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Roots Radical – Place, Power and Practice in Punk Entrepreneurship Sarah Louise Drakopoulou Dodd
Roots radical – Place, power and practice in punk entrepreneurship Sarah Louise Drakopoulou Dodd The significance continues to grow of scholarship that embraces critical and contextualized entrepreneurship, seeking rich explorations of diverse entrepreneurship contexts. Following these influences, this study explores the potentialized context of punk entrepreneurship. The Punk Rock band Rancid has a 20-year history of successfully creating independent musical and related creative enterprises from the margins of the music industry. The study draws on artefacts, interviews and videos created by and around Rancid to identify and analyse this example of marginal, alternative entrepreneurship. A three-part analytic frame was applied to analysing these artefacts. Place is critical to Rancid’s enterprise, grounding the band socially, culturally, geographically and politically. Practice also plays an important role with Rancid’s activities encompassing labour, making music, movement and human interactions. The third, and most prevalent, dimension of alterity is that of power which includes data related to dominance, subordination, exclusion, control and liberation. Rancid’s entrepreneurial story is depicted as cycles, not just a linear journey, but following more complicated paths – from periphery to centre, and back again; returning to roots, whilst trying to move forwards too; grounded in tradition but also radically focused on dramatic change. Paradox, hybridized practices, and the significance of marginal place as a rich resource also emerged from the study. Keywords: entrepreneurship; social construction; punk rock; paradox; marginality; periphery Special thanks are due to all the punks and skins who have engaged with my reading of the Rancid story, and given me so much support and feedback along the way, especially Rancid’s drummer, Branden Steineckert, Jesse from Machete Manufacturing, Kostis, Tassos (Rancid Punx Athens Crew) and Panayiotis. -
ACRONYM 13 - Round 9 Written by Danny Vopava, Erik Nelson, Blake Andert, Rahul Rao-Potharaju, William Golden, and Auroni Gupta
ACRONYM 13 - Round 9 Written by Danny Vopava, Erik Nelson, Blake Andert, Rahul Rao-Potharaju, William Golden, and Auroni Gupta 1. The first NCAA basketball game to be broadcast in primetime was played at this venue in 1968. From 1971 to 1975, this venue served as the home of its city's namesake professional baseball, football, and basketball teams. Bobby Riggs lost to Billie Jean King in the Battle of the Sexes in this venue. Before becoming the Titans in 1996, the NFL's (*) Oilers played in this stadium, which inspired the name of a form of artificial turf. A team oncecalled the "Colt 45s" later played in, for 10 points, what pioneering domed stadium in Houston, Texas? ANSWER: (NRG) Astrodome [or Houston Astrodome] <Vopava> 2. In 2005 this band's drummer and bassist formed a supergroup with Shane Gallagher while its guitarist coped with painkiller addiction. That former member of this group also formed the band Box Car Racer. A 2008 plane crash in California nearly killed both DJ A.M. and this band's (*) drummer. The lyric "she left me roses by the stairs" comes from a gift received by this band's former singer, who now spends time searching for aliens. Tom DeLonge was a member of, For 10 points, what rock band that sang "Say it ain't so / I will not go" in their hit "All the Small Things"? ANSWER: Blink-182 <Vopava> 3. A woman who married into this family resorts to performing Adele hits as singing telegrams to make money. As an adult, one member of this familytakes in Deja as a foster child, inspired by the fact that he himself was abandoned as a baby at afire station. -
The Narrative Functions of Television Dreams by Cynthia A. Burkhead A
Dancing Dwarfs and Talking Fish: The Narrative Functions of Television Dreams By Cynthia A. Burkhead A Dissertation Submitted in Partial Fulfillment of the Requirements for the Ph.D. Department of English Middle Tennessee State University December, 2010 UMI Number: 3459290 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI 3459290 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DANCING DWARFS AND TALKING FISH: THE NARRATIVE FUNCTIONS OF TELEVISION DREAMS CYNTHIA BURKHEAD Approved: jr^QL^^lAo Qjrg/XA ^ Dr. David Lavery, Committee Chair c^&^^Ce~y Dr. Linda Badley, Reader A>& l-Lr 7i Dr./ Jill Hague, Rea J <7VM Dr. Tom Strawman, Chair, English Department Dr. Michael D. Allen, Dean, College of Graduate Studies DEDICATION First and foremost, I dedicate this work to my husband, John Burkhead, who lovingly carved for me the space and time that made this dissertation possible and then protected that space and time as fiercely as if it were his own. I dedicate this project also to my children, Joshua Scanlan, Daniel Scanlan, Stephen Burkhead, and Juliette Van Hoff, my son-in-law and daughter-in-law, and my grandchildren, Johnathan Burkhead and Olivia Van Hoff, who have all been so impressively patient during this process. -
Flashback, Flash Forward: Re-Covering the Body and Id-Endtity in the Hip-Hop Experience
FLASHBACK, FLASH FORWARD: RE-COVERING THE BODY AND ID-ENDTITY IN THE HIP-HOP EXPERIENCE Submitted By Danicia R. Williams As part of a Tutorial in Cultural Studies and Communications May 04,2004 Chatham College Pittsburgh, Pennsylvania Tutor: Dr. Prajna Parasher Reader: Ms. Sandy Sterner Reader: Dr. Robert Cooley ACKNOWLEDGEMENTS I would like to thank Dr. Prajna Paramita Parasher, my tutor for her faith, patience and encouragement. Thank you for your friendship. Ms. Sandy Sterner for keeping me on my toes with her wit and humor, and Dr. Cooley for agreeing to serve on my board. Kathy Perrone for encouraging me always, seeing things in me I can only hope to fulfill and helping me to develop my writing. Dr. Anissa Wardi, you and Prajna have changed my life every time I attend your classes. My parent s for giving me life and being so encouraging and trusting in me even though they weren't sure what I was up to. My Godparents, Jerry and Sharon for assisting in the opportunity for me to come to Chatham. All of the tutorial students that came before me and all that will follow. I would like to give thanks for Hip-Hop and Sean Carter/Jay-Z, especially for The Black Album. With each revolution of the CD my motivation to complete this project was renewed. Whitney Brady, for your excitement and brainstorming sessions with me. Peace to Divine Culture for his electricity and Nabri Savior. Thank you both for always being around to talk about and live in Hip-Hop. Thanks to my friends, roommates and coworkers that were generally supportive. -
Racing, Region, and the Environment: a History of American Motorsports
RACING, REGION, AND THE ENVIRONMENT: A HISTORY OF AMERICAN MOTORSPORTS By DANIEL J. SIMONE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2009 1 © 2009 Daniel J. Simone 2 To Michael and Tessa 3 ACKNOWLEDGMENTS A driver fails without the support of a solid team, and I thank my friends, who supported me lap-after-lap. I learned a great deal from my advisor Jack Davis, who when he was not providing helpful feedback on my work, was always willing to toss the baseball around in the park. I must also thank committee members Sean Adams, Betty Smocovitis, Stephen Perz, Paul Ortiz, and Richard Crepeau as well as University of Florida faculty members Michael Bowen, Juliana Barr, Stephen Noll, Joseph Spillane, and Bill Link. I respect them very much and enjoyed working with them during my time in Gainesville. I also owe many thanks to Dr. Julian Pleasants, Director Emeritus of the Samuel Proctor Oral History Program, and I could not have finished my project without the encouragement provided by Roberta Peacock. I also thank the staff of the Samuel Proctor Oral History Program. Finally, I will always be grateful for the support of David Danbom, Claire Strom, Jim Norris, Mark Harvey, and Larry Peterson, my former mentors at North Dakota State University. A call must go out to Tom Schmeh at the National Sprint Car Hall of Fame, Suzanne Wise at the Appalachian State University Stock Car Collection, Mark Steigerwald and Bill Green at the International Motor Racing Resource Center in Watkins Glen, New York, and Joanna Schroeder at the (former) Ethanol Promotion and Information Council (EPIC). -
Roots Radical – Place, Power and Practice in Punk Entrepreneurship Sarah Louise Drakopoulou Dodd*
Entrepreneurship & Regional Development, 2014 Vol. 26, Nos. 1–2, 165–205, http://dx.doi.org/10.1080/08985626.2013.877986 Roots radical – place, power and practice in punk entrepreneurship Sarah Louise Drakopoulou Dodd* ALBA Graduate Business School, AHEAD, 6-8 Xenias Street, Athens 115 28, Greece (Received 5 February 2013; accepted 16 December 2013) The significance continues to grow of scholarship that embraces critical and contextualized entrepreneurship, seeking rich explorations of diverse entrepre- neurship contexts. Following these influences, this study explores the potentialized context of punk entrepreneurship. The Punk Rock band Rancid has a 20-year history of successfully creating independent musical and related creative enterprises from the margins of the music industry. The study draws on artefacts, interviews and videos created by and around Rancid to identify and analyse this example of marginal, alternative entrepreneurship. A three-part analytic frame was applied to analysing these artefacts. Place is critical to Rancid’s enterprise, grounding the band socially, culturally, geographically and politically. Practice also plays an important role with Rancid’s activities encompassing labour, making music, movement and human interactions. The third, and most prevalent, dimension of alterity is that of power which includes data related to dominance, subordination, exclusion, control and liberation. Rancid’s entrepreneurial story is depicted as cycles, not just a linear journey, but following more complicated paths – from periphery to centre, and back again; returning to roots, whilst trying to move forwards too; grounded in tradition but also radically focused on dramatic change. Paradox, hybridized practices, and the significance of marginal place as a rich resource also emerged from the study. -
When She's Gone
When She’s Gone Steven Erikson © Steven Erikson 2004 The game got in our blood when the Selkirk Settlers first showed up at the forks of the Red and Assiniboine rivers. Not hard to figure out why. They were farmers one and all and given land along the rivers, each allotment the precise dimensions of a hockey rink. Come winter the whole world froze up and there was nothing to do but skate and whack at frozen rubber discs with hickory sticks. Those first leagues were vicious. There were two major ones, the Northwest League and the Hudson's Bay League. Serious rivals and it all came to a head when Louis Riel, left-wing for the Voyageurs, jumped leagues and signed with the Métis Traders right there at the corner of Portage and Main, posing with a buffalo hide signing bonus. The whole territory went up in flames–the Riel Rebellion–culminating in the slaughter of nineteen Selkirk fans. Redcoats came from the east and refereed the mob that strung Riel up and hung him until dead. The Northwest League got merged into the Hudson's Bay League shortly afterward and a troubled peace came to the land. It was the first slapshot fired in anger, but it wouldn't be the last. The game We sold our soul. No point in complaining, no point in blaming anyone else, not the Yanks, not anyone else. We've done it ourselves and if you were a Yank you'd be saying the same thing. If your country was Italy, France or Belgium, if the city you called home was in England or Scotland or Wales, you're saying the same thing I'm saying right now, at least you'd be if you were thinking about what I'm thinking about. -
Southern Music and the Seamier Side of the Rural South Cecil Kirk Hutson Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1995 The ad rker side of Dixie: southern music and the seamier side of the rural South Cecil Kirk Hutson Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Folklore Commons, Music Commons, Social and Cultural Anthropology Commons, and the United States History Commons Recommended Citation Hutson, Cecil Kirk, "The ad rker side of Dixie: southern music and the seamier side of the rural South " (1995). Retrospective Theses and Dissertations. 10912. https://lib.dr.iastate.edu/rtd/10912 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthiough, substandard margins, and improper alignment can adversely affect reproductioiL In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. -
Quentin Couldn't
The Arts and Entertainment Supplement to the Daily Nexus, for April 13th through April 19th. 1995 Quentin couldn't: make it, but we got the inside scoop» on Destiny- Turns on tJie Ftedio from his co-stars Dylan McDermott and Nancy Travis, along with director Jack Bar an. See pages 4A-5A. 2A Thursday, April 13,1993 Daily Nexus bars of cage / you see scars, much ease — thus “Strug results of my rage.” That’s glin’,” tire soul food, hip- another thing about this hop blues, demi-epic of debut album. In Tricky’s the album. (The “epic” Massive and Unparalleled world, everything is a cage, track would probably be without any hope of re the seven-minute exten prieve. Even love is a sti sion of their first single, T ricky posedly one of 'fricky’s landic woman named any of them out from the fling, repressive activity “Aftermath.”) Amid creak M axinquaye nonsense words, sort of Ragga (again, no last scrapyard beats, hip-hop and sex is the violent ing doors, screeching 4th S t Broadway/I gland based around the name of name) and Alison Gold- breaks, soul slides and means of expressing one’s saxes, cocking rifles and his mother. frapp, who was most re thick, dark atm osphere anger. ambulance wails, Tricky This is almost too dense While we’re on names, cently heard on Orbital’s that just oozes out all over Witness “Abbaon Fat mutters like a junkie com a record for one head to Tricky’s real one is Adrian last album. -
Music List by Year
Song Title Artist Dance Step Year Approved 1,000 Lights Javier Colon Beach Shag/Swing 2012 10,000 Hours Dan + Shay & Justin Bieber Foxtrot Boxstep 2019 10,000 Hours Dan and Shay with Justin Bieber Fox Trot 2020 100% Real Love Crystal Waters Cha Cha 1994 2 Legit 2 Quit MC Hammer Cha Cha /Foxtrot 1992 50 Ways to Say Goodbye Train Background 2012 7 Years Luke Graham Refreshments 2016 80's Mercedes Maren Morris Foxtrot Boxstep 2017 A Holly Jolly Christmas Alan Jackson Shag/Swing 2005 A Public Affair Jessica Simpson Cha Cha/Foxtrot 2006 A Sky Full of Stars Coldplay Foxtrot 2015 A Thousand Miles Vanessa Carlton Slow Foxtrot/Cha Cha 2002 A Year Without Rain Selena Gomez Swing/Shag 2011 Aaron’s Party Aaron Carter Slow Foxtrot 2000 Ace In The Hole George Strait Line Dance 1994 Achy Breaky Heart Billy Ray Cyrus Foxtrot/Line Dance 1992 Ain’t Never Gonna Give You Up Paula Abdul Cha Cha 1996 Alibis Tracy Lawrence Waltz 1995 Alien Clones Brothers Band Cha Cha 2008 All 4 Love Color Me Badd Foxtrot/Cha Cha 1991 All About Soul Billy Joel Foxtrot/Cha Cha 1993 All for Love Byran Adams/Rod Stewart/Sting Slow/Listening 1993 All For One High School Musical 2 Cha Cha/Foxtrot 2007 All For You Sister Hazel Foxtrot 1991 All I Know Drake and Josh Listening 2008 All I Want Toad the Wet Sprocket Cha Cha /Foxtrot 1992 All I Want (Country) Tim McGraw Shag/Swing Line Dance 1995 All I Want For Christmas Mariah Carey Fast Swing 2010 All I Want for Christmas is You Mariah Carey Shag/Swing 2005 All I Want for Christmas is You Justin Bieber/Mariah Carey Beach Shag/Swing 2012 -
Forensic Class Teaches `CSI' Tools Ing an Changed I Uri Car 6 Y Eat.- Derichnian Said
SPARTAN DAILY Serving San Jose State I fniversit\ %in( 193-1 VOLUME 124, NUMBER 20 IRSDAY. FEBRUARY 24. 2W)5 aid ing rfrIFRX ui- OPINION om- Forensic class teaches `CSI' tools ing an changed I Uri car 6 y eat.- Derichnian said. Ethitts i1 I: ii') Ittorulos 10 Fehruari the .Sparlan The degree in It science is fairly new at 1)aill tit!! ".4ih t, 11111qUe (rIllr\t offered hi. rhi rum erorr c- San Jose State I iii ersity It has been offered since or- October 201)1. said Stet en Lee. associate professor in By Mayra Flores and direst ii I 11,101,11. sliente program. Ind Daily Stuff Writer 'I didn't knots what I V1/4 anted to do and CSU Sacramento 11.1d a forensic St. IC1/1.1: pprogram."Deitchinan ler% ..iid -I took a let', ,tasses. loved ion Students on the fifth floor ol MacQuarrie Hall sat wir- and pursued it eter since And this was before Wasted Days and W'asted amn ed) as guest speaker Vince Dent Milan. a criminologist it got popular %%itlt the (1 .1 Simpson trial and Nights cal the Oakland Police Ikpartment. explained the differ- The truth about abusive ing ences :miring fingerprints 1.eb. I lie piogi am o offers tort kinds of degrees -- to- relationships p. 2 I h. the -The three basic pattern types are loops. art hes and tell sit. sk. %% Ith all en iphirsis in either biology or whorls.- Dem-how:1 said. slieinistr. Lee said. fit, The lingerpnining lab is me of the tnan comprinefits 'Arc challenging. -
RR-2004-09-10.Pdf
NEWSSTAND PRICE $6.50 SEPTEMBER 10, 2004 A 30 -Year First Tim McGraw's "Live Like You Were Dying" makes history as it becomes the first song ever to remain at No. 1 en the R &R Country Urban's Education dart for 10 consecutive Its time to go Back 2 School, as R &R Urban Editor weeks. McGraw's new Dana Hall speaks with several veteran teachers and a'bum, also titled Live Like some freshman rising stars who are programming You Were Dying, was Urban radio. The textbook for the format starts on released Aug. 24. Page 1. "ESCUCHA ATENTO ", LAURA PAUSINI's 1st single, to hit the airways September 13. Her album "ESCUCHA" in stores October 26. "PASOS DE GIGANTE ", BACILO's 1st single Their Album "SIN VERGÜENZA" in stores September 28. o WARNER MUSIC LATINA www.americanradiohistory.com POINT A POINT B mar- ket -ing (mär' ki'ting), n. 1. getting the message from point a to point b. NOBODY DOES IT BETTER. P o I N T - T O- P O I N T DIRECT MARKETING SOLUTIONS GREAT CLIENTS. GREAT MARKETING. DENVER, CO DALLAS, TX WASHINGTON, DC CHICAGO, IL MARK HEIDEN RICK TORCASSO ELIZABETH HAMILTON MARK VERONE 970-472-0131 972-661-1361 703- 757 -9866 847 -705 -2046 MA [email protected] RICK @PTPM ARKETI NG.COM ELIZABETH @PTPMARKETING.COM MARKV @PTPMARKETING.COM WWW.PTPMARKETING.COM DIRECT MAIL. TELEMARKETING. www.americanradiohistory.com SEPTEMBER 10, 2004 I N S I D E How Triple A Listeners MEET THE HOLLYWOOD HEADHUNTER Hear And Buy Music If you've ever thought of moving onward and upward, read R &R's exclusive interview with A music- and radio-listener study conducted by Brad Marks, known as the "Hollywood SBR Creative Media Headhunter," in this week's Management/ Marketing/Sales section.