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River Voices Spring 2020 River Voices Cover Artist Statement
River Voices Spring 2020 River Voices Cover Artist Statement The piece is titled “Society’s Puppet.” This piece is important to each one of us because each of us relates to a category of the LGBTQ+ and felt it was vital that we send a message to people who are both part of the community and those who are bystanders. We have all had our personal experiences and stories about coming to terms with who we are. The internal struggle we face can feel as if you are at war with yourself. We often ask the question: “Can I live this life, love myself and go into the world this way? Or, would it just be easier simply to let society treat me like a puppet, and hide behind the veil of normality?” It’s a battle that may feel never ending, even when you finally can look at yourself and say, “This is me!” The world around us is not always as accepting. But each day that you get up, you are facing the world and showing them that you cannot be turned into a “puppet” any longer. We hope that when you see this photo, you know that no matter how much you battle your inner demons, or the demons of the world around us, you can rise from the ashes and speak your truth. To help you through your story, and to express it to the world, we have created what we hope to be an artistic outlet for LGBTQ+ people every- where. We call it Studyingjupiter; it is an Instagram page where we hope to recreate stories about who you are, your journey of self-discovery, and anything else that you would like to send, through photography and special effects makeup. -
Music and the American Civil War
“LIBERTY’S GREAT AUXILIARY”: MUSIC AND THE AMERICAN CIVIL WAR by CHRISTIAN MCWHIRTER A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2009 Copyright Christian McWhirter 2009 ALL RIGHTS RESERVED ABSTRACT Music was almost omnipresent during the American Civil War. Soldiers, civilians, and slaves listened to and performed popular songs almost constantly. The heightened political and emotional climate of the war created a need for Americans to express themselves in a variety of ways, and music was one of the best. It did not require a high level of literacy and it could be performed in groups to ensure that the ideas embedded in each song immediately reached a large audience. Previous studies of Civil War music have focused on the music itself. Historians and musicologists have examined the types of songs published during the war and considered how they reflected the popular mood of northerners and southerners. This study utilizes the letters, diaries, memoirs, and newspapers of the 1860s to delve deeper and determine what roles music played in Civil War America. This study begins by examining the explosion of professional and amateur music that accompanied the onset of the Civil War. Of the songs produced by this explosion, the most popular and resonant were those that addressed the political causes of the war and were adopted as the rallying cries of northerners and southerners. All classes of Americans used songs in a variety of ways, and this study specifically examines the role of music on the home-front, in the armies, and among African Americans. -
Read an Excerpt
ACROSS THE PLAINS The Journey of the Palace Wagon Family by SANDRA FENlCHEL ASHER Dramatic Publishing Wcxxlstock, lllinois • London, England • Melooume, Australia © The Dramatic Publishing Company, Woodstock, Illinois *** NOTICE *** TIle amaleur and stock acting rights to this wen: are controlled exclusively by TIm DRAMATIC PUBUSHING COMPANY without wha;e pennission in writing 00 performance of it may be given. Royalty fees are given in our current catalogue and are subject to change without notice. Royalty must be paid every time a play is perfonned whether or not it is JI=lted for profit and whether a- not admission is charged. A play is perfonned any time it is acted bef<re an audience. All inquiries conceming amateur and stock rights should be addressed to: DRAMATIC PUBUSlllNG P. O. Box 129, Woodstock, lliioois 60098. COPYRIGHT UW GWES THE AUTHOR OR THE AUTHOR'S AGENT THE EXCLUSIVE RIGHT TO MAKE COPIES. This law provides lIlIlhcrs with a fair return fa- their creative efforts. Authas earn their living from the royalties they receive fnm book sales and from the perfonnance of their work Conscientious offiervance ofcopyright law is not ooly ethical, it encour ages authors to continue their creative work. This wa-k is fully protected by copyright No altecations, deletions a- substitutions may be made in the work without the pria- written consent of the publisher. No part of this work may be reproduced a- ttansmitted in any form or by any means, electrooic or me chanical, including photocopy, recording, videotape, film, or any information storage and retrieval system, without pennission in writing from the publisher. -
A Descriptive and Comparative Study of Conceptual Metaphors in Pop and Metal Lyrics
UNIVERSIDAD DE CHILE FACULTAD DE FILOSOFÍA Y HUMANIDADES DEPARTAMENTO DE LINGÜÍSTICA METAPHORS WE SING BY: A DESCRIPTIVE AND COMPARATIVE STUDY OF CONCEPTUAL METAPHORS IN POP AND METAL LYRICS. Informe final de Seminario de Grado para optar al Grado de Licenciado en Lengua y Literatura Inglesas Estudiantes: María Elena Álvarez I. Diego Ávila S. Carolina Blanco S. Nelly Gonzalez C. Katherine Keim R. Rodolfo Romero R. Rocío Saavedra L. Lorena Solar R. Manuel Villanovoa C. Profesor Guía: Carlos Zenteno B. Santiago-Chile 2009 2 Acknowledgements We would like to thank Professor Carlos Zenteno for his academic encouragement and for teaching us that [KNOWLEDGE IS A VALUABLE OBJECT]. Without his support and guidance this research would never have seen the light. Also, our appreciation to Natalia Saez, who, with no formal attachment to our research, took her own time to help us. Finally, we would like to thank Professor Guillermo Soto, whose suggestions were fundamental to the completion of this research. Degree Seminar Group 3 AGRADECIMIENTOS Gracias a mi mamá por todo su apoyo, por haberme entregado todo el amor que una hija puede recibir. Te amo infinitamente. A la Estelita, por sus sabias palabras en los momentos importantes, gracias simplemente por ser ella. A mis tías, tío y primos por su apoyo y cariño constantes. A mis amigas de la U, ya que sin ellas la universidad jamás hubiese sido lo mismo. Gracias a Christian, mi compañero incondicional de este viaje que hemos decidido emprender juntos; gracias por todo su apoyo y amor. A mi abuelo, que me ha acompañado en todos los momentos importantes de mi vida… sé que ahora estás conmigo. -
Eric Singer: Road Warrior
EXCLUSIVE! KISS DRUMMERS TIMELINE KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISSTHE WORLD’SKISS KISS #1 DRUMKISS RESOURCEKISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS ERICKISS KISS KISSSINGER: KISS KISS KISS ROADKISS KISS KISS WARRIOR KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS2020 KISS KISSMD KISS READERS KISS KISS KISS KISSPOLL KISS KISS KISS KISS KISSSS KISSKIS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISSSS KISSKIS KISS KISS KISSBALLOT’S KISS KISS KISS KISSOPEN! KISS KISS KISS KISS KISS KISS KISSSS KISS KIS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISSREMO KISS SUBKISS MUFF’LKISS KISS REVIEWED KISS KISS KISS KISS KISS KISS KISS KISSJANUARY KISS 2020 KISS KISS2019 KISS CHICAGO KISS KISS DRUM KISS KISS SHOW KISS KISS KISS KISS KISS KISS KISS KISS KISS KISSCREATIVE KISS KISS PRACTICE KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISSSTANTON KISS KISS MOORE KISS KISS GEARS KISS UPKISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS KISS What’s Old is New Again. -
URMC V118n83 20091210.Pdf (9.241Mb)
THE ROCKY MOUNTAIN Fort Collins, Colorado COLLEGIAN Volume 118 | No. 8 T D THE STUDENT VOICE OF COLORADO STATE UNIVERSITY SINCE 1891 B ASCS ICE, ICE, BABY BOG Leg. a airs director wants student voice on governing board B KIRSTEN SIVEIRA The Rocky ountain Collegian After CSU’s governing board decided to ban concealed weapons on campus, spark- TODAYS IG ing intense controversy student leaders said Wednesday that there must be a student vot- 25 degrees ing member on the board because its mem- bers refuse to listen to students. So far this season, CSU To secure that voting member, Associ- has received a total of 44.2 ated Students of CSU Director of Legislative inches of snow with fi ve full YEAR SEASONA Affairs Matt Worthington drafted a resolu- months of the snow season TOTA IN INCES tion that would allow state leaders to appoint still ahead, according to re- a student to vote on the CSU System Board search from the Department 1 9 9 9 - 2 0 0 0 : 3 . of Governors. The ASCSU Senate moved his of Atmospheric Science. 2 0 0 0 - 2 0 0 1 : 5 resolution to committee Wednesday night. Even if the city receives 2 0 0 1 - 2 0 0 2 : 4 4 .1 ASCSU President Dan Gearhart and CSU- no more snow this winter, 2 0 0 2 - 2 0 0 3 : 1. Pueblo student government President Steve Fort Collins has already re- 2 0 0 3 - 2 0 0 4 : 9 .1 Titus both currently sit on the BOG as non- ceived more snow than in six 2 0 0 4 - 2 0 0 5 : 5 . -
Fischerspooner Bio
FISCHERSPOONER BIO Joe Gillis: I didn't know you were planning a comeback. Norma Desmond: I hate that word. It's a return, a return to the millions of people who have never forgiven me for deserting the screen. -Sunset Boulevard It was supposed to be just one song. In January, 2013, four years after the release of their previous album, Entertainment , Warren Fischer invited Casey Spooner into the studio to collaborate on their first new song since 2008. If you know anything about Fischerspooner–a DIY art project that debuted with a guerrilla performance at a Manhattan Starbucks and snowballed into a sprawling spectacle that kicked open the door for the post-electroclash pop revolution–you know that once they get working, even their most modest plans have a way of quickly turning into something much grander. Four years and some change later, Fischerspooner is back with what might be their most ambitious and challenging project yet: an expansive multimedia work spanning a museum exhibition, an art book, and Sir, their first collection of new music in nearly a decade. Fischerspooner has never just been the work of Fischer and Spooner. For each project the pair have built a family of collaborators to help realize their vision. Well after it became clear that their new project wasn’t going to stop at just one song, Spooner turned to his longtime friend Michael Stipe for songwriting advice. In typical Fischerspooner style, asking for notes on one track quickly turned into a full-fledged collaboration. Soon enough, Stipe had signed on to co-write and produce the album, and Spooner was working round-the-clock sessions in a studio around the corner from Stipe’s home in Athens, Georgia– a place he had first visited 30 years ago after the pair hit it off on the dance floor of Athens’ 40 Watt Club, and an 18 year old virgin with a Prince Valiant haircut found himself going home with a long-haired rock star in BMX pants 10 years his senior. -
Ashton Patriotic Sublime.5.Pdf (9.823Mb)
commercial spaces like theaters, and to performances spanning the gamut from the solemn, to the joyous. This diversity encompassed celebrations outside the expected calendar of national days. Patriotic sentiment was even a key feature of events celebrating the economic and commercial expansion of the new nation. The commemorative celebration for the laying of the foundation-stone of the Baltimore & Ohio Railroad, the “great national work which is intended and calculated to cement more strongly the union of the Eastern and the Western States,” took place on July 4, 1828.1 It beautifully illustrated the musical ties that bound different spaces together – in this case a parade route, a temporary outdoor civic space, and the permanent space of the Holliday Street Theatre. Organizers chose July Fourth for the event, wishing to signal civic pride and affective patriotism. Baltimore filled with visitors in the days before the celebration, so that on the morning of the Fourth the “immense throng of spectators…filled every window in Baltimore-street, and the pavement below….fifty thousand spectators, at least, must have been present.” The parade was massive and incorporated a great diversity of groups, including “bands of music, trades, and other bodies.” One focal point was a huge model, “completely rigged,” of a naval vessel, the “Union,” complete with uniformed sailors. Bands playing patriotic tunes were interspersed amongst the nationalist imagery on display: militia uniforms, banners emblazoned with patriotic verse, national flags, eagle figures, shields, and more. Charles Carrollton, one of the last surviving signers of the Declaration of Independence, gave the main public address at the site, accompanied by a march composed for the occasion, the “Carrollton March” (see Figure 2.4). -
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! ! ! ! “FINGERS GLITTERING ABOVE A KEYBOARD:” ! THE KEYBOARD WORKS AND HYBRID CREATIVE PRACTICES OF ! TRISTAN PERICH! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! 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 Musical! Arts! ! ! by! David Benjamin Friend! May 2019! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! © 2019 David Benjamin! Friend! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! “FINGERS GLITTERING ABOVE A KEYBOARD:”! THE KEYBOARD WORKS AND HYBRID CREATIVE PRACTICES OF ! TRISTAN! PERICH! ! David Benjamin Friend, D.M.A.! Cornell University,! 2019! ! !This dissertation examines the life and work of Tristan Perich, with a focus on his works for keyboard instruments. Developing an understanding of his creative practices and a familiarity with his aesthetic entails both a review of his personal narrative as well as its intersection with relevant musical, cultural, technological, and generational discourses. This study examines relevant groupings in music, art, and technology articulated to Perich and his body of work including dorkbot and the New Music Community, a term established to describe the generationally-inflected structural shifts! in the field of contemporary music that emerged in New York City in the first several years of the twenty-first century. Perich’s one-bit electronics practice is explored, and its impact on his musical and artistic work is traced across multiple disciplines and a number of aesthetic, theoretical, and technical parameters. This dissertation also substantiates the centrality of the piano to Perich’s compositional process and to his broader aesthetic cosmology. A selection of his works for keyboard instruments are analyzed, and his unique approach to keyboard technique is contextualized in relation to traditional Minimalist piano techniques and his one-bit electronics practice." ! ! BIOGRAPHICAL! SKETCH! ! !! !David Friend (b. -
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. -
HIGHER EDUCATION Enlightening Problems: the Failure to Share Academic Expectations and Civic Responsibilities Hurts Students, Schools, and Society
Fall 2009 2009 HIGHER EDUCATION Enlightening Problems: The failure to share academic expectations and civic responsibilities hurts students, schools, and society. Business Fluctuations: The recession cuts into college sports and alters campus enrollment. Collision Courses: An earthquake shakes up a university. Helicopter parents shake things up too. Apex Award Winner Chapter Update: for Publication Excellence Distinguished Member Shirley C. Sorensen, 85, retires as executive secretary of the for Magazine & Journal University of Maryland chapter after more Writing for the than two decades of service. Spring 2009 Edition About Us Phi Kappa Phi Forum mission statement Phi Kappa Phi Forum, a multidisciplinary quarterly that enlightens, challenges and entertains its diverse readers, The fi rst organizational meeting of what came serves as a general-interest Archival photo. Archival publication as well as a platform for to be known as The Honor Society The Honor Society of Phi Kappa Phi. of Phi Kappa Phi took place in Coburn Hall (shown at left) at the University of Maine in Phi Kappa K Phi Forum F Orono, Maine, in 1897. The Phi Kappa Phi name (Issn 1538-5914) is published quarterly by was adopted on June 12, 1900. Although the The Honor Society of Phi Kappa Phi, national headquarters have been located in 7576 Goodwood Blvd., Baton Rouge, La. 70806. Printed at R.R. Donnelley, 1160 N. Main, Baton Rouge, La., since 1978, the vast majority Pontiac, Ill. 61764. of the Society’s historical documents are still kept at the founding institution. ©The Honor Society of Phi Kappa Phi, 2009. All rights reserved. Nonmember subscriptions $30 per year, domestic; $45 outside the U.S. -
Final Corrected Diss4-28
21ST CENTURY MOJO: THE PRACTICE OF RITUAL AND HIP HOP AMONG BRIGHT, BLACK UNIVERSITY STUDENTS AT A PREDOMINANTLY WHITE UNIVERSITY by J. SEAN CALLAHAN (Under the direction of Tarek C. Grantham and Elizabeth A. St. Pierre) ABSTRACT In this qualitative project, I interviewed eight Black male and female students, ages 22-30, to explore how they engage hip hop culture within the social, cultural, political, and historical conditions specific to the southeastern flagship university they attend. By focusing on their everyday lives and the interactions that are possible within the multiple social spaces of the university, my purpose was to better understand how these students use hip hop culture to make sense of their experiences on campus. More specifically, my dissertation locates the ritual practices that these students perform in the process of constructing and negotiating the socio-cultural terrain of the university; addresses the methodological issues that arise when conducting qualitative research that focuses on gifted, Black students; and explores the educative value of practicing hip hop. The significance of this work lies with its attention to the intersection where the processes of cultural production meet giftedness as well as its emphasis on the socio-emotional development of gifted and talented Black university students. INDEX WORDS: Interdisciplinary research, Hip hop, Culture, Gifted black students, Qualitative research, Ethnography, Gifted education, Curriculum, Performativity, Conjure, Rituals, Spirituality, Identity, Socio- emotional development 21ST CENTURY MOJO: THE PRACTICE OF RITUAL AND HIP HOP AMONG BRIGHT, BLACK UNIVERSITY STUDENTS AT A PREDOMINANTLY WHITE UNIVERSITY by J. SEAN CALLAHAN B.A., University of West Georgia, 1998 M.Ed., University of Georgia, 2004 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2012 © 2012 J.