#wsoa

[broadcastarchive-umd]

#QSLFriday A man from Hastings, New Zealand, picked up a signal from Chicago in July 1929. He received confirmation the following month, saying that "the time, the call letters, and character of program you report fits exactly."

WHT was owned by the Radiophone Broadcasting Company, with studios in Chicago's Wrigley Building and a transmitter in Deerfield, Illinois. Their original callsign stood for "Write Home Tonight," but was changed to WSOA and then, in 1930, became WCHI, incorporating the first three letters of Chicago. It shared its frequency with Chicago broadcasters WIBO, WJAZ, and WORD. The station was sold in 1931. – Alice Brannigan, Popular Communications, December 1985.

Committee to Preserve Radio Verifications   |   Tumblr Archive  

[whatssheonaboutpodcast]

Who’s watching the Oscars?? These are Kat’s favorite gowns from tonight! 🎥 🎥 🎥 #wemadeapodcast #representationmatters #oscars #oscars2018 #zendaya #nicolekidman #ginarodriguez #movie #movies #bestdressed #podcaster #podcastlife #wsoa #popculture #fashion #fun

[alexmendezginer]

Last week at the #ArtistTalk and #Screening of #TheBookofJudith at the #WitsSchoolofArts #Film and #TV program thanks to the kind invitation of #TanjaSakota-Kokot and @hleeproductions Thank you all! #Johannesburg #SouthAfrica #WSOA #witsfilmandtv #filmmaking #supportindiefilm

[its-sixxers]

Fuckdnwbqkabfjwnskanwkgwnsox lwandjosnqkdxkennfkwnqjsdn wsoa aka SJA so asks skndks asjsncks anoz zdkdn. Okay. Okay. ahhhhhhhHhhHhHHHHHHH. Okay. I really really can't wait until I get the motivation to read something again so I can read half light!!! It's still open on my tabs but my brain goes: nope and I have to continue to suffer knowing that I will be delayed once more in reading cute scenes between nines and Mary once more TT^TT

omg someone get an ambulance for anon I think they stopped breathing

No worries anon!! It's a behemoth of a fic so I figure most people who want to read are either slowly gettin through it or waiting for it to be done before taking the plunge and making the investment. But yes, there are sweet lil scenes sprinkled in there to make the read worth it. ;)

I wish I could make nice clean and concise fic but my rambling mind goes NO

[feuillesmortes]

based on wsoa and blooming alone, a leaning towards tenderness and if your h7 is anything to go by, cheeky bastard energy!🌹

You know me, it’s all about the tenderness! 👼 💕 And of course my h7 has cheeky bastard energy! Do you know why I like the Beauforts? Because they inhabit the exquisite Venn diagram intersection of legitimised bastards and legit bastards ;) send me asks with your assumptions about me based on my fanfics

[emkayy90]

Here: Three Wits School of Arts Graduates #WSOA I've taken some pretty meaningful photos over the last couple of days and I've been stuck as to when and how to release them effectively. But this photoreel right here wasn't so difficult, especially right now as it is Graduation Season at Wits. We welcome all the new Graduates at this time into the realm of the #Alumni and we say: "Halala! Welcome! Shine!" We are proud to call #WitsUniversity our #AlmaMater #WitsGivesYouTheEdge #WitsEdge #TheWitsEdge #Wits (at Manila, Philippines)

[sivemqikela]

Sangomas and Struggle Heroes: Art after the Fees Must Fall moment - Sive Mqikela

“Day to day reality is therefore itself any illusion created by the mass of our needs, our ideas, our wants. Transform the needs, the ideas, the wants, and at once, as though with a magic wand, you transform the available reality. To write as though only one kind of reality subsists in the world is to act out a mentally retarded mime, for a mentally deficient audience. If I am an illusion, then that is a delusion that is very real indeed.” – Dambudzo Marechera, Black Sunlight

 In July 2018, a group of art students under the name ‘Wits Stash’ set out to the Grahamstown (now Makhanda) National Arts Festival (the festival) to present the best of art that the University of the Witwatersrand School of Arts (WSOA) has to offer. The entourage comprised of four plays - Amabali Amandulo, Indodakazi Yakho, Vuselela and The Last Respect, and one musical act, the Afro-jazz ensemble - iPhupho L’ka Biko. This was the first time that WSOA sent students to the festival to showcase their works under its banner. I was asked by the collective to write a review of the works presented, for the purposes of the group being able to read itself and its artistic effectiveness, so as to make the trips to the festival a tradition that will continue for years to come. This review is mainly my reading of the plays, not only because they constituted the majority of works presented by  the collective, but also because the music has been engaged lengthily elsewhere; although my observations here are not in exclusion of the music. The plays were in different styles and theatre genres, but in the main addressed themes of protest, historicism, existentialism and feminism (Indodakazi yakho).  Although this is a review of the aforementioned plays, it is also a de facto reading of the whole contemporary South African theatre scene as witnessed in the festival.

In all the freshness that a particular work of art may possess, artistic works are the always-already-present fragments of our realities, organised and given coherence as narrative anew. In this terrain, the stage does not become a mere mimicry of life, but life and history are laid bare in creative and imaginative form. What should a representation of a life in chaos, confusion, betrayal and spiritual bankruptcy, such as is life in South Africa look like? The formulation of the ‘Wits Stash’ is perhaps a clue to this rhetorical question. After the festival it became apparent to me that contemporary theatre is very much interested in the classic black theatrical themes of protest, spirituality and tragicomedy. This is no coincidence, owing to our very own little affair with history – the Fees Must Fall (FMF) moment.

This trip to the festival was an opportunity to witness the sediments of a post-FMF arts and culture scene.  One was left wondering and imagining what the post-1976 artistic scene looked like; it probably looked something like this ‘Wits Stash’ moment in Makhanda.

Pause….

The contemporary arts and cultural scene owes itself to the enthusiasm and indecision, doubt and confusion, chaos and order, of post-1994 South Africa. From everyone, there is a burning need to respond, to kick and scream, to take to the streets, to battle with history fair and square; all the necessary tools are available (arguably), we just do not know how to use them.  After chaos there is confusion; everybody has something to say but there is just no way of corroborating its validities. With so much information available to us, how do we use it in the most creative and sustainable manner? Where do we go from here?

This I imagine to be the dilemma in the aftermath of 1976, save for the fact that post-1976 was probably approached with more ideological clarity, perhaps because there was a more visible obstacle to black liberation – apartheid.

We are in no position to tell right now – only time will.

If not to elope to Europe or swell the ranks of the liberation front; to join the picket line or wish for a miracle; where did the 1976 generation go in the aftermath of crisis? If they did art, what kind of art did they do?

While there are such great works in the South African black theatre repository to work from, contemporary theatre seems unable to respond to the problems of our time in the same compelling and poetic manner that great works of ‘protest theatre’ like Woza Albert (1981) and Sizwe Banzi is Dead (1972) did for their ‘time’. While we can detect the influence of these classics and others on the plays presented by the ‘Wits Stash’, their imaginative and artistic impact is however overlooked and misunderstood. For example in Vuselela the powerful trope of the invisible and omnipresent character as seen in both Sizwe Banzi is Dead and Woza Albert, is attempted to allude to the omnipresence of black suffering in the face of domination; but as the play unfolds this character is revealed haphazardly on recurring dance scenes; and as a result the work of this metaphor is rendered banal, all for the sake of being multidisciplinary.

The problem with contemporary theatre is its obsession with ‘the spectacle’, in the same sense that Njabulo Ndebele observed with black South African literature during apartheid. In what felt like the newspaper headlines from The Dailysun and Sowetan, we see on signposts and street lamps around Johannesburg roads, the plays go for the overly dramatic and ‘spectacular’ element of social life in South Africa: police and state brutality; politicians and lies ; violence of all kinds, ancestors haunting the living etc.

These plays are not only concerned with a generalised display of ‘the spectacular’ but they are also very intentional with asserting political positions – ‘the spectacle of politicking’. In The Last Respect, as the protagonist ‘Goodman Moswaswi’, an apparently schizophrenic ‘direct victim of apartheid violence’, goes on his episodes of remembering the gruesome suffering endured at the hands of apartheid, all experience and memory communicated by him are channelled through a stream of incoherence and absurdity, but only one thing is coherent, his instinct to politick. We see ‘Goodman’ moving from ‘economic freedom’ and ‘expropriation’ talk to statements about ‘sell-outs’ and ‘askari’.

One could argue that politicking is nothing reprehensible in the creative process; but what happens when art is sacrificed for pure political undertones. What do we make of the arbitrary calling out of struggle heroes’ names – “viva Nyerere, viva Lumumba, viva Biko…” whenever we see fit, even when the context demands otherwise? Do we use the authority and stature of these figures so that no one disagrees with us? Without being prescriptive, I am of the view that when one has interacted with certain texts and ideas, we can always discern his/her influences without the help of ‘name-dropping’. We saw and heard enough moving speeches and amandla awethu during the FMF, and the ‘stage’ requires a more artistically persuasive and inspiring political commentary, if one seeks to do protest theatre.

Is it not possible to have creative imagination take the centre ‘stage’, even when representing real situations about social and political life in South Africa?

How do we create art that not only confirms what we know, but also offers challenges and critical engagement with what is being presented?

This being said, I am cognisant of the fact that the political narrative has shifted into our social culture as a nation. Politics has not only permeated our personal and public lives, but also our cultural production and imaginative labours. It is probably inescapable for the contemporary cultural worker; hence it is not surprising to find the political narrative central in many works of theatre and other literatures. While we cannot blame writers and cultural workers for centring the political thematic or using political vocabulary in their work, we can however be more careful with the style and aesthetics of the political narrative we choose to employ. We need to be more critical and reflexive about the forms that we choose to use in order to convey the political.  

In ‘the spectacle’ of postcolonial discourses sits the grandfather of all rhetoric – the notion of the African past. Yes – that mystical world of speculation; of apparent harmony and inherent rhythm; a world of sangoma’s and ancestors. The problem with this discourse, even well-meaning ones, is that it fails to acknowledge that all discourse on the (post)colony is a product of domination, and the ideas we have of an African past and Africanity are actually inventions of colonial discourse, which serve as a ‘subtle operation of temporal distancing’. Amabali Amandulo (stories from the past), in what appears to be an innocent story devised in ‘township/physical theatre’ style, is engaged with notions of the African past. In terms of the synopsis the play “speaks back to the politics of family, power dynamics and gender inequalities”, based on family life of the past. The play employs common tropes of the myth of ‘Africanity’: ancestors with gnarled bodies gyrating and speaking to the living in the most literal and arbitrary manner; freaks of nature with hoarse voices; friends capriciously turn into enemies; and uncontrollable sexual desires – smells like colonial imagery to me. Through cursory scene changes, the play denies us a sense of spatiotemporal coherence and causality (Africa with no time); and instead of stories from the past the play feels more like an assemblage of stereotypes about rural life in South Africa. The play gets one thing right though: this African past is a very strange past if we are to take the myth serious.

 Overall, all the plays were well directed and outstandingly performed. Elegant amalgamations of different artistic forms were employed in all the plays in the service of accompanying the acting. No one can deny the artistic wholesomeness of each play. The actors are undoubtedly some of the best actors in the country. My concern is just with the conceptual development involved in the making of the stories.  After all, whatever the artistic validity a certain work of art may possess, in trying to make sense of it there are, in Hayden Whites words “always legitimate grounds for differences of opinion as to what they are and the kinds of knowledge we can have of them”. These are but my observations. If we are to return to the epigraph from Dambudzo Marechera and listen to his caution, we ought not to create art as though only one kind of reality exists. In conclusion, I am of the view that collectively as art students and cultural workers we should not only revisit the classical texts that continue to shape our work and imagination, but we should also familiarise ourselves with theoretical work from other disciplines such as literature and social sciences in order to widen our worlds and enrich our imaginative force.

Yours Truly

BLK Thought

(work in progress)

[ricardopeach]

#MEIMenings #MeaningsinMAY

Telematic art/kuns

In partnership with the Piko/Piad Program for Innovation in Artform Development, an initiative of the University of the Free State and the Vrystaat Kunstefees, proudly supported by the The Andrew W. Mellon Foundation .

Tegan Bristow

(Director: Fak’ugesi African Digital Innovation Festival, Senior Lecturer: WITS School of Arts)

Special Guest:

Roy Ascott

(DeTao Master ofTechnoetic Arts, DeTao Masters Academy, Shanghai | Founding President of the Planetary Collegium)

Guest speakers include:

Keith Armstrong

(Media artist, Senior Lecturer: QUT)

Marcus Neustetter

(Media artist, South Africa)

Mwenya Kabwe

(IndependantTheatre Maker, Performance Studies Scholar and Researcher at WSOA and UCT)

Wolf Britz

(Mount Maak)

When | Wanneer:

27 May | Mei 2020, 2.00-3.30pm SAST

Where | Waar:

The on-line conference platform Zoom Die aanlyn platform Zoom

Kindly let us know if you would like to join in the conversation by 5pm,Tuesday 26 May |

Laat weet gerus indien jy wil deelneem aan die gesprek teen 5nm, Dinsdag 26 Mei

RSVP: isabel.lock@gmail.com

[seomarketingtools]

Custom Jersey Manufacturer Imperial Point Tags #Web Solutions of #America as Partner in Digital #Marketing #digitalmarketing #onlinemarketing #seo #seomarketing #socialmedia #seotools #blogger #blogging #makemoneyonline With goals to improve online exposure and drive leads, Imperial Point has teamed with Web Solutions of America for social media and digital advertising services. WSOA will also use content marketing ... http://bit.ly/2WcD01S

[ama-lgamate-blog]

link cards

[jobofthehut]

Location : Altamonte Springs, FL, USA Company: Web Solutions of America Description: Web Solutions of America (WSOA) is looking for a Digital Marketing Manager with 3+ years' experience in social media and email marketing. The ideal candidate will have proven success in translating  Apply Now ➣

[whatssheonaboutpodcast]

It's #FutureFriendFriday and this time we're choosing Natasha Rothwell! Better known as Kelli "Never-Been-Saturday-Drunk-on-a-Thursday" who has ALL the best lines on @insecurehbo but is also a writer and executive story editor on the show as well! Her episode of The Characters on @Netflix is hilarious too! Let us know if you're ever free for a chat @nfrothwell! 👋🏾 #InsecureHBO #wegotyall #writer #comedian #talent #actress #TheCharacters #Netflix #chigger #basicbitch #podcast #fitbit #steps #wsoa #goals #wemadeapodcast #Repost @insecurehbo ・・・ Would you date a co-worker? Find out what else @Nfrothwell and @IssaRae discussed in this week's 🍷 Down

[parametricarchitecture]

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A post shared by Parametric Architecture (@parametric.architecture)

Join @allblackform for ADVANCED ARCHITECTURAL DESIGN WORKSHOPS in LOS ANGELES – BARCELONA – VIENNA -SUMMER 2017. The ABF international Workshops introduce participants into contemporary dialogues of formal exploration in Architecture and the multi-cross disciplinary discussions associated with Design, including fashion, art and technology. @allblackform 's goal is to develop and investigate the notion of geometrical performance as the ultimate means to create Architecture using computational tools (MAYA). Info: www.allblackform.com/workshops Workshops Conducted by: Erick Carcamo (SCI_Arc, PennDesign) and Bailey Shugart (WSoA) #losangeles #barcelona #vienna #summer2017 #allblackform #usa #spain #italy #architecture #model #architecturestudent #archistudent #schoolofarchitecture #architectureoffice #architect #architecture #architecturaldesign #parametricarchitecture #architecturedesign #archilovers #建筑 #建築 #建築家 #건축가 #건축물 #mimar #mimarlik #arquitectura #архитектура #архитектор #معمارى

[itsworn]

GALLERY: World Series of Asphalt Monday

Fans of Late Model and Modified racing on the asphalt had a full plate of action Monday night at New Smyrna Speedway’s World Series of Asphalt. The Super Late Models, Pro Late Models, Florida Modifieds, and Tour-type Modifieds were on the docket.

The Florida Modifieds were the first to hit the track for their feature event. Cameron Ray took the lead from Tank Tucker on lap 26 and cruised to a win in the 30-lap feature.

Harrison Burton picked up his first win of Speedweeks in the Super Late Model feature. Burton grabbed the lead from polesitter Spencer Davis and held off the advances of defending WSoA Champion Ty Majeski.

The Tour-type Modifieds brought 24 cars to put on an entertaining affair. Jimmy Zacharias jumped to an early lead with JR Bertuccio on his tail. The pair broke away from the pack to settle the top spot while Ryan Preece and Matt Hirschman worked their way into the Top Five. Bertuccio took the lead from Zacharias on a lap-33 restart and held off a challenge from Preece. Hirschman went on to make a late pass on Preece for Second, but did not have enough time to chase down Bertuccio.

Jeff Choquette took advantage of a strong start to grab the win in the Pro Late Models. He swept past Kyle Purvis and Matt Wallace to grab the lead by lap three. Although Wallace held close, he was not able to overcome Choquette again in the 35-lap feature.

New Smyrna Speedway continues the World Series of Asphalt through Saturday. For more information visit www.newsmyrnaspeedway.org

The post GALLERY: World Series of Asphalt Monday appeared first on Hot Rod Network.

from Hot Rod Network http://www.hotrod.com/articles/gallery-world-series-asphalt-monday/ via IFTTT

[seomarketingtools]

Custom Jersey Manufacturer Imperial Point Tags #Web Solutions of #America as Partner in Digital #Marketing #digitalmarketing #onlinemarketing #seo #seomarketing #socialmedia #seotools #blogger #blogging #makemoneyonline With goals to improve online exposure and drive leads, Imperial Point has teamed with Web Solutions of America for social media and digital advertising services. WSOA will also use content marketing ... http://bit.ly/2HX5AAo

[whatssheonaboutpodcast]

Food baby or baby baby?!? We chat Halle Berry and other nonsense in our latest #GhettoActionNews 

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