Who Is Gus Russo? Assistant at the Time, Seemed CO Like Him
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“No Reason to Be Seen”: Cinema, Exploitation, and the Political
“No Reason to Be Seen”: Cinema, Exploitation, and the Political by Gordon Sullivan B.A., University of Central Florida, 2004 M.A., North Carolina State University, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2017 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Gordon Sullivan It was defended on October 20, 2017 and approved by Marcia Landy, Distinguished Professor, Department of English Jennifer Waldron, Associate Professor, Department of English Daniel Morgan, Associate Professor, Department of Cinema and Media Studies, University of Chicago Dissertation Advisor: Adam Lowenstein, Professor, Department of English ii Copyright © by Gordon Sullivan 2017 iii “NO REASON TO BE SEEN”: CINEMA, EXPLOITATION, AND THE POLITICAL Gordon Sullivan, PhD University of Pittsburgh, 2017 This dissertation argues that we can best understand exploitation films as a mode of political cinema. Following the work of Peter Brooks on melodrama, the exploitation film is a mode concerned with spectacular violence and its relationship to the political, as defined by French philosopher Jacques Rancière. For Rancière, the political is an “intervention into the visible and sayable,” where members of a community who are otherwise uncounted come to be seen as part of the community through a “redistribution of the sensible.” This aesthetic rupture allows the demands of the formerly-invisible to be seen and considered. We can see this operation at work in the exploitation film, and by investigating a series of exploitation auteurs, we can augment our understanding of what Rancière means by the political. -
JOHN SURMAN Title: FLASHPOINT: NDR JAZZ WORKSHOP – APRIL '69 (Cuneiform Rune 315-316)
Bio information: JOHN SURMAN Title: FLASHPOINT: NDR JAZZ WORKSHOP – APRIL '69 (Cuneiform Rune 315-316) Cuneiform publicity/promotion dept.: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com [Press & world radio]; radio [-at-] cuneiformrecords.com [North American radio] www.cuneiformrecords.com FILE UNDER: JAZZ One of Europe’s foremost jazz musicians, John Surman is a masterful improvisor, composer, and multi-instrumentalist (baritone and soprano sax, bass clarinet, and synthesizers/electronics). For 45 years, he has been a major force, producing a prodigious and creative body of work that expands beyond jazz. Surman’s extensive discography as a leader and a side man numbers more than 100 recordings to date. Surman has worked with dozens of prominent artists worldwide, including John McLaughlin, Chick Corea, Chris McGregor’s Brotherhood of Breath, Dave Holland, Miroslav Vitous, Jack DeJohnette, Terje Rypdal, Weather Report, Karin Krog, Bill Frisell, Paul Motian and many more. Surman is probably most popularly known for his longstanding association with the German label ECM, who began releasing Surman’s recordings in 1979. Surman has won numerous jazz polls and awards and a number of important commissions. Every period of his career is filled with highlights, which is why Cuneiform is exceedingly proud to release for the first time ever this amazing document of the late 60s 'Brit-jazz' scene. Born in Tavistock, in England, Surman discovered music as a child, singing as soprano soloist in a Plymouth-area choir. He later bought a second- hand clarinet, took lessons from a Royal Marine Band clarinetist, and began playing traditional Dixieland jazz at local jazz clubs. -
An Annotated Bibliography of Works by the Brazilian Composer Sérgio Assad João Paulo Figueirôa Da Cruz
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 An Annotated Bibliography of Works by the Brazilian Composer Sérgio Assad João Paulo Figueirôa Da Cruz Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN ANNOTATED BIBLIOGRAPHY OF WORKS BY THE BRAZILIAN COMPOSER SÉRGIO ASSAD By João Paulo Figueirôa da Cruz A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Summer Semester, 2008 Copyright © 2008 João Paulo Figueirôa da Cruz All Rights Reserved The members of the Committee approve the treatise of João Paulo Figueirôa da Cruz defended on June 17, 2008. ______________________________________ Evan Jones Professor Directing Treatise ______________________________________ James Mathes Outside Committee Member ______________________________________ Bruce Holzman Committee Member The Office of Graduate Studies has verified and approved the above named committee member ii ACKNOWLEDGEMENTS This dissertation would have not been possible without the support of many individuals who helped this project. I would like to thank Hanh Hoang for her assistance in the concretization of this document and Byron Fogo for his kindness to offer his help in this project. I do not have words to express my gratitude to all my committee members. I want to thank Dr. Jones for his devotion and wisdom directing this work, Dr. Mathes for agreeing to join the committee at the last minute, Dr. Olsen for his help and support during the years and finally Prof. Holzman for all these years which he gave his best to me! I would like to thank Fábio Zanon, Luciano César Morais and Thiago Oliveira for offering important research material for this project. -
I Attended Church Several Times on Sunday Mornings at University Methodist at the Corner of Guadalupe and 24Thstreets
First Encounter During the time I was in Austin as a UT grad student (1955-57) I attended church several times on Sunday mornings at University Methodist at the corner of Guadalupe and 24thstreets. In the fall of 1956 I also investigated programs at Wesley Foundation, the Methodist Church chaplaincy division for students. After the first session I attended, the larger group broke up into smaller “interest groups.” Many went with a leader who seemed quite popular (I later learned his name was Bob Ledbetter). I joined a smaller group (about six or eight people) led by an associate pastor at University Methodist, the Rev. Richardson. We’d discuss art in religion, particularly various paintings of the image of Jesus. Two in particular that I remember we looked at were the famous Salmon’s Head of Christ and another painted by the French artist Georges Roualt. For both paintings the Rev. Richardson conducted what I’d later realize to be an “art form” conversation. Obviously, although I didn’t know it at the time, he’d had contact with Austin’s Christian Faith and Life Community and its charismatic theological director, Joseph W. Mathews. In the conversation our study group came to the conclusion that Salmon’s painting was sentimental and schmaltzy and that Roualt’s (“Christ Mocked by Soldiers”) was more powerful. Ecumenical Institute Introduction As a grad student at the University of Minnesota (1961-67) I attended the of First Methodist Church and Wesley Foundation. A Mrs. Peel had left money in her will to bring to the church each year a special preacher. -
The Dark Night of the Soul: the Archetype and Its Occurrence in Modern Fiction
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1973 The aD rk Night of the Soul: the Archetype and Its Occurrence in Modern Fiction. Ibry Glyn-francis Theriot Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Theriot, Ibry Glyn-francis, "The aD rk Night of the Soul: the Archetype and Its Occurrence in Modern Fiction." (1973). LSU Historical Dissertations and Theses. 2577. https://digitalcommons.lsu.edu/gradschool_disstheses/2577 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. -
Universiv Micrcsilms International
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. Tlie sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. -
They Call Me Gus!" They're Not Hot-Sellers These Days — Many Stores Don't Even Stock the Newer Works
to the last chapter of Donald Spoto's excellent 1993 biography By this point, I couldn't help suspecting that Gus Russo was of Marilyn Monroe, in which Spoto recounts the controversy as spooky as Caspar, and a lot of other people felt likewise. over Mailer's over-hyped Marilyn book of two decades pre- These suspicions deepened when files from the House Select vious. In that fluffy 1973 work, Mailer dropped none-too-subtle Committee on Assassinations started to come out. Turns out that hints that Robert F. Kennedy was involved with the death of the Banister witness I had discussed with Russo knew a lot of actress. Did Mailer really believe this? Apparently not: He told interesting stuff and had spilled many a bean to the HSCA 60Mimites that he felt Marilyn had died accidentally. Then why investigators after they granted him immunity. Alas, Russo did Mailer smear RFK? "I needed money very badly," he told (with PBS funding, a luxury envied by other researchers) his TV interviewer. tracked this witness down in 1993 and got him to deny what he In 1983, Mailer came into big money when he left Little had said some fifteen years earlier. Brown, his longtime publisher, for Random House, which This denial raises questions of its own: If the witness told a signed a $4,000,000 four-book deal with the author. Ancient bogus tale in the 1970s, why did he demand immunity at that Evenings, Tough Guys Don't Dance, and Harlot's Ghost fol- time? But the damage was done. -
An Annotated Bibliography of Canadian Oboe Concertos
An Annotated Bibliography of Canadian Oboe Concertos Document Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Oboe in the Performance Studies Division of the University of Cincinnati College-Conservatory of Music January 11, 2016 by Elizabeth E. Eccleston M02515809 B.M., Wilfrid Laurier University, 2004 M.M., University of Cincinnati, 2007 D.M.A. Candidacy: April 5, 2012 256 Major Street Toronto, Ontario M5S 2L6 Canada [email protected] ____________________________ Dr. Mark Ostoich, Advisor ____________________________ Dr. Glenn Price, Reader ____________________________ Professor Lee Fiser, Reader Copyright by Elizabeth E. Eccleston 2016 i Abstract: Post-World War II in Canada was a time during which major organizations were born to foster the need for a sense of Canadian cultural identity. The Canada Council for the Arts, the Canadian Broadcasting Corporation and the Canadian Music Centre led the initiative for commissioning, producing, and disseminating this Canadian musical legacy. Yet despite the wealth of repertoire created since then, the contemporary music of Canada is largely unknown both within and outside its borders. This annotated bibliography serves as a concise summary and evaluative resource into the breadth of concertos and solo works written for oboe, oboe d’amore, and English horn, accompanied by an ensemble. The document examines selected pieces of significance from the mid-twentieth century to present day. Entries discuss style and difficulty using the modified rating system developed by oboist Dr. Sarah J. Hamilton. In addition, details of duration, instrumentation, premiere/performance history, including dedications, commissions, program notes, reviews, publisher information and recordings are included wherever possible. -
CELEBRATING 10 YEARS of EXPERIMENTAL MEDIA and PERFORMING ARTS OCT 11-13 / 2018 Curtis R
CELEBRATING 10 YEARS OF EXPERIMENTAL MEDIA AND PERFORMING ARTS OCT 11-13 / 2018 curtis r. priem experimental media and performing arts center rensselaer polytechnic institute 10 YEARS THURSDAY, OCTOBER 11 SATURDAY, OCTOBER 13 7:00PM 12–11:30PM DOUBLE QUARTET: STRINGS AND SPACES / FORMOSA QUARTET SLOWMEDOWN / MARIA HASSABI CONCERT HALL, STUDIO 1 - GOODMAN, STUDIO 2, THEATER STUDIO 2 12–11:30PM WAVE FIELD SYNTHESIS / 3D AUDIO INSTALLATION FRIDAY, OCTOBER 12 STUDIO 1 - GOODMAN 12–11:30PM 2:00PM SLOWMEDOWN / MARIA HASSABI THE COGNITIVE AND IMMERSIVE SYSTEMS LAB / HUI SU STUDIO 2 STUDIO BETA 12–11:30PM 4:00PM WAVE FIELD SYNTHESIS / 3D AUDIO INSTALLATION THE COMPUTER AS TIME MACHINE / JOHANNES GOEBEL STUDIO 1 - GOODMAN STUDIO BETA 7:00PM 7:00PM IF IT BLEEDS / ISABELLE PAUWELS IN THE MOOD FOR FRANKIE / TRAJAL HARRELL THEATER 7TH FLOOR LOBBY 8:00PM 8:00PM SAGITTARIUS A. / YARA TRAVIESO LOST HIGHWAY SUITE / OLGA NEUWIRTH & CONCERT HALL INTERNATIONAL CONTEMPORARY ENSEMBLE (ICE) CONCERT HALL 9:30PM IN THE MOOD FOR FRANKIE / TRAJAL HARRELL 9:30PM 7TH FLOOR LOBBY SUDDEN RISE / MOVED BY THE MOTION THEATER 10:30PM IN THE MOOD FOR FRANKIE / TRAJAL HARRELL 7TH FLOOR LOBBY CONTENTS DIRECTOR’S WELCOME 9 EVENTS 11 INSTALLATIONS 43 ARCHIVE 53 BIOGRAPHIES 57 BEYOND EMPAC 67 STAFF 71 The commissions, productions, and presentations for 10YEARS are supported by Rensselaer Polytechnic Institute, the National Endowments for the Arts, and the Jaffe Fund for Experimental Media and Performing Arts. This weekend, we celebrate 10 years of an incredible gift given to all of us: to you, our audience, to the artists creating and performing their works here, to the researchers using this facility, to the Rensselaer community, and to us on the EMPAC team. -
Vocal Jazz Soloist
’S Jazz Education Hall of Fame José Diaz YOUNG Page 118 STARS SHINE Jazz Education Achievement Awards Kent Devereaux THE BEST STUDENT Page 121 Steve Sveum MUSICIANS OF 2014 Page 123 Alto saxophonist Patrick Bartley, a student at the Manhattan School of Music, is this year’s Undergraduate College winner in the category Jazz Instrumental Soloist. JUNE 2014 DOWNBEAT 95 BRIAN HATTON 37th Annual Student Music Awards Fantasy V, Jazz Soloist Brubeck Institute Junior High School Winner Esteban Castro Piano Spring School Oscar Perez Tenafly, NJ Junior High School Outstanding Performance Gus Hurteau Vibes Westlake Middle School Randy Porter Oakland, CA High School Winners Fernando Ferrarone Trumpet & Alto Saxophone Felix Varela Senior High School Daniel Strange Miami, FL Zoe Obadia Cole Davis Dan Gailey Trio Collective Lawrence, KS Alto Saxophone Bass Bloomington High School North LaGuardia High School Janis Stockhouse Glen Ridge High School Nick Hetko Kevin Lagos Kevin Blancq Bloomington, IN Piano Glen Ridge, NJ New York, NY University of Miami Josh Bermudez Martin Bejerano Performing Arts High School Outstanding Guitar Coral Gables, FL High School Winner Performances New World School of the Arts Jim Gasior Graduate College Winners Precollege Combo Anton Derevyanko Miami, FL Manhattan School of Music José Valentino Tenor Saxophone Jeremy Manasia Medfield High School Andy Arditi Piano, Flute, Saxophone New York, NY Douglas Olsen Tenor Saxophone University of South Florida Medfield, MA Colburn School of the Arts Dr. David Williams Lee Secard Tampa, FL Performing Arts High School Andrés Rovira Los Angeles, CA Outstanding Performances Piano Aaron Hedenstrom Paideia School Undergraduate Saxophone BTW Jazz Combo I ‘13 College Winner Kevin Bales University of North Texas Booker T. -
Henry Thoreau, Ralph Ellison, and Jonathan Lethem
American (De)solitudes: Henry Thoreau, Ralph Elison, and Jonathan Lethem Jack Horton A thesis submitted in partial fulfilment of the requirements for the Doctorate in Philosophy degree in English Department of English Faculty of Arts University of Ottawa © Jack Horton, Ottawa, Canada, 2019 $ii Acknowledgements iv List of abbreviations vi Abstract vii Introduction 1 Chapter 1: Threshold 35 Chatper 2: Praxis 82 Chapter 3: Dispossession 128 Chapter 4: Parabola 191 Chapter 5: de/solitude 261 Conclusion 320 Works Cited 336 $iii The prison system must be dismantled and never rebuilt. $iv Acknowledgements The list of people who supported me, who helped me reach this end, and who asked nothing in return is too long to contain on these bare pages. The group of people formative in the development of this thesis are done an injustice if all we have to offer them is a mention on a page. In no way does being on this list oblige you to read this thesis. In no way does not being on this list mean you were not important to me. Here’s somewhat of a list, in alphabetical order. To: Alec Shaw, who made me a better person; your support was endless, as was your friendship. Alex Roodman, who can go ahead and put this work in read-only mode. Amir Nazempour, who is far away but never lost in translation. Ariel Airey-Lee, who—OK, thank. Brady Steeper, who has been my best friend for over a decade. [Dr.] Craig Gordon, who deserved so very much better than this. Dan Baker, who always, always asked. -
Piano Bass (Upright And/Or Electric)
January 2017 VOLUME 84 / NUMBER 1 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin Tolleson; Philadelphia: David Adler, Shaun Brady, Eric Fine; San Francisco: Mars Breslow, Forrest Bryant, Clayton Call, Yoshi Kato; Seattle: Paul de Barros; Tampa Bay: Philip Booth; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Belgium: Jos Knaepen; Canada: Greg Buium, James Hale, Diane Moon; Denmark: Jan Persson; France: Jean Szlamowicz; Germany: Detlev Schilke, Hyou Vielz; Great Britain: Brian Priestley; Japan: Kiyoshi Koyama; Portugal: Antonio Rubio; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert.