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Williams, Hipness, Hybridity, and Neo-Bohemian Hip-Hop
HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Maxwell Lewis Williams August 2020 © 2020 Maxwell Lewis Williams HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA Maxwell Lewis Williams Cornell University 2020 This dissertation theorizes a contemporary hip-hop genre that I call “neo-bohemian,” typified by rapper Kendrick Lamar and his collective, Black Hippy. I argue that, by reclaiming the origins of hipness as a set of hybridizing Black cultural responses to the experience of modernity, neo- bohemian rappers imagine and live out liberating ways of being beyond the West’s objectification and dehumanization of Blackness. In turn, I situate neo-bohemian hip-hop within a history of Black musical expression in the United States, Senegal, Mali, and South Africa to locate an “aesthetics of existence” in the African diaspora. By centering this aesthetics as a unifying component of these musical practices, I challenge top-down models of essential diasporic interconnection. Instead, I present diaspora as emerging primarily through comparable responses to experiences of paradigmatic racial violence, through which to imagine radical alternatives to our anti-Black global society. Overall, by rethinking the heuristic value of hipness as a musical and lived Black aesthetic, the project develops an innovative method for connecting the aesthetic and the social in music studies and Black studies, while offering original historical and musicological insights into Black metaphysics and studies of the African diaspora. -
Bill in Congress Threatens Federal Aid to College IS Educators Nationwide Line up Against Impositions on Freedom of Speech, Academic Freedom by THOMAS F
"No News Is Good News"' Founded 1957, Incorporated 1976 Volume XXXVIII, Number 63 Monday, July 31, 1995 First Copy Frsee Bill in Congress Threatens Federal Aid to College IS Educators Nationwide Line Up Against Impositions On Freedom of Speech, Academic Freedom BY THOMAS F. MASSE distributed to political crippling to Stony Brook. Kenny affect all form of government amendment include the NYPIRG, Statesman Editor organizations or groups that try to said that Stony Brook receives moneys, including NIH research SASU, USSA, the College With the SUNY/CUNY influence public opinion, all more than $100 million in contracts, federal student loans, Republicans, religious organizations, system still reeling from the federal funding will be cut from research grants, a large portion of and grants such as Pell Grants. women's organizations, minority impact of the recent New York those institutions. which is federal money. Kenny Groups that could be organizations, newspapers, and budget fight, the U.S. Congress Such an amendment could be also said that the amendment may categorized as falling under the others. is poised to deliver another In essence, according to devastating blow. a. LIMITATION ON USE OF FUNDS. - None of the funds Kenny, if Stony Brook collected Representative Ernest J. moneys and Polity gave them to Istook (R-Okla.), proposed an appropriated in this Act may be made available to any any of the above groups, Stony amendment to a Labor, Health institution of higher education when it is made known Brook could be without tens of and Human Services, and to the Federal official having authority to obligate or millions of research dollars and Education bill that will cut off- expend such funds that any amount, derived from students could be without loans federal funding to institutions of and grants. -
00:00:00 Music Transition “Crown Ones” Off the Album Stepfather by People Under the Stairs
00:00:00 Music Transition “Crown Ones” off the album Stepfather by People Under The Stairs 00:00:05 Oliver Wang Host Hello, I’m Oliver Wang. 00:00:07 Morgan Host And I’m Morgan Rhodes. You’re listening to Heat Rocks. Rhodes 00:00:09 Oliver Host Every episode we invite a guest to join us to talk about a heat rock, AKA an album that sizzles, but today we are going multimedia with a new series where we talk about music and movies. We’re calling it Music and Popcorn—shout-out to Morgan for coming up with that— and we’re kicking it off by taking a trip up north to the Santa Cruz boardwalk, and taking a creepy escalator down into Jordan Peele’s 2019 film, Us. 00:00:35 Music Music “I Got 5 On It (Tethered Mix)” off the album I Got 5 On It by Luniz. Slow, somewhat eerie instrumentals and vocalizations. 00:00:55 Oliver Host If someone in 2016 had asked for your opinion about Jordan Peele, you might be forgiven if you had first asked, “Wait, was he the tall guy or the short guy from Key and Peele?” [Morgan laughs.] Prior to his breakout debut film, Get Out, Peele was best known for his comedy skits, alongside partner Keegan Michael Key. But with Get Out, Peele showcased all manner of talents as a screenwriter and director by crafting one of the most lauded horror-slash-thriller films in recent years. In 2019, Peele was back with Us, a dark and at times darkly funny meditation on race, class, and equality, and the lethal shortcomings of voice-activated smart devices. -
Livin' a Boss' Life
REAL, RAW, & UNCENSORED WEST COAST RAP SHIT TURF TALK BEEDA WEEDA CLYDE CARSON MAC MALL DAMANI & MORE BAY AREA AMBASSADOR - LIVIN’ AE BOSS’40 LIFE * WEST COAST DJs SOUND OFF ON MIXTAPE DRAMA * THE GAME’S BROTHER BIG FASE100 * BUMSQUAD’S LATIN PRINCE & MORE // OZONE WEST Publisher EDITOR’S NOTE Julia Beverly Editor-IN-Chief N. Ali Early Music Editor Randy Roper Art Director Tene Gooden Contributors D-Ray DJ BackSide Joey Colombo Toby Francis Wendy Day Street Reps Anthony Deavers Bigg P-Wee Dee1 Demolition Men DJ E-Z Cutt DJ Jam-X DJ K-Tone DJ Quote MUST BE DREAMIN’ DJ Strong & DJ Warrior John Costen Kewan Lewis Lisa Coleman Maroy been living in Atlanta a good decade and I still haven’t gotten completely accus- Rob J Official tomed to it, nor have I embraced it all the way. What can I say? I’m a Bayboy to the Rob Reyes heart. Anyone who knows me, knows that I rep the Bay – all day, every day. I went Sherita Saulsberry I’vehome for Xmas and all I could think about was what kind of Bay Tees I was gonna snatch so I could have William Major the option of reppin’ my soil every day for two weeks straight (that’s 14, but who’s counting?). Took Moms in there and scooped about eight of ‘em REAL QUICK (already had 6). Alas, I didn’t leave my heart in San Francisco ala Tony Bennett. It’s somewhere in Tha Rich! But I gotta love the A and I gotta give JB props for bringing me on board, ‘cause without the move from Orlando this opportunity may have never cracked off. -
Gligarri Tingilitla
sauc"G" LLN\AURANIE RESTIERAR L - j Z - ABREF,L C ! I ) fi 141,44111414411,1 r . 71: 4 A-J 4.V. ESPANA V/VA Y DA tAmBA - MORRO NO 4 VEZ AMOR MARIA AVE pt., IN; A -SOLAMENTE -!ANA -113 1,1 _ - ABDLAmUNA - PERFIDIA - OJOS corm DE MUCHO Mr mu) .val - B! CIEL/TO - cl.mon GOANTANAMERA - mArAGt.trAl PALOMA tingilitLA GligARRI . , , 44 4 1 4, 4. CD ID 1,1 1.3 /V1 N4 A S A. NA I J t polyTe ?.I. ° A ,, II,' 1.k .0 . I 0i t Mail 1351 No. Registration $280 GSfl 20 pluS 00 $3 Volume - 2 No. 64 1996 26, August 44 \ *, ' ** : I -* rie r 't 0 I ' 2- RPM -Monday August 19, 1996 Changes at the top of MCA Concerts Canada As managing director, Simpson will be concert assets, which include Concer responsible for the overall business operations of International in Toronto, Perrysc Jay Marciano, president of MCA Concerts Inc., vice-president Martin Onrot, and the appointment the company, and will report to the board of Productions in Vancouver, and Dona has announced a series of changes within the of Don Simpson and Donald Tarlton as executive directors. Simpson will retain his office at the Productions in Montreal. executive structure of MCA Concerts Canada. The vice-presidents to co-head MCA Concerts Canada, company's headquarters in Toronto. Tarlton will Tarlton, the founder of Donald K principal change involves the departure of senior with Simpson carrying the additional role of remain in Montreal, where he will direct Canadian former head of BCL, is a 30 -year v managing director. -
Littleton, NH (603) 444-4141 As Always, Urgent Care Is KAYTI BURT/THE LITTLETON COURIER
www.newhampshirelakesandmountains.com SERVING THE NORTH COUNTRY SINCE 1889 [email protected] 122ND YEAR, 20TH ISSUE LITTLETON, N.H., WEDNESDAY, MAY 18, 2011 75¢ (USPS 315-760) Lin-Wood school board hears residents’ concerns By KAYTI BURT was evident at last Tuesday’s dozen residents demanded “Why has there been school board and the super- 100 signatures asking for the [email protected] Lin-Wood Cooperative answers for a series of per- absolutely no progress in intendent so opposed to hav- resignation of LINCOLN— The friction School District school board ceived missteps by the restoring the industrial arts ing such a program?” Superintendent Michael between public and board meeting, where roughly a board. program? There is $270,000 Things have been tense Cosgriff. The following supposedly sitting there and since September, when it meeting, he asked the school another $330,000 voted that came out that some heavy board not to renew his con- will be coming in July,” equipment from the mostly tract. asked Woodstock resident defunct industrial arts pro- Young’s concerns center Susan Young, reading from a gram had been given away. around the finances associat- prepared statement. “Why In December, residents sub- ed with the elementary are some members of the mitted a petition with over SEE LIN-WOOD, PAGE A9 The Colonial starts 10th season as cultural community center By KAYTI BURT [email protected] BETHLEHEM— The Colonial Theatre has been a part of Bethlehem’s Main Street since 1915, but ten years ago, The Colonial became something more than just a movie theater--it became a cultural hub for an art-starved region. -
Karaoke Book
10 YEARS 3 DOORS DOWN 3OH!3 Beautiful Be Like That Follow Me Down (Duet w. Neon Hitch) Wasteland Behind Those Eyes My First Kiss (Solo w. Ke$ha) 10,000 MANIACS Better Life StarStrukk (Solo & Duet w. Katy Perry) Because The Night Citizen Soldier 3RD STRIKE Candy Everybody Wants Dangerous Game No Light These Are Days Duck & Run Redemption Trouble Me Every Time You Go 3RD TYME OUT 100 PROOF AGED IN SOUL Going Down In Flames Raining In LA Somebody's Been Sleeping Here By Me 3T 10CC Here Without You Anything Donna It's Not My Time Tease Me Dreadlock Holiday Kryptonite Why (w. Michael Jackson) I'm Mandy Fly Me Landing In London (w. Bob Seger) 4 NON BLONDES I'm Not In Love Let Me Be Myself What's Up Rubber Bullets Let Me Go What's Up (Acoustative) Things We Do For Love Life Of My Own 4 PM Wall Street Shuffle Live For Today Sukiyaki 110 DEGREES IN THE SHADE Loser 4 RUNNER Is It Really Me Road I'm On Cain's Blood 112 Smack Ripples Come See Me So I Need You That Was Him Cupid Ticket To Heaven 42ND STREET Dance With Me Train 42nd Street 4HIM It's Over Now When I'm Gone Basics Of Life Only You (w. Puff Daddy, Ma$e, Notorious When You're Young B.I.G.) 3 OF HEARTS For Future Generations Peaches & Cream Arizona Rain Measure Of A Man U Already Know Love Is Enough Sacred Hideaway 12 GAUGE 30 SECONDS TO MARS Where There Is Faith Dunkie Butt Closer To The Edge Who You Are 12 STONES Kill 5 SECONDS OF SUMMER Crash Rescue Me Amnesia Far Away 311 Don't Stop Way I Feel All Mixed Up Easier 1910 FRUITGUM CO. -
Performance-Practice Issues in Bartók's Sonata
PERFORMANCE-PRACTICE ISSUES IN BARTÓK‘S SONATA FOR SOLO VIOLIN (1944) by OLIVER YATSUGAFU (Under the Direction of Levon Ambartsumian and David Haas) ABSTRACT The Sonata for Solo Violin was composed by Béla Bartók in 1944 as a commission by the American violinist Yehudi Menuhin. The piece represents one of Bartók‘s last works. This Solo Sonata is a four-movement work with the following movements: ―Tempo di ciaccona,‖ ―Fuga,‖ ―Melodia,‖ and ―Presto.‖ The entire piece is approximately twenty minutes in length. The Solo Sonata stands as one of the most important 20th-century compositions for solo violin. The author has investigated the circumstances in which the Solo Sonata was created and its performance-practice issues. Therefore, this dissertation discusses Bartók‘s life and work in the United States of America, his encounter with Yehudi Menuhin, and the compositional history, performances, and reviews of the Solo Sonata. In addition, this document analyses briefly the form, style, and performance-practice challenges of each movement, appointing possible solutions. INDEX WORDS: Béla Bartók, Sonata for Solo Violin, violin performance-practice issues, repertoire for solo violin, revisions, Solo Sonata creation, Solo Sonata form and style, Yehudi Menuhin, Rudolf Kolisch. PERFORMANCE-PRACTICE ISSUES IN BARTÓK‘S SONATA FOR SOLO VIOLIN (1944) by OLIVER YATSUGAFU B. M. in Violin Performance FORB, Parana School of Higher Studies of Music and Fine Arts, Brazil, 2001 M.M. in Violin Performance University of Georgia, GA, United States 2007 A Dissertation -
Classical Gas Recordings and Releases Releases of “Classical Gas” by Mason Williams
MasonMason WilliamsWilliams Full Biography with Awards, Discography, Books & Television Script Writing Releases of Classical Gas Updated February 2005 Page 1 Biography Mason Williams, Grammy Award-winning composer of the instrumental “Classical Gas” and Emmy Award-winning writer for “The Smothers Brothers Comedy Hour,” has been a dynamic force in music and television circle since the 1960s. Born in Abilene, Texas in 1938, Williams spent his youth divided between living with his 1938 father in Oklahoma and his mother in Oregon. His interest in music began when, as a teenager, he to 1956 became a fan of pop songs on the radio and sang along with them for his own enjoyment. In high Oklahoma school, he sang in the choir and formed his first group, an a capella quartet that did the 1950’s City style pop and rock & roll music of the era. They called themselves The Imperials and The to L.A. Lamplighters. The other group members were Diana Allen, Irving Faught and Larry War- ren. After Williams was graduated from Northwest Classen High School in Oklahoma City in 1956, he and his lifelong friend, artist Edward Ruscha, drove to Los Angeles. There, Williams attended Los Angeles City College as a math major, working toward a career as an insurance actuary. But he spent almost as much time attending musical events, especially jazz clubs and concerts, as he did studying. This cultural experience led him to drop math and seek a career in music. Williams moved back to Oklahoma City in 1957 to pursue his interest in music by taking a crash course in piano for the summer. -
Nine Constructions of the Crossover Between Western Art and Popular Musics (1995-2005)
Subject to Change: Nine constructions of the crossover between Western art and popular musics (1995-2005) Aliese Millington Thesis submitted to fulfil the requirements for the degree of Doctor of Philosophy ~ Elder Conservatorium of Music Faculty of Humanities and Social Sciences The University of Adelaide October 2007 Contents List of Tables…..…………………………………………………………....iii List of Plates…………………………………………………………….......iv Abstract……………………………………………………………………...v Declaration………………………………………………………………….vi Acknowledgements………………………………………………………...vii Chapter One Introduction…………………………………..…..1 Chapter Two Crossover as a marketing strategy…………....…43 Chapter Three Crossover: constructing individuality?.................69 Chapter Four Shortcuts and signposts: crossover and media themes..…………………...90 Chapter Five Evoking associations: crossover, prestige and credibility………….….110 Chapter Six Attracting audiences: alternate constructions of crossover……..……..135 Chapter Seven Death and homogenization: crossover and two musical debates……..……...160 Chapter Eight Conclusions…………………..………………...180 Appendices Appendix A The historical context of crossover ….………...186 Appendix B Biographies of the four primary artists..…….....198 References …...……...………………………………………………...…..223 ii List of Tables Table 1 Nine constructions of crossover…………………………...16-17 iii List of Plates 1 Promotional photograph of bond reproduced from (Shine 2002)……………………………………….19 2 Promotional photograph of FourPlay String Quartet reproduced from (FourPlay 2007g)………………………………….20 3 Promotional -
Weekly
May WEEKLY SUN MON Tur INFO THU FRISAT no, 1 6 7 23 45 v4<..\k, 9 10 1112 13 14 15 $3.00 As?,9030. 8810 85 16 17 18 19 20 21 22 $2.80 plus .20 GST A 2_4 2330 243125 26 27 28 29 Volume 57 No. 14 -512 13 AA22. 2303 Week Ending April 17, 1993 .k2't '1,2. 282 25 No. 1 ALBUM ARE YOU GONNA GO MY WAY Lenny Kravitz TELL ME WHAT YOU DREAM Restless Heart WHO IS IT Michael Jackson SOMEBODY LOVE ME Michael W. Smith LOOKING THROUGH ERIC CLAPTON PATIENT EYES Unplugged PM Dawn Reprise - CDW-45024-P I FEEL YOU Depeche Mode LIVING ON THE EDGE Aerosmith YOU BRING ON THE SUN Londonbeat RUNNING ON FAITH CAN'T DO A THING Eric Clapton (To Stop Me) Chris Isaak to LOOK ME IN THE EYES oc Vivienne Williams IF YOU BELIEVE IN ME thebeANts April Wine coVapti FLIRTING WITH A HEARTACHE Ckade Dan Hill LOITA LOVE TO GIVE 0etex s Daniel Lanois oll.v-oceve,o-c1e, DON'T WALK AWAY Jade NOTHIN' MY LOVE CAN'T FIX DEPECHE MODE 461100'. Joey Lawrence ; Songs Of Faith And Devotion c.,25seNps CANDY EVERYBODY WANTS 10,000 FLYING THE CULT Blue Rodeo Pure Cult BIG TIME DWIGHT YOAKAM I PUT A SPELL ON YOU LEONARD COHEN This Time Bryan Ferry The Future ALBUM PICK DANIEL LANOIS HARBOR LIGHTS ALADDIN . For The Beauty Of Wynona Bruce Hornsby Soundtrack HOTHOUSE FLOWERS COUNTRY Songs From The Rain ADDS HIT PICK JUST AS I AM Ricky Van Shelton No. -
Suggested Serving: 1. WOODEN STARS 2. COLDCUT 3. HANIN ELIAS 4. WINDY & CARL 5. SOUTHERN CULTURE on the SKIDS 6. CORNERSHOP
December, 1997 That Etiquette Magazine from CiTR 101.9 fM FREE! 1. Soupspoon 2. Dinner knife 3. Plate 4. Dessert fork 5. Salad fork 6. Dinner fork 7. Napkin 8. Bread and butter plate 9. Butter spreader 10. Tumbler u Suggested Serving: 1. WOODEN STARS 2. COLDCUT 3. HANIN ELIAS 4. WINDY & CARL 5. SOUTHERN CULTURE on the SKIDS 6. CORNERSHOP 7. CiTR ON-AIR PROGRAMMING GUIDE Dimm 1997 I//W 179 f€fltUf€J HANIN ELIAS 9 WOODEN STARS 11 WINDY & CARL 12 CORNERSHOP 14 SOUTHERN CULTURE ON THE SKIDS 16 COLDCUT 19 GARAGESHOCK 20 COUUAM COWSHEAD CHRONICLES VANCOUVER SPECIAL 4 INTERVIEW HELL 6 SUBCULT. 8 THE KINETOSCOPE 21 BASSLINES 22 SEVEN INCH 22 PRINTED MATTERS 23 UNDER REVIEW 24 REAL LIVE ACTION 26 ON THE DIAL 28 e d i t r i x : miko hoffman CHARTS 30 art director: kenny DECEMBER DATEBOOK 31 paul ad rep: kevin pendergraft production manager: tristan winch Comic* graphic design/ Layout: kenny, atomos, BOTCHED AMPALLANG 4 michael gaudet, tanya GOOD TASTY COMIC 25 Schneider production: Julie colero, kelly donahue, bryce dunn, andrea gin, ann Coucr goncalves, patrick gross, jenny herndier, erin hoage, christa 'Tis THE SEASON FOR EATIN', LEAVING min, katrina mcgee, sara minogue, erin nicholson, stefan YER ELBOWS OFF THE TABLE AND udell, malcolm van deist, shane MINDING YER MANNERS! PROPER van der meer photogra- ETIQUETTE COVER BY ARTIST phy/i L Lustrations: jason da silva, ted dave, TANYA SCHNEIDER. richard folgar, sydney hermant, mary hosick, kris rothstein, corin sworn contribu © "DiSCORDER* 1997 by the Student Radio Society of the University of British Columbia.