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New York CITY
New York CITY the 123rd Annual Meeting American Historical Association NONPROFIT ORG. 400 A Street, S.E. U.S. Postage Washington, D.C. 20003-3889 PAID WALDORF, MD PERMIT No. 56 ASHGATENew History Titles from Ashgate Publishing… The Chronicle of Ibn al-Athir The Long Morning of Medieval Europe for the Crusading Period New Directions in Early Medieval Studies Edited by Jennifer R. Davis, California Institute from al-Kamil fi’l-Ta’rikh. Part 3 of Technology and Michael McCormick, The Years 589–629/1193–1231: The Ayyubids Harvard University after Saladin and the Mongol Menace Includes 25 b&w illustrations Translated by D.S. Richards, University of Oxford, UK June 2008. 366 pages. Hbk. 978-0-7546-6254-9 Crusade Texts in Translation: 17 June 2008. 344 pages. Hbk. 978-0-7546-4079-0 The Art, Science, and Technology of Medieval Travel The Portfolio of Villard de Honnecourt Edited by Robert Bork, University of Iowa (Paris, Bibliothèque nationale and Andrea Kann AVISTA Studies in the History de France, MS Fr 19093) of Medieval Technology, Science and Art: 6 A New Critical Edition and Color Facsimile Includes 23 b&w illustrations with a glossary by Stacey L. Hahn October 2008. 240 pages. Hbk. 978-0-7546-6307-2 Carl F. Barnes, Jr., Oakland University Includes 72 color and 48 b&w illustrations November 2008. 350 pages. Hbk. 978-0-7546-5102-4 The Medieval Account Books of the Mercers of London Patents, Pictures and Patronage An Edition and Translation John Day and the Tudor Book Trade Lisa Jefferson Elizabeth Evenden, Newnham College, November 2008. -
Hip Hop America Pdf, Epub, Ebook
HIP HOP AMERICA PDF, EPUB, EBOOK Nelson George | 256 pages | 31 May 2005 | Penguin Putnam Inc | 9780143035152 | English | New York, NY, United States Hip HOP America PDF Book Kool Herc -- lay the foundation of the hip-hop movement. Stylistically, southern rap relies on exuberant production and direct lyrics typically about the southern lifestyle, trends, attitudes. Hill's brilliant songwriting flourished from song to song, whether she was grappling with spirituality "Final Hour," "Forgive Them, Father" or stroking sexuality without exploiting it "Nothing Even Matters". According to a TIME magazine article, Wrangler was set to launch a collection called "Wrapid Transit," and Van Doren Rubber was putting out a special version of its Vans wrestling shoe designed especially for breaking [source: Koepp ]. Another key element that's helping spread the hip-hop word is the Internet. Late Edition East Coast. Most hip-hop historians speak of four elements of hip-hop: tagging graffiti , b-boying break dancing , emceeing MCing and rapping. Taking Hip-Hop Seriously. Related Content " ". Regardless, the Bay Area has enjoyed a measurable amount of success with their brainchild. And then, in the mid to late s, there was a resurgence in the popularity of breaking in the United States, and it has stayed within sight ever since. Depending on how old you are, when someone says "hip-hop dance," you could picture the boogaloo, locking, popping, freestyle, uprocking, floor- or downrocking, grinding, the running man, gangsta walking, krumping, the Harlem shake or chicken noodle soup. Another thing to clear up is this: If you think hip-hop and rap are synonymous, you're a little off the mark. -
ENG 350 Summer12
ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog. -
DJ Skills the Rise of the Hip-Hop DJ 3
The Rise of the Hip-Hop DJ 1 74 The Rise of The Hip-hop DJ DJs were Hip-hop’s original architects, and remain crucial to its contin- ued development. Hip-hop is more than a style of music; it’s a culture. As with any culture, there are various artistic expressions of Hip-hop, the four principal expressions being: • visual art (graffiti) • dance (breaking, rocking, locking, and popping, collectively known in the media as “break dancing”) • literature (rap lyrics and slam poetry) • music (DJing and turntablism) Unlike the European Renaissance or the Ming Dynasty, Hip-hop is a culture that is very much alive and still evolving. Some argue that Hip-hop is the most influential cultural movement in history, point- ing to the globalization of Hip-hop music, fashion, and other forms of expression. Style has always been at the forefront of Hip-hop. Improvisation is called free styling, whether in rap, turntablism, breaking, or graf- fiti writing. Since everyone is using the essentially same tools (spray paint for graffiti writers, microphones for rappers and beat boxers, their bodies for dancers, and two turntables with a mixer for DJs), it’s the artists’ personal styles that set them apart. It’s no coincidence that two of the most authentic movies about the genesis of the move- ment are titled Wild Style and Style Wars. There are also many styles of writing the word “Hip-hop.” The mainstream media most often oscillates between “hip-hop” and “hip hop.” The Hiphop Archive at Harvard writes “Hiphop” as one word, 2 DJ Skills The Rise of the Hip-Hop DJ 3 with a capital H, embracing KRS-ONE’s line of reasoning that “Hiphop Kool DJ Herc is a culture with its own foundation narrative, history, natives, and 7 In 1955 in Jamaica, a young woman from the parish of Saint Mary mission.” After a great deal of input from many people in the Hip-hop community, I’ve decided to capitalize the word but keep the hyphen, gave birth to a son who would become the father of Hip-hop. -
View Centro's Film List
About the Centro Film Collection The Centro Library and Archives houses one of the most extensive collections of films documenting the Puerto Rican experience. The collection includes documentaries, public service news programs; Hollywood produced feature films, as well as cinema films produced by the film industry in Puerto Rico. Presently we house over 500 titles, both in DVD and VHS format. Films from the collection may be borrowed, and are available for teaching, study, as well as for entertainment purposes with due consideration for copyright and intellectual property laws. Film Lending Policy Our policy requires that films be picked-up at our facility, we do not mail out. Films maybe borrowed by college professors, as well as public school teachers for classroom presentations during the school year. We also lend to student clubs and community-based organizations. For individuals conducting personal research, or for students who need to view films for class assignments, we ask that they call and make an appointment for viewing the film(s) at our facilities. Overview of collections: 366 documentary/special programs 67 feature films 11 Banco Popular programs on Puerto Rican Music 2 films (rough-cut copies) Roz Payne Archives 95 copies of WNBC Visiones programs 20 titles of WNET Realidades programs Total # of titles=559 (As of 9/2019) 1 Procedures for Borrowing Films 1. Reserve films one week in advance. 2. A maximum of 2 FILMS may be borrowed at a time. 3. Pick-up film(s) at the Centro Library and Archives with proper ID, and sign contract which specifies obligations and responsibilities while the film(s) is in your possession. -
Waterfront Revitalization Program
The New Waterfront Revitalization Program New York City Department of City Planning The New Waterfront Revitalization Program As approved by the Council of the City of New York and the NYS Department of State with the eoncurrence of the US Department of Commerce Michael R. Bloomberg, Mayor City o/New York Amanda M. Burden, AI Cp, Director Department o/City Planning • I September 2002 DCP# 02-14 ------------_......_--_..... ------ This report was prepared for the New York State Department of State • and funded in part with funds provided by I Title 11 ofthe Environmental Protection Fund The New Waterfront Revitalization Program Table of Contents Part I: The Program .......................................................... 1 Coastal Zone Regulations and Jurisdiction ................................... 3 Coastal Zone Boundary .................................................. 5 Planning Context for the New WRP ........................................ 5 The Consistency Determination Process ..................................... 6 The New WRP Policies .................................................. 8 Part II: The New WRP Policies ................................................ 9 Policy 1: Residential and Commercial Redevelopment ......................... 11 Policy 2: Maritime and Industrial Development .............................. 12 Policy 3: Waterways Usage .............................................. 14 Policy 4: Ecological Resources Protection .................................. 16 Policy 5: Water Quality ................................................ -
Carnegie Corporation of New York a N N U a L R E P O R T 2004-2005 Carnegie Corporation of New York
Carnegie Corporation of New York COMBINED ANNU A L R E P O R T 2004-2005 ANNU A L R E P O R T 2004-2005 Carnegie Corporation of New York Carnegie Corporation of New York was created by Andrew Carnegie in 1911 to promote “the advancement and diffusion of knowledge and understanding.” Under Carnegie’s will, grants must benefit the people of the United States, although up to 7.4 percent of the funds may be used for the same purpose in countries that are or have been members of the British Commonwealth, with a current emphasis on sub-Saharan Africa. As a grantmaking foundation, the Corporation seeks to carry out Carnegie’s vision of philanthropy, which he said should aim “to do real and permanent good in this world.” © 2007 Carnegie Corporation of New York Contents REPORT OF THE PrESIDENT I Reflections on Encounters With Three Cultures 2004 REPORT ON PrOGRAM 1 Ongoing Evaluation Enhances the Corporation’s Grantmaking Strategies in 2004 Grants and Dissemination Awards Education International Development International Peace and Security Strengthening U.S. Democracy Special Opportunities Fund Carnegie Scholars Dissemination Anonymous $15 Million in Grants to Cultural and Social Service Institutions in New York City 2004 REPORT ON FINANCES 77 Financial Highlights 2004 REPORT ON ADMINISTRATION 91 Fiscal 2004: The Year in Review 2005 REPORT ON PrOGRAM 97 Key Programs Meet the Challenges of Maturity in 2005 Grants and Dissemination Awards Education International Development International Peace and Security Strengthening U.S. Democracy Special Opportunities -
The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities
The Miseducation of Hip-Hop dance: Authenticity, and the commodification of cultural identities. E. Moncell Durden., Assistant Professor of Practice University of Southern California Glorya Kaufman School of Dance Introduction Hip-hop dance has become one of the most popular forms of dance expression in the world. The explosion of hip-hop movement and culture in the 1980s provided unprecedented opportunities to inner-city youth to gain a different access to the “American” dream; some companies saw the value in using this new art form to market their products for commercial and consumer growth. This explosion also aided in an early downfall of hip-hop’s first dance form, breaking. The form would rise again a decade later with a vengeance, bringing older breakers out of retirement and pushing new generations to develop the technical acuity to extraordinary levels of artistic corporeal genius. We will begin with hip-hop’s arduous beginnings. Born and raised on the sidewalks and playgrounds of New York’s asphalt jungle, this youthful energy that became known as hip-hop emerged from aspects of cultural expressions that survived political abandonment, economic struggles, environmental turmoil and gang activity. These living conditions can be attributed to high unemployment, exceptionally organized drug distribution, corrupt police departments, a failed fire department response system, and Robert Moses’ building of the Cross-Bronx Expressway, which caused middle and upper-class residents to migrate North. The South Bronx lost 600,000 jobs and displaced more than 5,000 families. Between 1973 and 1977, and more than 30,000 fires were set in the South Bronx, which gave rise to the phrase “The Bronx is Burning.” This marginalized the black and Latino communities and left the youth feeling unrepresented, and hip-hop gave restless inner-city kids a voice. -
The New York City Pedestrian Safety Study & Action Plan
New York City Pedestrian Safety Study & Action Plan The New York City Pedestrian Safety Study & Action Plan August 2010 New York City Department of Transportation1 New York City Department of Transportation 1 New York City Pedestrian Safety Study & Action Plan CONTENTS 4 Letter from the Commissioner 6 Executive Summary 8 Introduction 20 Findings - Pedestrian Crashes in New York City: Where When How Who 32 Action Plan Engineering Enforcement Public Communication Policy & Legislation Interagency Coordination & Cooperation 45 References 47 Acknowledgements 2 New York City Department of Transportation 3 New York City Pedestrian Safety Study & Action Plan LETTER FROM THE COMMISSIONER Dear fellow New Yorkers: Over the past decade we have made tremendous progress in reducing traffic fatalities in New York City. 2009 was in fact the safest year on record since the City began collecting data in 1910; annual traffic fatalities are down by 35 percent compared to 2001. New York’s streets are far safer than any other big city in this country. Our traffic fatality rates are more on par with world class cities such as London, Paris or Berlin. But even one fatality is too many. DOT aims to reduce by half the number of traffic deaths by 2030. In order to do this the agency has collected and analyzed more data about the causes of traffic deaths and injuries and where they are happening. We are using this information to design better streets. This first, unprecedented Pedestrian Safety Action Plan examines eight years of data about traffic crashes that have caused serious injuries or fatalities to pedestrians, and identifies underlying causes that we can address to reduce these crashes. -
Ecological Atonement in Fresh Kills: from Landfill to Landscape Marissa Reilly
Vassar College Digital Window @ Vassar Senior Capstone Projects 2013 Ecological Atonement in Fresh Kills: From Landfill to Landscape Marissa Reilly Follow this and additional works at: http://digitalwindow.vassar.edu/senior_capstone Recommended Citation Reilly, Marissa, "Ecological Atonement in Fresh Kills: From Landfill to Landscape" (2013). Senior Capstone Projects. 187. http://digitalwindow.vassar.edu/senior_capstone/187 This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. Ecological Atonement in Fresh Kills: From Landfill to Landscape Marissa Reilly Urban Studies April 2013 Senior Thesis Submitted in partial fulfillment of the requirements for the Bachelor of Arts Degree in Urban Studies ________________________________________ Adviser, Brian Godfrey ________________________________________ Advisor, Tobias Armborst TABLE OF CONTENTS Acknowledgements………………………………………………………………………...….3 Chapter 1: Introduction………………………………………………………………..…..…..4 Chapter 2: A History of New York City’s Atoned Spaces……………….………………..16 A Park for the People………………………………………….……………..….17 Atonement Atop The High Line………………………………….………….…..22 From Landfill to Landscape……………………………………….……...….….27 Chapter 3:The Competition: Re-conceptualization Nature Atop a Space of Track……35 Parklands by Hargreaves Associates………………………………….…...….37 Fresh Kills by John -
Modernist Portraits
Unit 11 MODERNIST PORTRAITS Experimentations in Style, World War I to World War II Authors and Works I How did the stylistic innovations of modernist prose affect the way later authors used language Featured in the Video: and narrative structure? Gertrude Stein, Tender Buttons (series of still lives) I How were the myths of the “public enemy” F. Scott Fitzgerald, Tender Is the Night, The Great shaped by historical and cultural changes during Gatsby (novels), “Babylon Revisited” (short story) the modern era? How is this related to shifting Ernest Hemingway, A Farewell to Arms (novel), “The notions of the American success story? Snows of Kilimanjaro” (short story) I How did modernity transform the traditional notions of American self-reliance and indepen- Discussed in This Unit: dence? How did authors consider and rework mod- Susan Glaspell, Trifles (play) ern social relations in their writing? Sherwood Anderson, Winesburg, Ohio (series of short stories) Wallace Stevens, “The Snow Man,” “The Emperor of Ice-Cream,” “Disillusionment of Ten O’Clock,” Learning Objectives “Sunday Morning,” “Gubbinal,” “Thirteen Ways of Looking at a Blackbird” (poems) After students have viewed the video, read the head- Marianne Moore, “Poetry,” “Nevertheless,” “In notes and literary selections in The Norton Anthol- Distrust of Merits” (poems) ogy of American Literature, and explored related Nella Larsen, Quicksand (novella) archival materials on the American Passages Web John Dos Passos, The Big Money (novel) site, they should be able to Hart Crane, “Chaplinesque,” The Bridge (poems) 1. recognize the different types of formal experi- mentation in the fiction of modernist writers such as Stein, Hemingway, Anderson, and Dos Overview Questions Passos, as well as in the poetry of Stevens, Moore, and Crane; I What issues shaped Americans’ thinking during 2. -
Music 04: Global Sound—Jeffers Engelhardt 1
Music 04: Global Sound—Jeffers Engelhardt 1 ❦ MUSIC 04: GLOBAL SOUND ❦ COURSE INFORMATION Arms Music Center 212 Monday, Wednesday 2:00-3:20 Assistant Professor Jeffers Engelhardt Arms Music Center 5 413.542.8469 (office) 413.687.0855 (home) [email protected] http://www.amherst.edu/~jengelhardt Office hours: anytime by appointment COURSE DESCRIPTION AND REQUIREMENTS This course explores the global scale of much music-making and musical consumption today. Migration, diaspora, war, tourism, postsocialist and postcolonial change, commerce, and digital technology have all profoundly reshaped the way musics are created, circulated, and consumed. These forces have also illuminated important ethical, legal, and aesthetic issues concerning intellectual property rights and the nature of musical authorship, the appropriation of “traditional” musics by elites in the global North, and local musical responses to transnational music industries, for instance. Through a series of case studies that will include performances and workshops by visiting musicians, Global Sound will examine how musics animate processes of globalization and how globalization affects musics by establishing new social, cultural, and economic formations. Your work in this course will be challenging, rewarding, and varied. You will be asked to present your work in class and make weekly postings to the course blog. There are also a few events outside of class time that you will need to participate in. I will hand out guidelines and rubrics for all the work you will do in order to make my expectations and standards for evaluation completely clear. Needless to say, preparation for, attendance at, and active participation in every class meeting is essential.