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Phonographic Performance Company of Australia Limited Control of Music on Hold and Public Performance Rights Schedule 2
PHONOGRAPHIC PERFORMANCE COMPANY OF AUSTRALIA LIMITED CONTROL OF MUSIC ON HOLD AND PUBLIC PERFORMANCE RIGHTS SCHEDULE 2 001 (SoundExchange) (SME US Latin) Make Money Records (The 10049735 Canada Inc. (The Orchard) 100% (BMG Rights Management (Australia) Orchard) 10049735 Canada Inc. (The Orchard) (SME US Latin) Music VIP Entertainment Inc. Pty Ltd) 10065544 Canada Inc. (The Orchard) 441 (SoundExchange) 2. (The Orchard) (SME US Latin) NRE Inc. (The Orchard) 100m Records (PPL) 777 (PPL) (SME US Latin) Ozner Entertainment Inc (The 100M Records (PPL) 786 (PPL) Orchard) 100mg Music (PPL) 1991 (Defensive Music Ltd) (SME US Latin) Regio Mex Music LLC (The 101 Production Music (101 Music Pty Ltd) 1991 (Lime Blue Music Limited) Orchard) 101 Records (PPL) !Handzup! Network (The Orchard) (SME US Latin) RVMK Records LLC (The Orchard) 104 Records (PPL) !K7 Records (!K7 Music GmbH) (SME US Latin) Up To Date Entertainment (The 10410Records (PPL) !K7 Records (PPL) Orchard) 106 Records (PPL) "12"" Monkeys" (Rights' Up SPRL) (SME US Latin) Vicktory Music Group (The 107 Records (PPL) $Profit Dolla$ Records,LLC. (PPL) Orchard) (SME US Latin) VP Records - New Masters 107 Records (SoundExchange) $treet Monopoly (SoundExchange) (The Orchard) 108 Pics llc. (SoundExchange) (Angel) 2 Publishing Company LCC (SME US Latin) VP Records Corp. (The 1080 Collective (1080 Collective) (SoundExchange) Orchard) (APC) (Apparel Music Classics) (PPL) (SZR) Music (The Orchard) 10am Records (PPL) (APD) (Apparel Music Digital) (PPL) (SZR) Music (PPL) 10Birds (SoundExchange) (APF) (Apparel Music Flash) (PPL) (The) Vinyl Stone (SoundExchange) 10E Records (PPL) (APL) (Apparel Music Ltd) (PPL) **** artistes (PPL) 10Man Productions (PPL) (ASCI) (SoundExchange) *Cutz (SoundExchange) 10T Records (SoundExchange) (Essential) Blay Vision (The Orchard) .DotBleep (SoundExchange) 10th Legion Records (The Orchard) (EV3) Evolution 3 Ent. -
Skin, Body and Interior in South African Twentieth Century Mining Photography
Beneath: skin, body and interior in South African twentieth century mining photography by Fernanda Pinto de Almeida Thesis presented in fulfilment of the requirements of the degree of Master of Arts (Psychology) in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr. Desmond Painter Co-supervisor: Prof. Steven Robins April 2014 Stellenbosch University http://scholar.sun.ac.za DECLARATION I, the undersigned, hereby declare that the work contained in this assignment is my original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Signature: ______________________________ Date: February 25, 2014 Copyright © 2014 Stellenbosch University. All rights reserved Stellenbosch University http://scholar.sun.ac.za ABSTRACT In South Africa, documentary photographs are met with suspicion in critical psychology scholarship either for their connivance with colonial and postcolonial classificatory strategies or their epistemic violence against racialized subjects. This has helped us to take photography, and mining photography within it, at face value, in other words, as particularly embedded in the form of geographic displacement, material dispossession and structural discrimination that race has been historically set to index. Questioning this assumption, while sympathetic to the conditions for its emergence, my method in this thesis is akin to Benjamin’s “literary montage” in Arcades Project (1999, p. 460) – a meaningful and poetic assemblage of a collection of mining photographs from 1910 to 2000, assuming that the figure of the black miner they help to produce is expressed through race, but also, to use Durrheim’s term, troubles it. In other words, my critique constitutes what Nash (2009, p. -
African Communist, No. 82
African Communist, No. 82 http://www.aluka.org/action/showMetadata?doi=10.5555/AL.SFF.DOCUMENT.0001.9976.000.082.1980 Use of the Aluka digital library is subject to Aluka’s Terms and Conditions, available at http://www.aluka.org/page/about/termsConditions.jsp. By using Aluka, you agree that you have read and will abide by the Terms and Conditions. Among other things, the Terms and Conditions provide that the content in the Aluka digital library is only for personal, non-commercial use by authorized users of Aluka in connection with research, scholarship, and education. The content in the Aluka digital library is subject to copyright, with the exception of certain governmental works and very old materials that may be in the public domain under applicable law. Permission must be sought from Aluka and/or the applicable copyright holder in connection with any duplication or distribution of these materials where required by applicable law. Aluka is a not-for-profit initiative dedicated to creating and preserving a digital archive of materials about and from the developing world. For more information about Aluka, please see http://www.aluka.org African Communist, No. 82 Alternative title African Communist Author/Creator South African Communist Party Publisher South African Communist Party Date 1980 Resource type Magazines (Periodicals) Language English Subject Coverage (spatial) South Africa, Zimbabwe Coverage (temporal) 1980 Description Editorial Notes; From Rhodesia to Zimbabwe; Trade Unions at the Crossroads; Africa's links with the EEC lead to dependence; Why Communists Supported Khomeini: The Anti-Imperialist Tide in Iran; Is there a place for Black Consciousness?; Armed Struggle in South Africa; Africa Notes and Comment; Role of Trade Unions in the SA Revolution Portrait of a Bantustan; Book Reviews; Letter to the Editor. -
January 1984)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 1-1984 Wavelength (January 1984) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (January 1984) 39 https://scholarworks.uno.edu/wavelength/39 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ORLEANS '84 World's Fair: 'The Most Exciting Plate In The World' Trash Movies As Art Movies Theatre Art& Music Rolling Listings With Shirley and Lee Thoroughly Modem Marsalis BULK RATE U.S. POSTAGE PAID ALEXANDRIA, LA PERMIT N0.88 utauelenglh ISSUE N0.39 • JANUARY 1984 ISSN 0741·2460 ''I 'm not sure, but I'm almost positive, that all music came from New Orleans. '' -Ernie K-Doe, 1979 Cover photo by Michael P. Smith t table of contents What a Year!!! Features -------• World's Fair by Bunny Matthews ............ 14 You're gonna need Wavelength in 1984 Shirley Goodman by Almost Slim . ........... 16 Naughty Marietta New Orleans knows how to party, but this by Don Lee Keith . .. .. .... .. 19 year, we're really going to show our Ellis Marsalis With all the thousands of events to by Yorke Corbin . 21 from, you're going to need us more Spirit World ever, so you won't miss one minute of the by rico .. .... ...... .. ... ... 23 fun. Departments----- January News .. ...... ... ......... 4 AND IF YOU SUBSCRIBE NOW, Golden Moments by Almost Slim . -
1988 Festival of American Folklife
Smithsonian Folklife Festival records: 1988 Festival of American Folklife CFCH Staff 2017 Ralph Rinzler Folklife Archives and Collections Smithsonian Center for Folklife and Cultural Heritage 600 Maryland Ave SW Washington, D.C. [email protected] https://www.folklife.si.edu/archive/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Historical note.................................................................................................................. 2 Scope and Contents note................................................................................................ 2 Arrangement note............................................................................................................ 2 Introduction....................................................................................................................... 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Program Books, Festival Publications, and Ephemera, 1988................... 5 Series 2: American Folklore Society Centennial...................................................... 6 Series 3: Festival Music Stage............................................................................. -
King Solomon's Mines Revisited
King Solomon's Mines Revisited http://www.aluka.org/action/showMetadata?doi=10.5555/AL.SFF.DOCUMENT.cbp1006 Use of the Aluka digital library is subject to Aluka’s Terms and Conditions, available at http://www.aluka.org/page/about/termsConditions.jsp. By using Aluka, you agree that you have read and will abide by the Terms and Conditions. Among other things, the Terms and Conditions provide that the content in the Aluka digital library is only for personal, non-commercial use by authorized users of Aluka in connection with research, scholarship, and education. The content in the Aluka digital library is subject to copyright, with the exception of certain governmental works and very old materials that may be in the public domain under applicable law. Permission must be sought from Aluka and/or the applicable copyright holder in connection with any duplication or distribution of these materials where required by applicable law. Aluka is a not-for-profit initiative dedicated to creating and preserving a digital archive of materials about and from the developing world. For more information about Aluka, please see http://www.aluka.org King Solomon's Mines Revisited Author/Creator Minter, William Publisher New York: Basic Books Date 1986-00-00 Resource type Books Language English Subject Coverage (spatial) Southern Africa (region), Western Europe (region), United Kingdom, North America (region), United States Coverage (temporal) 1870 - 1985 Rights By kind permission of William Minter. Description CHAPTER 1 The Lion's Share: Britain and Southern -
The Randlords, Art and South Africa
OLD MASTERS AND ASPIRATIONS: THE RANDLORDS, ART AND SOUTH AFRICA MICHAEL STEVENSON Thesis presented for the Degree of Doctor of Philosophy in the Department of Art History, University of Cape Town, September 1997 University of Cape Town r·~ i.·;:~:t·;:·.:~; s.; Yt.:, :·.; ::,f:~:i·~; L cr In ;)c .. I.. C-·1-o•''::i'" !.:.· !<·.·:~ wY •. .!-.:. w..... •ll.;-!. ,1 t~:-;:;--:-:;_:,--::;-r-:_,_-:--:-.\:.>{<:'-:-'>,:7.-:~~.., ·---:;: ~-._.' •• j":".. • ,·, ::-- -::~ ....--:' ··_ • .:..""·.-:--_--::::;~-:-.'~.:_:JJ The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town CONTENTS ABSTRACT ............................................................................................. ~ ..................•.•..•....................•......• i CONVENTIONS •...•.•.........•.•••••••••.•..•....................•.....••....••••••••••.•.••..............••••••.••••••••••................••..•••••• vii INTRODUCTION ...................................................................................................................................... 1 CHAPTER ONE: SIR JULIUS AND LADY WERNHER ••.•...•.••••.....••.•..••••.•••••.•.•••.•.••.•..•.•.•.•.••• 37 CHAPTER TWO: ALFRED AND SIR OTTO BElT ................................................................. -
Mining for Empire
MINING FOR EMPIRE: GOLD, AMERICAN ENGINEERS, AND TRANSNATIONAL EXTRACTIVE CAPITALISM, 1889-1914 by Jeffrey Michael Bartos A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy In History MONTANA STATE UNIVERSITY Bozeman, Montana November 2018 ©COPYRIGHT by Jeffrey Michael Bartos 2018 All Rights Reserved ii DEDICATION In loving memory of Dr. Harold C. Fleming and Lt. Col. Walter H. King, USAF iii ACKNOWLEDGMENTS I owe a deep debt to many people who supported this dissertation from start to finish. My partner Molly has been patient with my absent-mindedness and perpetual state of stress, and Jasper and Lucy offer the finest creature comforts. My family has been incredibly supportive as well, even if they weren’t quite sure what I was researching. I could not have come to this point without the amazing intellectual community fostered by the historians of Montana State University. I owe particular gratitude to my doctoral committee, who have seen me through both a Master’s thesis and now to this point. Thanks to Dr. Billy G. Smith, Dr. Tim LeCain, Dr. Mary Murphy, Dr. Bob Rydell, and Dr. Michael Reidy. My fellow graduate students have similarly pushed me in my research and thinking, and I must acknowledge Dr. Cheryl Hendry, Dr. Gary Sims, Jen Dunn, Laurel Angell, Kelsey Matson, Clinton Colgrove, Reed Knappe, Alex Aston, Anthony Wood, Jill Falcon Mackin, Will Wright, and many others for their intellectual rigor and for the exchange of ideas and thinking around this project. Special thanks to Kerri Clement who was my primary reader and sounding board for ideas; whether we were floating down a river or swapping drafts, Kerri was critical in the intellectual formations of this work. -
Things Reggae
earned his moniker, and where the songs vinyl, books and t-shirts, to discussions, of both reggae greats and lesser-known blogs and profi les. Website for artists fi rst reached the airwaves. Perhaps most exciting to reggae fans He founded RAS Records in 1980. will be the exclusive content offered for The label grew to include a who’s-who download on the site. Doctor Dread has roster of artists, with Black Uhuru, Bunny built up a considerable list of connections Wailer, Gregory Isaacs, Inner Circle and over his 25 years in the business and All Things Israel Vibration. plans to put these contacts to good use, Ever the creative entrepreneur, Doctor offering studio tracks and remixes. Dread has now launched myreggae.com, Each visit to the site will yield something a comprehensive website for reggae artists new -- content, releases, discussions and Reggae and enthusiasts alike. an expanding network of artists and “I needed to reinvent myself in a way enthusiasts. Doctor Dread hopes the site by Abby Gibbon that was relevant to the ever-changing will support and invigorate the reggae Doctor Dread (Gary Himelfarb) music community. I have the same vision community, and looks forward to input fi rst discovered reggae music in 1973, and energy as when I fi rst started 25 years from visitors. after listening to Catch A Fire and The ago. It’s a vibe that feels really right for the Harder They Come. After frequent trips youth and for those who love reggae. It’s to Jamaica, his love for reggae was also a way for artists to feature unreleased cemented. -
Princeton/Stanford Working Papers in Classics
Princeton/Stanford Working Papers in Classics Mixed capital: classicism in unexpected places Version 1.1 February 2012 Grant Parker Stanford University Abstract: The reception of Greco-Roman antiquity in South Africa exhibits enormous variety. The current essay is an introduction to a proposed volume that explores as many aspects as possible. Several instances of South African classicism cluster around Cecil John Rhodes, but equally there is significant material involving people who have had little or no formal instruction in Latin or Greek. © Grant Parker [email protected] 1 Mixed capital: classicism in unexpected places On 12 February 1991 a meeting took place at Cape Town’s airport, then known as D. F. Malan Airport in memory of a previous prime minister, between leaders of the African National Congress and President F. W. de Klerk’s ruling National Party. One year earlier Nelson Mandela, the African National Congress (ANC) leader, had been released from lengthy imprisonment and the organisation itself unbanned. The purpose of the meeting was to clear the way for formal talks about the transition to democracy, talks which had at the time stalled as a result of violent exchanges involving both the black population and the security forces. The meeting ultimately produced the D. F. Malan Accord, an agreement on the terms of engagement that did much to make possible the first democratic election of April 1994. This was unchartered territory and the mood was tense. Skeptics on each side questioned the entire exercise of negotiating a democratic solution to the country’s political impasse, which had long since been marked by violence. -
Untitled Will Be out in Di Near Near Future Tracks on the Matisyahu Album, I Did Something with Like Inna Week Time
BACKAYARD DEEM TEaM Chief Editor Amilcar Lewis Creative/Art Director Noel-Andrew Bennett Managing Editor Madeleine Moulton (US) Production Managers Clayton James (US) Noel Sutherland Contributing Editors Jim Sewastynowicz (US) Phillip Lobban 3G Editor Matt Sarrel Designer/Photo Advisor Andre Morgan (JA) Fashion Editor Cheridah Ashley (JA) Assistant Fashion Editor Serchen Morris Stylist Judy Bennett Florida Correspondents Sanjay Scott Leroy Whilby, Noel Sutherland Contributing Photographers Tone, Andre Morgan, Pam Fraser Contributing Writers MusicPhill, Headline Entertainment, Jim Sewastynowicz, Matt Sarrel Caribbean Ad Sales Audrey Lewis US Ad Sales EL US Promotions Anna Sumilat Madsol-Desar Distribution Novelty Manufacturing OJ36 Records, LMH Ltd. PR Director Audrey Lewis (JA) Online Sean Bennett (Webmaster) [email protected] [email protected] JAMAICA 9C, 67 Constant Spring Rd. Kingston 10, Jamaica W.I. (876)384-4078;(876)364-1398;fax(876)960-6445 email: [email protected] UNITED STATES Brooklyn, NY, 11236, USA e-mail: [email protected] YEAH I SAID IT LOST AND FOUND It seems that every time our country makes one positive step forward, we take a million negative steps backward (and for a country with about three million people living in it, that's a lot of steps we are all taking). International media and the millions of eyes around the world don't care if it's just that one bad apple. We are all being judged by the actions of a handful of individuals, whether it's the politician trying to hide his/her indiscretions, to the hustler that harasses the visitors to our shores. It all affects our future. -
|||GET||| Yellowman 1St Edition
YELLOWMAN 1ST EDITION DOWNLOAD FREE Dael Orlandersmith | 9780822218807 | | | | | Kenny Rogers and The First Edition During the early s, Yellowman had over 40 singles and produced up to five albums per year. Yellowman 1st edition help improve it or discuss these issues on the talk page. Artist see all. Den Namen legte er erst als Erwachsener ab. The song may have played a part in his future middle of the road image, but the change did not happen until almost a year after it was written. The Beatles Music Action Figures. The song was not a hit, but the following year Kenny recorded his own version of the song for his popular Share Your Love album, produced by Lionel Richie ; Vassy sang the back up on Kenny's version. Though he was hired to stay permanently, the reunion with Vassy did not go well and he ended up playing only one night. More refinements More refinements Connecting readers with great books since He has remained an active session musician and arranger. For other uses, see Yellow people and Yellowman disambiguation. More information about this seller Contact this seller 5. He Yellowman 1st edition himself with his album Prayerwhich stepped away Yellowman 1st edition the slackness that gave him his initial fame. I think it would Yellowman 1st edition a difficult show to direct--it would need a delicate hand, but with there right impulses and actors, it could be a gut wrenching and Yellowman 1st edition important piece of work. Can you find the vanishing lake? Yellowman You Searched For: Keywords: yellowman.