DOCSLIB.ORG

WOW HALL ANNUAL MEMBERSHIP MEETING This Year’S WOW Hall Annual One-Year Term

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
WOW HALL ANNUAL MEMBERSHIP MEETING This Year’S WOW Hall Annual One-Year Term K k MARCH 2017 K g VOL. 29 #3 H WOWHALL.ORGk myself,” she says. Though Crush Me endlessly reveals her easy grace as a song- writer and producer, K.Flay is quick to point out that she “fell into music very haphazardly” at the age of 19 -- a decade after her dad first taught her to play gui- tar. “I was in an argument with someone and was challenged to make a song, which was really my entry point to music,” says Flaherty, an Illinois native who studied at Stanford University. “From there I started producing and playing house parties on campus, kind of as a release from the academic life. I liked that K. FLAY music was a window into a world “CRUSH ME” TOUR with a lot of unpredictability and chaos; it was almost diametrically opposed to my very regimented day-to-day living.” Upon graduating, Flaherty moved to San Francisco and kept up with music, making her break- through with the 2011 mixtape I Stopped Caring in ‘96 and soon landing a deal with a major label. Not long after putting out her 2013 EP What If It Is (featuring a collaboration with Danny Brown), K.Flay launched her own label for the release of her full-length debut Life As a Dog in 2014. “The experience of taking On Wednesday, March 29, the and how that can be its own form Dragons frontman Dan Reynolds), instrumentation, and I wanted to nothing and creating something Community Center for the of power,” says Kristine Flaherty, K.Flay instills that energy into a make sure that was really reflect- makes me happy and helps me Performing Arts and Alternative the L.A.-based artist who made batch of songs highlighting her ed on this EP,” notes Flaherty. not be anxious or depressed,” 103.7 NRQ proudly welcome her debut as K.Flay with a series seamless flow and head-turning Equally inspired by the novels concludes K.Flay. “In and of K.Flay’s “Crush Me” Tour to the of releases in 2010. “The songs lyricism. But while Crush Me of Marilynne Robinson and Kid itself, just the act of making WOW Hall. on the EP revolve around the idea builds off K.Flay’s hip-hop back- Cudi’s early records, Crush Me music is still so life-affirming to On “Blood in the Cut” -- the of a person or a force seeking to ground, the EP also channels her finds K.Flay delivering her most me.” moody and magnetic lead single crush you or hold you down, but punk sensibilities and DIY spirit intensely intimate yet sonically Listen to NRQ for the oppor- from her new EP Crush Me -- there’s a defiant energy to them into a lush but gritty sound root- expansive work so far. tunity to win tickets and have a K.Flay turns emotional damage -- like, ‘Yeah, go ahead and try.’” ed in live drums and guitar. “My main imperative was to Meet & Greet with K.Flay. into unlikely transcendence. The first signing to Night “My live shows always had the create something musically inter- Tickets are $13 in advance, “It’s about inundating yourself Street/Interscope Records (an spontaneity that comes from esting and at the same time be $15 at the door. Doors open at with feelings of pain and angst, imprint helmed by Imagine working with more organic completely honest and not censor 7:00 pm and showtime is 8:00. H K BIG WILD P2 H DEAFHEAVEN P3 H LEFTOVER CRACK P3 H REBEL SOULJAHZ P4 H OLD 97S P4 H AWARDk WINNERS P5 INSIDE THIS ISSUE SAM LACHOW P5 H SELF DEFENSE FOR THE COMMUNITY P5 H THE SOFT WHITE SIXTIES P6 H WHY? P6 H ADRIAN LEGG P7 WOW HALL ANNUAL MEMBERSHIP MEETING This year’s WOW Hall Annual one-year term. This will put the organi- Membership Meeting is scheduled for zation back on track to elect four mem- CCPA Annual Membership Wednesday, April 12. Doors will open at bers in 2018. PAID Meeting Agenda U.S. Postage U.S. 6:00 pm for a reception (featuring food More members are needed to serve on Permit No. 303 No. Permit Date: Wednesday, April 12, 2017 Eugene, OR 97401 Eugene, and beverages) and the meeting will begin the Board of Directors. CCPA members Nonprofit Organization Time: 7:00 pm (Social at 6:00) promptly at 7:00. Following the meeting, who can devote time and skills to the Place: WOW Hall, 291 W. 8th Ave. Eugene, Oregon stick around for entertainment by per- organization are encouraged to run. The forming artists TBA. CCPA also welcomes membership partici- Call to Order CCPA members meet annually to pation in all of our standing committees. I. Welcome and Introductions approve a budget for the upcoming year To qualify to serve on the board of II. Review of the Year and to elect members to the WOW Hall directors, one must have been a CCPA a. Staff Report b. Financial Committee Report Board of Directors. This year the mem- member for at least 30 days prior to the c. Facilities Committee Report bership can elect up to six board mem- election. If you would like to be on the d. Fundraising / Education Committee Report bers, five to two-year terms and one to a board, please join or renew your member- e. Personnel Committee Report one-year term. ship by March 13. III. Statement from the Board Completing a two-year term is board This meeting is open to the public but IV. Public Comments/Open Forum member Steve Lasky; completing a one- only members may vote. A person can V. Approval of General Policy Statement year term is board Chair Aaron Dietrich. become a member by paying membership VI. Approval of the Budget Currently, there are four open seats on dues ($15-30 sliding scale) or by donating VII. Election of Board of Directors the board. ten hours of non-show volunteer time. a. Nominations* Continuing CCPA Board members are If you are not a member and want to b. Speeches Mike Janes, Jon Silvermoon and Daylon become one, or wish to check your mem- c. Recess Sloan; their terms end in 2018. bership status, please call (541-687-2746) d. Election VIII. Upcoming Meetings RETURN SERVICE REQUESTED Community Center for the Arts Performing 291 West 8th 97401 OR. Eugene, There are nine seats on the board. or stop by the WOW Hall office. IX. Adjournment This year’s top vote getters will earn two- To join or renew via PayPal, go to www. year terms and the next will receive a wowhall.org. H *A person must have been a CCPA member for 30 days to run for the board K k The Community Center for the WOW HALL NOTES Performing Arts is located in the Historic Woodmen of the World Hall (W.O.W. Hall), 291 W 8th, Eugene, Or 97401, (541)687-2746, info@ wowhall.org, www.wowhall.org, Box office hours Mon-Fri Noon-6:00 PM. Printed monthly by Western Oregon Webpress, Circulation 3,800, General Support made possible by a grant from Lane Arts Council with support from City of Eugene Cultural Services Division, Copyright 2017 All rights reserved Notes Staff: Copy Editor & Advertising Representative - Bob Fennessy, Layout & Design - James Bateman CCPA Staff: Program Coordinator - Calyn Kelly, Membership Coordinator & Publicist - Bob Fennessy, Asst Stage Manager - Davis Koier, Office Managers - Ross Shuber, Zac Townsend, Bookkeeper - Melissa Swan, Volunteer Coordinator - Laura Farrelly, House Managers - Sam Harmon, Jaley Osuna Concessions Managers - Angela Lees, Shawn Lynch, Kambra Morris-Mitzner Custodian - Daniel Noall, Peter Holmes, Lighting Director - TJ Martin Lokey, Volunteer Staff: Zac Townsend, Dan Wathen, Art Gallery Director - Sam Harmon, Poster Distribution - WOW Hall Poster Crew, CCPA Board of Directors: Chair: Aaron Dietrich, Vice Chair: Mike Janes, Treasurer: Jon Silvermoon, Members: Steve Lasky, Daylon Sloan BIGOn Sunday, March WILD 19, the Community Center forINVINCIBLE new style, weaving singer iDA HAWK’s alluring the Performing Arts and University of Oregon vocals into a tale of overcoming obstacles, and feeling Campus Radio 88.1 FM KWVA proudly welcome Big unbeatable after crushing inner demons. With a Wild’s Invincible Tour to the WOW Hall with special similar theme, “Empty Room” combines a powerfully guests Phantoms and IHF. melodic composition with a story of moving on from Big Wild is touring in support of his debut EP, a loveless relationship. Catchy hooks and Yuna’s Invincible, released via Foreign Family Collective and inviting voice are a refreshing take on dance and pop now available to stream and download in full. music alike. With his colorful and infectious music, producer With an eclectic live show, Big Wild has built a Jackson Stell has become a fast rising voice in the passionate following spanning all types of music lov- electronic scene as Big Wild. Already a tour and fes- ers. Additional touring with acts including Tycho, tival favorite thanks to a co-sign from Seattle’s Pretty Lights and Bassnectar, as well as exuberant ODESZA, the California-based producer has created festival performances at Coachella, Decadence and a set of songs on his Invincible EP that speak to our Snowglobe, have bolstered his reputation as a must- desire to connect with something larger, and are as see act. awe-inspiring as a walk through a Redwood grove. As Big Wild embarks on his own nationwide From the momentous build-up of “When I Get Invincible Tour to showcase his new EP, music fans There”, to new experiments with vocalists, Invincible have the ideal opportunity to be first to experience pushes the boundaries of Stell’s spacious sound and the next incarnation of his unique live experience.
Load more

Recommended publications
  • This Will Destroy You Interpretará Los Álbumes Young Mountain Y S/T En El Teatro De La Ciudad Esperanza Iris Publicado El 05 Junio 2018
    Notas This Will Destroy You interpretará los álbumes Young Mountain y S/T en el Teatro de la Ciudad Esperanza Iris Publicado el 05 Junio 2018 SC/DDC/CP/0521-18 Ciudad de México, 5 de junio de 2018 Después de su exitosa presentación en el Forever Alone Fest III, la agrupación dará un concierto para celebrar una década del lanzamiento de su primer álbum, S/T, con el que se convirtió en una de las bandas más reconocidas del post-rock El grupo tlaxcalteca Awful Traffic será el invitado especial para este espectáculo donde interpretará piezas de su segundo disco, El viento predice el futuro La banda texana de post-rock This Will Destroy You estará en el Teatro de la Ciudad Esperanza Iris para interpretar completos los discos Young Mountain (2006) y S/T (2008) el próximo domingo 17 de junio a las 18:00 horas, a doce y diez años, respectivamente, de sus lanzamientos. Luego de visitar por primera vez nuestro país (al liderar el cartel del festival Forever Alone Fest III en febrero del año pasado), la banda regresa con una gira especial para presentarse en el recinto de Donceles. Es la celebración de la primera década de su álbum debut S/T, el cual fue aclamado por la crítica y cuyos temas han formado parte de bandas sonoras en series y películas como Room y Moneyball. “Lo que veremos es poco más de cien minutos de música continua, es un repaso por discos que salieron hace más de una década. Es muy interesante ver cómo después de este tiempo hoy en día hay más bandas haciendo música influenciada por This Will Destroy You”, aseguró Kevin Enríquez, representante de la agencia organizadora del concierto, INTRSTLRS.
    [Show full text]
  • Subcultural Appropriations of Appalachia and the Hillbilly Image, 1990-2010
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2019 The Mountains at the End of the World: Subcultural Appropriations of Appalachia and the Hillbilly Image, 1990-2010 Paul L. Robertson Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the American Popular Culture Commons, Appalachian Studies Commons, Literature in English, North America Commons, and the Other Film and Media Studies Commons © Paul L. Robertson Downloaded from https://scholarscompass.vcu.edu/etd/5854 This Dissertation is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Robertson i © Paul L. Robertson 2019 All Rights Reserved. Robertson ii The Mountains at the End of the World: Subcultural Appropriations of Appalachia and the Hillbilly Image, 1990-2010 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Virginia Commonwealth University. By Paul Lester Robertson Bachelor of Arts in English, Virginia Commonwealth University, 2000 Master of Arts in Appalachian Studies, Appalachian State University, 2004 Master of Arts in English, Appalachian State University, 2010 Director: David Golumbia Associate Professor, Department of English Virginia Commonwealth University Richmond, Virginia May 2019 Robertson iii Acknowledgement The author wishes to thank his loving wife A. Simms Toomey for her unwavering support, patience, and wisdom throughout this process. I would also like to thank the members of my committee: Dr. David Golumbia, Dr.
    [Show full text]
  • Bertus in Stock 7-4-2014
    No. # Art.Id Artist Title Units Media Price €. Origin Label Genre Release Eancode 1 G98139 A DAY TO REMEMBER 7-ATTACK OF THE KILLER.. 1 12in 6,72 NLD VIC.R PUN 21-6-2010 0746105057012 2 P10046 A DAY TO REMEMBER COMMON COURTESY 2 LP 24,23 NLD CAROL PUN 13-2-2014 0602537638949 FOR THOSE WHO HAVE 3 E87059 A DAY TO REMEMBER 1 LP 16,92 NLD VIC.R PUN 14-11-2008 0746105033719 HEART 4 K78846 A DAY TO REMEMBER OLD RECORD 1 LP 16,92 NLD VIC.R PUN 31-10-2011 0746105049413 5 M42387 A FLOCK OF SEAGULLS A FLOCK OF SEAGULLS 1 LP 20,23 NLD MOV POP 13-6-2013 8718469532964 6 L49081 A FOREST OF STARS A SHADOWPLAY FOR.. 2 LP 38,68 NLD PROPH HM. 20-7-2012 0884388405011 7 J16442 A FRAMES 333 3 LP 38,73 USA S-S ROC 3-8-2010 9991702074424 8 M41807 A GREAT BIG PILE OF LEAVE YOU'RE ALWAYS ON MY MIND 1 LP 24,06 NLD PHD POP 10-6-2013 0616892111641 9 K81313 A HOPE FOR HOME IN ABSTRACTION 1 LP 18,53 NLD PHD HM. 5-1-2012 0803847111119 10 L77989 A LIFE ONCE LOST ECSTATIC TRANCE -LTD- 1 LP 32,47 NLD SEASO HC. 15-11-2012 0822603124316 11 P33696 A NEW LINE A NEW LINE 2 LP 29,92 EU HOMEA ELE 28-2-2014 5060195515593 12 K09100 A PALE HORSE NAMED DEATH AND HELL WILL.. -LP+CD- 3 LP 30,43 NLD SPV HM. 16-6-2011 0693723093819 13 M32962 A PALE HORSE NAMED DEATH LAY MY SOUL TO.
    [Show full text]
  • MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
    MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division
    [Show full text]
  • MASCHINE 2 Manual
    MASCHINE MIKRO MK3 MANUAL Disclaimer The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this docu- ment is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments. “Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru- ments GmbH. ASIO, VST, HALion and Cubase are registered trademarks of Steinberg Media Technologies GmbH. All other product and company names are trademarks™ or registered® trademarks of their re- spective holders. Use of them does not imply any affiliation with or endorsement by them. Document authored by: David Gover and Nico Sidi. Software version: 2.7.8 (09/2018) Hardware version: MASCHINE MIKRO MK3 Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product. Contact NATIVE INSTRUMENTS GmbH NATIVE INSTRUMENTS North America, Inc. Schlesische Str. 29-30 6725 Sunset Boulevard D-10997 Berlin 5th Floor Germany Los Angeles, CA 90028 www.native-instruments.de USA www.native-instruments.com NATIVE INSTRUMENTS K.K. NATIVE INSTRUMENTS UK Limited YO Building 3F 18 Phipp Street Jingumae 6-7-15, Shibuya-ku, London EC2A 4NU Tokyo 150-0001 UK Japan www.native-instruments.co.uk www.native-instruments.co.jp NATIVE INSTRUMENTS FRANCE SARL SHENZHEN NATIVE INSTRUMENTS COMPANY Limited 113 Rue Saint-Maur 5F, Shenzhen Zimao Center 75011 Paris 111 Taizi Road, Nanshan District, Shenzhen, France Guangdong www.native-instruments.com China www.native-instruments.com © NATIVE INSTRUMENTS GmbH, 2018.
    [Show full text]
  • Jazz and Radio in the United States: Mediation, Genre, and Patronage
    Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition.
    [Show full text]
  • THE MICK 25 Jan / Feb 2006 NANANAUGHTYUGHTYUGHTY ZOMBIESZOMBIESZOMBIES ~ None So Noisy! ~ None So Wild!
    THE MICK 25 Jan / Feb 2006 NANANAUGHTYUGHTYUGHTY ZOMBIESZOMBIESZOMBIES ~ none so noisy! ~ none so wild! ARTICA HISTORY OF GUNS LA MAMOYNIA THE DAUGHTERS OF BRISTOL THE HOUSE OF USHER THOSE POOR BASTARDS THOSE POOR BASTARDS have created two stunning records in the ‘Country Bullshit’ EP and ‘Songs Of Despera- tion’ album, which introduce you to stories of murderous scumbags and lives of desolation, so don’t be put off by the country tag if that was unsettling your bowels. These are songs so rich in character they are melodic bank vaults just waiting to be torn open. Also, they don’t have any photos, so you’ll forgive my improvising but you need to know about this band now, so I chose not to wait. Is Dark Country the new Punk, Rock ‘n’ Roll or, at a Shame is what fuels the Minister. That fella refuses to show his pinch, the new Country? face ‘cause he believes to do so is vanity. He believes all eyes should be directed toward God and he sees his role as a Dark country is real country. Lord knows. Country was meant faceless messenger. A real holy roller... to be the music of the working class and poor…the outcasts and the nobodies. Somehow it has become the music of the Blind Boy doesn’t seem too keen on showing his face. Are status quo. Turn on the radio and you’ll hear a bunch of your colleagues, perhaps, horribly disfigured? Are your inoffensive and bland bullshit that was made for the sole audiences warned in advance? purpose of profit.
    [Show full text]
  • Negrocity: an Interview with Greg Tate
    City University of New York (CUNY) CUNY Academic Works Publications and Research New York City College of Technology 2012 Negrocity: An Interview with Greg Tate Camille Goodison CUNY New York City College of Technology How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/ny_pubs/731 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] NEGROCITY An Interview with Greg Tate* by Camille Goodison As a cultural critic and founder of Burnt Sugar The Arkestra Chamber, Greg Tate has published his writings on art and culture in the New York Times, Village Voice, Rolling Stone, and Jazz Times. All Ya Needs That Negrocity is Burnt Sugar's twelfth album since their debut in 1999. Tate shared his thoughts on jazz, afro-futurism, and James Brown. GOODISON: Tell me about your life before you came to New York. TATE: I was born in Dayton, Ohio, and we moved to DC when I was about twelve, so that would have been about 1971, 1972, and that was about the same time I really got interested in music, collecting music, really interested in collecting jazz and rock, and reading music criticism too. It kinda all happened at the same time. I had a subscription to Rolling Stone. I was really into Miles Davis. He was like my god in the 1970s. Miles, George Clinton, Sun Ra, and locally we had a serious kind of band scene going on.
    [Show full text]
  • "Rock and Roll's Been Very Very Good to Me," Rhett Miller Sings On
    "Rock and roll's been very very good to me," Rhett Miller sings on "Longer Than You've Been Alive," an epic six-minute stream-of-consciousness meditation on his life in music. It's a rare moment of pulling back the curtain, on both the excesses and tedium of the world of a touring musician, and it's the perfect way to open the Old 97's new album, 'Most Messed Up.' "I wrote that song very quickly and didn’t rewrite one word of it," Miller explains. "It's sort of a thesis statement not just for this record, but for my life's work." To say that rock and roll has been good to the Old 97's (guitarist/vocalist Miller, bassist/vocalist Murry Hammond, guitarist Ken Bethea, and drummer Philip Peeples) would be an understatement. The band emerged from Dallas twenty years ago at the forefront of a musical movement blending rootsy, country-influenced songwriting with punk rock energy and delivery. The New York Times has described their major label debut, 'Too Far To Care,' as "a cornerstone of the 'alternative country' movement…[that] leaned more toward the Clash than the Carter Family." They've released a slew of records since then, garnering praise from NPR and Billboard to SPIN and Rolling Stone, who hailed the band as "four Texans raised on the Beatles and Johnny Cash in equal measures, whose shiny melodies, and fatalistic character studies, do their forefathers proud." The band performed on television from Letterman to Austin City Limits and had their music appear in countless film and TV soundtracks (they appeared as themselves in the Vince Vaughn/Jennifer Aniston movie 'The Break Up').
    [Show full text]
  • The Ithacan, 2002-10-10
    THURSDAY ITHACA, N.Y. OCTOBER l0, 2002 28 PAGES, FREE , ...e.1 VOLUME 70, NUMBER 6 ·The Newspaper for the Ithaca College Community WWW. ITHACA.EDU/ITHACAN A+ elin1ination Protesting war _in·Iraq nears approval SGA passes one of first college resolutions in nation BY SUDHANSH U SARIA Staff Writer :av MICHELLE THEIS Opinion Editor Faculty could be forced to adjust grading standards if a proposal to end The Ithaca College Stude}!t Government A+ grades receives final approval. Association became early Wednesday The maximum grade-point average morning one of the first colleges nationwide at Ithaca College would be reduced to to pass a resolution officially opposing a pre­ 4.0 from 4.3. However, the bench­ emptive military strike on Iraq. marks for the Latin honors at gradu­ The resolution, which "urges the U.S. and ation_would remain the same. Iraqi governments to work in good faith to en­ The Faculty Council began exam­ sure the return of the U.N. weapons inspectors, ining the issues of grade inflation and to alleviate the suffering of the Iraqi people and the validity of A+ grades when a group to abide by the framework of international law," of faculty members proposed the re­ passed 29-10 with nine abstentions. view in Fall.1999. The council creat­ Student Congress passed the final form of ed the Grading Policies Committee to the resolution at 12:45 a.m. after more than four study the matter closely. hours of debate between attendees and repre­ The committee, along with the Stu­ sentatives that at times became heated.
    [Show full text]
  • Sept. 7-13, 2017
    SEPT. 7-13, 2017 FACEBOOK.COM/WHATZUPFTWAYNE • WWW.WHATZUP.COM • FACEBOOK.COM/WHATZUPFTWAYNE GET THE GEAR YOU WANT TODAY! 48MONTHS 0% INTEREST*** ON 140+ TOP BRANDS | SOME RESTRICTIONS APPLY 36MONTHS 0% INTEREST** ON 100+ TOP BRANDS | SOME RESTRICTIONS APPLY WHEN YOU USE THE SWEETWATER CARD. 36/48 EQUAL MONTHLY PAYMENTS REQUIRED. SEE STORE FOR DETAILS. NOW THROUGH OCTOBER 2 5501 US Hwy 30 W • Fort Wayne, IN Music Store Hours: Mon–Thurs 9–9 • Fri 9–8 Sat 9–7 • Sun 11–5 2 ----------------------------------------------------------------------------------- www.whatzup.com ---------------------------------------------------------- September 7, 2017 whatzup Volume 22, Number 6 e’re calling this our Big Fat Middle Waves issue since our cover features the MAIN STAGE: festival, now in its second year, and we’ve got a 16-page guide to all things • A Dancer’s Legacy – SEP 22 & 23 Middle Waves inside. Check out Steve Penhollow’s feature story on page 4, • The Nutcracker – DEC 1 thru 10 Wread the guide cover to cover and on the weekend of Sept. 15-16 keep whatzup.com pulled up on your mobile phone’s web browser. We’ll be posting Middle Waves updates • Coppélia – MAR 23-25 all day long so you’ll always know what’s happening where. • Academy Showcase – MAY 24 If you’ve checked out whatzup.com lately, you’ve probably noticed the news feed. It’s FAMILY SERIES: the home page on mobile phones and one of the four tabs on the PC version, and it THURSDAY, SEPTEMBER 28 allows our whatzup advertisers to talk directly to whatzup.com users. If you’re one of • Frank E.
    [Show full text]
  • Burn Baby Burn Muziek Op Cd Zetten Gratis Epub, Ebook
    BURN BABY BURN MUZIEK OP CD ZETTEN GRATIS Auteur: Vet Martijn Aantal pagina's: 191 pagina's Verschijningsdatum: 9999-01-01 Uitgever: Pearson Benelux EAN: 9789043011945 Taal: nl Link: Download hier De 100 grootste jaren 70 hits Shoemaker houdt van een lekker vol geluid, maar overdrijft dit gelukkig nergens. De kracht van zijn muziek schuilt in de eenvoud. Zijn liedjes bestaan uit simpele, catchy melodieën die zich onmiddellijk in je hoofd nestelen. Shoemaker heeft de songs voorzien van een sobere, hechte productie waarin zijn gitaarspel, net als zijn stem, licht schurend de boventoon voeren. Daarnaast komt er af en toe, als aangename accent, een orgeltje, een bluesharp of een diepdonkere gospelstem om de hoek, om de downtempo liedjes even licht op te tillen. En de muzikanten? Luister naar de samenstelling van zijn band en het water loopt je in de mond: Tommy MacLuckie electric guitar, harmony vocal , Trina Shoemaker harmony vocal, shaker, backing vocal , Ryan Donohue bass , Michael Barras drums , Trevor Brooks piano, organ , John Milham drums , Rosalind Gonsalver harmony vocal , Daro n Douglas violin en Mike Voelker drums. Begeleid door deze rockers verhaalt Capps op klassieke wijze over tal van vreemde vogels die het zuiden bevolken, zoals muzikante Washboard Lisa en cr azy Bobby Long, hij bezingt dus vooral de zelfkant van de samenleving, onderwerpen van iedereen en van alle tijden. Deze twaalf songs zijn allemaal hoogtepunten. Kortweg : Op "If You Knew My Mind" staan songs die diep geworteld zijn in de New Orleans-traditie en daarom in de collectie van geen enkele roots-liefhebber mogen ontbreken, gewoon een super-intense prachtplaat! De maanden september en oktober zullen, wat mij betreft, door het leven gaan als een overkill aan American Roots muziek releases.
    [Show full text]