the Observer The Independent Newspaper Serving Notre Dame and Saint Mary’s Volume 4440 : Issue ???120 Wednesday,Thursday, August april 8, 27, 2010 2004 ndsmcobserver.com Anti-theist and Christian debate religion Hall first Hitchens and D’Souza argue the merits of evolution, faith and the existence of a supernatural power to receive By SARAH MERVOSH News Editor LEED Anti-theist Christopher Hitchens and Christian Dinesh D’Souza may initially appear certification to have nothing in common. Hitchens argues the merits of evolution, while D’Souza By MEGAN DOYLE argues for the existence of a News Writer supernatural power. In the absence of evidence, Hitchens Geddes Hall recently became doubts, while D’Souza defers the first building at Notre Dame to faith. to achieve LEED Gold But despite their opposing Certification and will pave the views, both figures had one way for future environmentally thing in common — they conscious efforts that build upon approached religion from a the University’s emphasis on purely logical, factual perspec- ethics and sustainability. tive when speaking to a sold- “What this means is that the out audience in Wednesday’s United States Green Building debate at the DeBartolo Council (USGBC), a non-profit Performing Arts Center. company that established the Hitchens said religion is LEED certification system, has merely a man-made attempt to confirmed that the building has make sense of the world. met a certain standard of sus- “Religion was our first tainable design and construction attempt to make sense of our practices,” University architect surroundings. It was our first Doug Marsh said.
  • “THEY WASN't MAKIN' MY KINDA MUSIC”: HIP-HOP, SCHOOLING, and MUSIC EDUCATION by Adam J. Kruse a DISSERTATION Submitted T

    “THEY WASN't MAKIN' MY KINDA MUSIC”: HIP-HOP, SCHOOLING, and MUSIC EDUCATION by Adam J. Kruse a DISSERTATION Submitted T

    “THEY WASN’T MAKIN’ MY KINDA MUSIC”: HIP-HOP, SCHOOLING, AND MUSIC EDUCATION By Adam J. Kruse A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2014 ABSTRACT “THEY WASN’T MAKIN’ MY KINDA MUSIC”: HIP-HOP, SCHOOLING, AND MUSIC EDUCATION By Adam J. Kruse With the ambition of informing place consciousness in music education by better understanding the social contexts of hip-hop music education and illuminating potential applications of hip-hop to school music settings, the purpose of this research is to explore the sociocultural aspects of hip-hop musicians’ experiences in music education and music schooling. In particular, this study is informed by the following questions: 1. How do sociocultural contexts (particularly issues of race, space, place, and class) impact hip-hop musicians and their music? 2. What are hip-hop musicians’ perceptions of school and schooling? 3. Where, when, how, and with whom do hip-hop musicians develop and explore their musical skills and understandings? The use of an emergent design in this work allowed for the application of ethnographic techniques within the framework of a multiple case study. One case is an amateur hip-hop musician named Terrence (pseudonym), and the other is myself (previously inexperienced as a hip-hop musician) acting as participant observer. By placing Terrence and myself within our various contexts and exploring these contexts’ influences on our roles as hip-hop musicians, it is possible to understand better who we are, where and when our musical experiences exist(ed), and the complex relationships between our contexts, our experiences, and our perceptions.