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UMass Boston student Amanda DeRosa caught a seagull in mid-flight. She took this picture across from the Campus Center on January 3.
Photo 1: Alex Seiver and Coach Joe Walker, 2007 Crimson Classic
Photo 2: Alex Seiver, 2007 Crimson Classic
Photo 3: Michael Lewis, Sarah Witt, Alex Seiver, Chelsea Collins, Wes
Wintermeyer, 2010 BCS National Championship Game
Alex Seiver
Senior
Thank you, please drop me a quick email confirming your receipt of the
photos for inclusion in this year's Corolla.
Marilyn Morgan, a lecturer in the History Department and director of the Archives Program, submitted this photo of four graduate students in her History 627 class, "Archival Methods and Practices." Here they are surveying the historic records of the Harvest Co-op on March 4, 2016. The class meets in the archival processing space of Healey Library, courtesy of University Archivist, Joanne Riley. Students from left to right: Lauren Prescott, Maryrose Grossman, Dorothy Clark, and Corinne Bermon.
Summary:
- New video for single, Underwater, gets over 1,200 views in 12 hours on
YouTube: www.youtube.com/watch?v=hTQIGrj4a3o
- New website, www.creamovdacrop.co.uk, launched
- Single available to pre-order from HMV and Play.com, released on 20
August
*--Starts--*
Cream Ov Da Crop (bka CODC), the urban music collective from Rugby in the
West Midlands, yesterday (Monday 30 July), re-launched their website,
premièred the video for their upcoming single, *Underwater*, and made it
available to pre-order from HMV, Play.com and via text. The song is the
first single from the group's latest album, 11/10, and is available to
download on all digital stores, including iTunes, from Monday 20 August.
Urbandubz.co.ukdescribes
*Underwater *as "slick and lyrically contagious, laid down on a house beat
that is so incredibly fresh it has no sell-by-date." Music Review
Onlineadded "it is
an interesting mix up with fleeting fits of creative, genre
fusing and experimental moments."
This release follows a successful string of live performances and radio
appearances across the UK by the group, promoting the album, and it is
ahead of more live dates in Rugby, Milton Keynes, Leamington Spa and
Northampton. It features vocals from all three Cream Ov Da Crop vocalists,
Dizzle, Double D and L.T.
The video is a fun, energetic collaboration between CODC and several fans,
put together with the help of youth broadcaster, Smash Down TV. The group
invited fans to submit clips of themselves performing to *Underwater*, in
some instances featuring members of the group, to be included in the video.
It also includes scenes from a CODC midnight flash mob water fight on Rugby
High Street.
The group's website, www.creamovdacrop.co.uk, has been refreshed with
several new features, centred around social media, with over 30 new
pictures, video playlists and a music player previewing the album. It also
features CODC's cover of UK No.1, Payphone by Maroon 5, that has been
viewed over 2,400 times and download just under 200 times on Soundcloud in
less than 20 days.
You can get all exclusive Cream Ov Da Crop updates by following them on
Twitter @CreamOvDaCrop and they are readily available for interviews,
bookings, features and more. Please contact Dama James at Skyhook
Enterprises, on +447772927888 or email codcmailbox@gmail.com for more.
An electronic press kit (.zip file) with a free copy of 11/10, Underwaater,
photos, biography, weblinks, tour dates and more can be download from
Sendspace here: www.sendspace.com/file/krb1iv
--*Ends*--
Notes:
1. Watch the video for Underwater:
www.youtube.com/watch?v=hTQIGrj4a3o
2. Underwater is out on 20 August on Cream Ov Da Crop Recordings/Danger
In Sound. It can be pre-ordered at
HMV (bit.ly/CODCHMV),
Play.com (bit.ly/CODCPLAY); or via
Text (users should text TRACK CODC to 80818 at a cost of £1. This gives
them a link to download the song direct to their mobile phone)
3. A print ready version of the artwork for Underwater and press
photographs of CODC are attached to this email
4. Watch the video of CODC's cover of Maroon 5 'Payphone':
Whilst out hunting mushrooms on Thursday, this cheeky leaf hiding against a tree, issued his demands and I expect a meeting with world leaders shortly to arrange our planets capitulation. Thursday 12th October 2023, Bridge Of Weir, Scotland.
Jean McGinty, MSN, RN, CNOR, a nursing clinical instructor in the College of Nursing and Health Sciences, sent us a photo of her community health clinic group under the Chinatown Gate.
Submitted by: Omar Ozgur
Country: United States
Organisation:
Category: Amateur
Caption: Patients trekking for a post-op visit in Nepal
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Photo uploaded from the #EyeCareEverywhere Photo Competition (photocomp.iapb.org) held for World Sight Day 2018
Women from North Christian Church, Columbus, Ind. Top, from left: Debbie Burnett, Caroline Cox-Smith, Tammy Shaw, Katrina McGillivray, Debbie VanDeventer, Sheryl Elston, Kelli Higgins, Lesli Lanteigne. Bottom, from left: Nicole Lanteigne and Erynn Shaw.
File Name-notes and/or description
CIMG3369- Alpha Delta Pi Bid Day / Kendel Selvey, Michelle Martin, & Caroline Powell
CIMG3371- Alpha Delta Pi Bid Day
CIMG3393- Alpha Delta Pi Bid Night
CIMG3404- Michelle Martin and Stephanie Kornegay before Alabama vs. FIU
CIMG3413- Big Al & Michelle Martin
Stephanie and Myself.- Alpha Delta Pi Black Diamond Ball
…and select a text category and write a brief note to the editor who will be working on your document.
skemono submitted to medievalpoc: I’ve been wanting to submit this one for a while, because I loves me some Goya, and I personally find it a bit more interesting when there’s an artist I recognize on here. In 1796, José María Álvarez de Toledo y Gonzaga passed away. His wife, María Cayetana de Silva, retreated to her estate in Sanlúcar, Andalucia, and Goya went with her. He stayed there for a year or two, and his art of the time captured several domestic moments in the estate. The two images above include María de la Luz, a young black girl who lived with the duchess. I can find very little information about María. Most sources say that the Duchess, who had no children of her own, adopted her (one even gives the year of adoption as 1795). However, some simply say that María lived in the household, or that the Duchess took her under her wing, or had “virtually adopted” her. I believe she was born in Havana in 1793, the daughter of a slave woman, and according to one source the duchess emancipated her (María, not her mother). When the duchess wrote her will, she included María, along with several servants and Goya’s son, Javier. And that’s about all I can find. First image: Francisco José de Goya y Lucientes, La duquesa de Alba teniendo en sus brazos a María de la Luz (“The Duchess of Alba holding María de la Luz”), 1796-1797. Sanlúcar Album / Album A. India ink wash. Second image: Francisco José de Goya y Lucientes, La Beata con Luis de Berganza y María de la Luz, 1795. Oil painting. [X] [X] [X] [X]
Submitted by: Lei Fu
Caption: Eyes are the light towards window of hearts!ption
Sub-theme:
Amateur, , , , Friends
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This e-mail was sent from the PhotoComp microsite
edensmachine: medievalpoc: aseantoo submitted to medievalpoc: Sir Joshua Reynolds George Clive and his Family with an Indian Maid England, 1765 Oil on canvas Height: 140 cm (55.1 in). Width: 171 cm (67.3 in). Gemäldegalerie, Berlin [x] From Simple English Wikipedia: Lord George Clive was cousin of Robert Clive, founder of the empire of British India. He made his fortune there. Clearly the painter found the Indian nurse’s depiction his greatest pleasure. Is it just me or do the white family look unreal and vacant despite contrasting the dark shades of the back drop. Yet the nurse pops and looks tangible and alive. A lot of people have responded similarly about the contrast between the white colonial family and the indigenous woman in this painting. Even the child is nearly as white and stiff as a corpse…and yet, these images were intentionally idealized in this manner; their very whiteness can be seen as a rebuke to the Indian woman’s vivid, tangible presence here. This has everything to do with Color, Chromophobia, and Colonialism. Chromophobia is marked, not just by the desire to eradicate color, but also to control and to master its forces. When we do use color, there’s some sense that it needs to be controlled; that there are rules to its use, either in terms of its quantity or its symbolic applications (e.g., don’t paint your dining room blue because it suppresses appetite). Please note that I’m not arguing against color psychology; it’s undeniable that certain colors carry certain cultural assumptions and associations, a fact that has led anthropologist Michael Taussig to argue that color should be considered a manifestation of the sacred. But what I am arguing is that there is a pervasive idea that color gets us in the gut: it’s seductive, emotional, compelling. Color, in the words of nineteenth-century art theorist Charles Blanc, often “turns the mind from its course, changes the sentiment, swallows the thought.” According to some art critics, sensory anthropologists, and historians, this mutual attraction and repulsion to color has centuries-old roots, bound up in a colonial past and fears of the unknown. Michael Taussig has recounted that from the seventeenth century, the British East India Company centered much of its trade on brightly colored, cheap, and dye-fast cotton textiles imported from India. Because of the Calico Acts of 1700 and 1720, which supported the interests of the wool and silk weaving guilds, these textiles could only be imported into England with the proviso that they were destined for export again, generally to the English colonies in the Caribbean or Africa. These vibrant textiles played a key part in the African trade, and especially in the African slave trade, where British traders would use the textiles to purchase slaves. According to Michael Taussig, these trades are significant not only because they linked chromophilic areas like India and Africa, but also because “color achieved greater conquests than European-instigated violence during the preceding four centuries of the slave trade. The first European slavers, the Portuguese in the fifteenth century, quickly learned that to get slaves they had to trade for slaves with African chiefs and kings, not kidnap them, and they conducted this trade with colored fabrics in lieu of violence.” Where I differ with Taussig is that there is very little doubt in my mind that using the concept of aesthetics in the manner can absolutely be a form of violence, and that art can be used to subjugate. Say what you will about this being an exaggeration, but I wasn’t the one cleaning the Elgin marbles in acid in the 1800s to better fit a misconception of whiteness…after all, Greek marbles originally looked something like this, much to the chagrin of western aestheticism everywhere: So when you consider the historical context of the painting in the original post, it becomes entirely likely that the stiffness and whiteness of the colonial family is meant as a desirable contrast to the vibrantly alive Indian woman. And you should also consider what kind of ideas you have about her from the painting, and think on how your view of her is affected by the context. Is she somehow more “natural” or “wild” than the family? Is she “earthy”? How is her existence affected by the fact that she is situated below even the child in the composition…do her arms ache from holding her up? I had never seen this painting before it was submitted, and I wonder why that is. There are a lot of things about it that are unpleasant, but the ideas in it influence us anyways.