Daniel 1)? by Doing So We Are Conforming to Another Person‘S Liking and Losing Our Individuality
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The Tuscan Child
PRAISE FOR RHYS BOWEN’S IN FARLEIGH FIELD “Well-crafted, thoroughly entertaining.” —Publishers Weekly “The skills Bowen brings . inform the plotting in this character-rich tale, which will be welcomed by her fans as well as by readers who enjoy fiction about the British home front.” —Booklist “In what could easily become a PBS show of its own, Bowen’s novel winningly details a World War II spy game.” —Library Journal “This novel will keep readers deeply involved until the end.” —Portland Book Review “In Farleigh Field delivers the same entertainment mixed with intellectual intrigue and realistic setting for which Bowen has earned awards and loyal fans.” —New York Journal of Books “Well-plotted and thoroughly entertaining . With characters who are so fully fleshed out, you can imagine meeting them on the street.” —Historical Novel Society “Through the character’s eyes, readers will be drawn into the era and begin to understand the sacrifices and hardships placed on English society.” —Crimespree Magazine “A thrill a minute . highly recommend.” —Night Owl Reviews, Top Pick “Riveting.” —Military Press “Instantly absorbing, suspenseful, romantic and stylish—like binge- watching a great British drama on Masterpiece Theatre.” —Lee Child, New York Times bestselling author “In Farleigh Field is brilliant. The plotting is razor sharp and ingenious, the setting in World War Two Britain is so tangible it’s eerie. The depth and breadth of character is astonishing. They’re likeable and repulsive and warm and stand-offish. And oh, so human. And so relatable. This is magnificently written and a must read.” —Louise Penny, New York Times bestselling author “Irresistible, charming and heartbreakingly authentic. -
Karaoke Catalog Updated On: 20/12/2018 Sing Online on Entire Catalog
Karaoke catalog Updated on: 20/12/2018 Sing online on www.karafun.com Entire catalog TOP 50 Tennessee Whiskey - Chris Stapleton Perfect - Ed Sheeran Grandma Got Run Over By A Reindeer - Elmo & All I Want For Christmas Is You - Mariah Carey Summer Nights - Grease Crazy - Patsy Cline Bohemian Rhapsody - Queen Feliz Navidad - José Feliciano Have Yourself A Merry Little Christmas - Michael Sweet Caroline - Neil Diamond Folsom Prison Blues - Johnny Cash Killing me Softly - The Fugees Don't Stop Believing - Journey Ring Of Fire - Johnny Cash Zombie - The Cranberries Baby, It's Cold Outside - Dean Martin Dancing Queen - ABBA Fly Me To The Moon - Frank Sinatra Rockin' Around The Christmas Tree - Brenda Lee Girl Crush - Little Big Town Livin' On A Prayer - Bon Jovi White Christmas - Bing Crosby Piano Man - Billy Joel Jackson - Johnny Cash Jingle Bell Rock - Bobby Helms Can't Help Falling In Love - Elvis Presley Baby It's Cold Outside - Idina Menzel Friends In Low Places - Garth Brooks Let It Go - Idina Menzel I Wanna Dance With Somebody - Whitney Houston Last Christmas - Wham! Let It Snow! Let It Snow! Let It Snow! - Dean Martin You're A Mean One, Mr. Grinch - Thurl Ravenscroft Uptown Funk - Bruno Mars Africa - Toto Rudolph The Red-Nosed Reindeer - Alan Jackson Shallow - A Star is Born My Way - Frank Sinatra I Will Survive - Gloria Gaynor The Christmas Song - Nat King Cole Wannabe - Spice Girls It's Beginning To Look A Lot Like Christmas - Dean Take Me Home, Country Roads - John Denver Please Come Home For Christmas - The Eagles Wagon Wheel - -
Tom Jennings
12 | VARIANT 30 | WINTER 2007 Rebel Poets Reloaded Tom Jennings On April 4th this year, nationally-syndicated Notes US radio shock-jock Don Imus had a good laugh 1. Despite the plague of reactionary cockroaches crawling trading misogynist racial slurs about the Rutgers from the woodwork in his support – see the detailed University women’s basketball team – par for the account of the affair given by Ishmael Reed, ‘Imus Said Publicly What Many Media Elites Say Privately: How course, perhaps, for such malicious specimens paid Imus’ Media Collaborators Almost Rescued Their Chief’, to foster ratings through prejudicial hatred at the CounterPunch, 24 April, 2007. expense of the powerless and anyone to the left of 2. Not quite explicitly ‘by any means necessary’, though Genghis Khan. This time, though, a massive outcry censorship was obviously a subtext; whereas dealing spearheaded by the lofty liberal guardians of with the material conditions of dispossessed groups public taste left him fired a week later by CBS.1 So whose cultures include such forms of expression was not – as in the regular UK correlations between youth far, so Jade Goody – except that Imus’ whinge that music and crime in misguided but ominous anti-sociality he only parroted the language and attitudes of bandwagons. Adisa Banjoko succinctly highlights the commercial rap music was taken up and validated perspectival chasm between the US civil rights and by all sides of the argument. In a twinkle of the hip-hop generations, dismissing the focus on the use of language in ‘NAACP: Is That All You Got?’ (www.daveyd. -
Hip Hop, Memes, and the Internet
BY ALL MEMES NECESSARY: HIP HOP, MEMES, AND THE INTERNET MAX TRETTER FRIEDRICH-ALEXANDER-UNIVERSITY ERLANGEN-NUREMBERG INTRODUCTION: HIP HOP ON THE INTERNET The internet influences hip hop in various ways. First and foremost, the internet is a medium that opens up a new space and stage in which hip hop can be performed. This stage is no longer local, but global, which represents both opportunity and challenge. On the one hand, each hip hop artist must assert themselves against countless compet- itors from all over the world; on the other hand, their breakthrough online, if it suc- ceeds, can be monumental in comparison to an analog breakthrough, which is usually confined to a limited area. Therefore, for hip hop artists it is increasingly important to attract attention – as only those who get the attention succeed in this new medium (Prior 2018, Jenkins et al. 2013). The internet’s central influence on hip hop is the inten- sification of the battle for attention – which results in hip hop artists trying new ap- proaches and strategies to gain that attention. One of them is producing their content with an eye to making it as meme-able as possible and capitalizing on meme dynamics on the internet. In this study, I approach memes as a concept, following the definition of Dawkins (2006) who originally defined the concept of memes in his work The Selfish Gene. Memes are small units of information that are usually very simple and catchy (ges- tures, styles, melodies, or phrases). They are transmitted from person to person by imitation or adaption, replicate and spread very quickly, and contribute to the dissem- ination and formation of common behaviors and cultures (Dawkins 2006). -
Karaoke Songs by Title
Songs by Title Title Artist Title Artist #9 Dream Lennon, John 1985 Bowling For Soup (Day Oh) The Banana Belefonte, Harry 1994 Aldean, Jason Boat Song 1999 Prince (I Would Do) Anything Meat Loaf 19th Nervous Rolling Stones, The For Love Breakdown (Kissed You) Gloriana 2 Become 1 Jewel Goodnight 2 Become 1 Spice Girls (Meet) The Flintstones B52's, The 2 Become 1 Spice Girls, The (Reach Up For The) Duran Duran 2 Faced Louise Sunrise 2 For The Show Trooper (Sitting On The) Dock Redding, Otis 2 Hearts Minogue, Kylie Of The Bay 2 In The Morning New Kids On The (There's Gotta Be) Orrico, Stacie Block More To Life 2 Step Dj Unk (Your Love Has Lifted Shelton, Ricky Van Me) Higher And 20 Good Reasons Thirsty Merc Higher 2001 Space Odyssey Presley, Elvis 03 Bonnie & Clyde Jay-Z & Beyonce 21 Questions 50 Cent & Nate Dogg 03 Bonnie And Clyde Jay-Z & Beyonce 24 Jem (M-F Mix) 24 7 Edmonds, Kevon 1 Thing Amerie 24 Hours At A Time Tucker, Marshall, 1, 2, 3, 4 (I Love You) Plain White T's Band 1,000 Faces Montana, Randy 24's Richgirl & Bun B 10,000 Promises Backstreet Boys 25 Miles Starr, Edwin 100 Years Five For Fighting 25 Or 6 To 4 Chicago 100% Pure Love Crystal Waters 26 Cents Wilkinsons, The 10th Ave Freeze Out Springsteen, Bruce 26 Miles Four Preps, The 123 Estefan, Gloria 3 Spears, Britney 1-2-3 Berry, Len 3 Dressed Up As A 9 Trooper 1-2-3 Estefan, Gloria 3 Libras Perfect Circle, A 1234 Feist 300 Am Matchbox 20 1251 Strokes, The 37 Stitches Drowning Pool 13 Is Uninvited Morissette, Alanis 4 Minutes Avant 15 Minutes Atkins, Rodney 4 Minutes Madonna & Justin 15 Minutes Of Shame Cook, Kristy Lee Timberlake 16 @ War Karina 4 Minutes Madonna & Justin Timberlake & 16th Avenue Dalton, Lacy J. -
Introduction M Priorities
Mose_0771065043_xp_01_r1.qxd 9/25/06 3:40 PM Page 1 We Contain Multitudes: Our Many Roles, Many Selves introduction anager, professional, mentor, mother, wife, volunteer, artist, friend, athlete. Never before M have there been so many demands on women to excel in so many domains of life, so many opportuni- ties for self-expression and success, for disappointment and frustration. Our sense of self is nuanced, intricate, and rich. We derive our feelings of satisfaction from multi- ple roles. Freud famously said: “Love and work are the corner- stone of our humanness.” If we augment “love” to include our friends and our passions and “work” to include paid and unpaid activity, this is all that matters. These are the issues we are particularly likely to reflect on at midlife, a time of significant opportunities and chal- lenges when we take stock and ask, “What next?” and “How can I feel better about my life?” and reevaluate our priorities. 1 Mose_0771065043_xp_01_r1.qxd 9/25/06 3:40 PM Page 2 2 Women Confidential We have so many needs and desires. In my career/life-planning workshops with managers and professionals, I am always aware of the different ways in which men and women identify and rank their values. The most striking difference is not in the values themselves or how they are ranked, although there are differences, but in how the lists are completed. The men finish the exercise in a few minutes and move on to the next question. The women write the list. Then they erase it. Then they do it again. -
Calderon, Nicholas Interview 2 Calderon, Nicholas
Fordham University Masthead Logo DigitalResearch@Fordham Oral Histories Bronx African American History Project 5-27-2010 Calderon, Nicholas Interview 2 Calderon, Nicholas. Bronx African American History Project Fordham University Follow this and additional works at: https://fordham.bepress.com/baahp_oralhist Part of the African American Studies Commons Recommended Citation Calderon, Nicholas. May 27, 2010. Interview with the Bronx African American History Project. BAAHP Digital Archive at Fordham University. This Interview is brought to you for free and open access by the Bronx African American History Project at DigitalResearch@Fordham. It has been accepted for inclusion in Oral Histories by an authorized administrator of DigitalResearch@Fordham. For more information, please contact [email protected]. Interviewee: Nicholas Calderon Interviewer: Mark Naison Date: May 27, 2010 Mark Naison (MN): Hello. Today is Thursday May 27th, 2010. This is the Bronx African American History Project and we’re dealing with the second interview with Nicholas Calderon aka Young Buggs. Leader Interviewer is Noel Wolfe, assisting is Mark Naison and our videographer is Dawn Russell. So Noel, take it away. Noel Wolfe (NW): So we last left off when we were talking about how you were shifting into music in a way from drug dealing and I wanted to start there. What did music provide you at that stage? You were 17 years old? Nicholas Calderon (NC): Yes mam. Basically my comfort because it wasn’t my home, so music was a way out to get away from that temporarily though. MN: Now we’re talking about music, were you thinking about being a leader assist like writing rhymes and telling stories? NC: That’s what mainly it was about. -
Sonic Jihadâ•Flmuslim Hip Hop in the Age of Mass Incarceration
FIU Law Review Volume 11 Number 1 Article 15 Fall 2015 Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt Follow this and additional works at: https://ecollections.law.fiu.edu/lawreview Part of the Other Law Commons Online ISSN: 2643-7759 Recommended Citation SpearIt, Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration, 11 FIU L. Rev. 201 (2015). DOI: https://dx.doi.org/10.25148/lawrev.11.1.15 This Article is brought to you for free and open access by eCollections. It has been accepted for inclusion in FIU Law Review by an authorized editor of eCollections. For more information, please contact [email protected]. 37792-fiu_11-1 Sheet No. 104 Side A 04/28/2016 10:11:02 12 - SPEARIT_FINAL_4.25.DOCX (DO NOT DELETE) 4/25/16 9:00 PM Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt* I. PROLOGUE Sidelines of chairs neatly divide the center field and a large stage stands erect. At its center, there is a stately podium flanked by disciplined men wearing the militaristic suits of the Fruit of Islam, a visible security squad. This is Ford Field, usually known for housing the Detroit Lions football team, but on this occasion it plays host to a different gathering and sentiment. The seats are mostly full, both on the floor and in the stands, but if you look closely, you’ll find that this audience isn’t the standard sporting fare: the men are in smart suits, the women dress equally so, in long white dresses, gloves, and headscarves. -
High Fidelity
HIGH FIDELITY A MUSICAL COMEDY BY Amanda Green, Tom Kitt, and David Lindsay-Abaire BASED ON THE NOVEL BY NICK HORNBY AND THE TOUCHSTONE PICTURES FILM HIGH SCHOOL EDITION SHOW PERUSAL 11/07/19 High Fidelity - 1st ed. – 10.21.13 – highfidelity_conductor1cf Copyright © 2013 Amanda Green, Tom Kitt, and David Linsday Abaire ALL RIGHTS RESERVED Copyright Protection. This play (the “Play”) is fully protected under the copyright laws of the United States of America and all countries with which the United States has reciprocal copyright relations, whether through bilateral or multilateral treaties or otherwise, and including, but not limited to, all countries covered by the Pan- American Copyright Convention, the Universal Copyright Convention, and the Berne Convention. Reservation of Rights. All rights to this Play are strictly reserved, including, without limitation, professional and amateur stage performance rights; motion picture, recitation, lecturing, public reading, radio broadcasting, television, video, and sound recording rights; rights to all other forms of mechanical or electronic reproduction now known or yet to be invented, such as CD-ROM, CD-I, DVD, photocopying, and information storage and retrieval systems; and the rights of translation into non-English languages. Performance Licensing and Royalty Payments. Amateur and stock performance rights to this Play are controlled exclusively by Broadway Licensing. No amateur or stock production groups or individuals may perform this Play without obtaining advance written permission from Broadway Licensing. Such royalty fees may be subject to change without notice. Although this book may have been obtained for a particular licensed performance, such performance rights, if any, are not transferable. -
Rap in the Context of African-American Cultural Memory Levern G
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Empowerment and Enslavement: Rap in the Context of African-American Cultural Memory Levern G. Rollins-Haynes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES EMPOWERMENT AND ENSLAVEMENT: RAP IN THE CONTEXT OF AFRICAN-AMERICAN CULTURAL MEMORY By LEVERN G. ROLLINS-HAYNES A Dissertation submitted to the Interdisciplinary Program in the Humanities (IPH) in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2006 The members of the Committee approve the Dissertation of Levern G. Rollins- Haynes defended on June 16, 2006 _____________________________________ Charles Brewer Professor Directing Dissertation _____________________________________ Xiuwen Liu Outside Committee Member _____________________________________ Maricarmen Martinez Committee Member _____________________________________ Frank Gunderson Committee Member Approved: __________________________________________ David Johnson, Chair, Humanities Department __________________________________________ Joseph Travis, Dean, College of Arts and Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is dedicated to my husband, Keith; my mother, Richardine; and my belated sister, Deloris. iii ACKNOWLEDGEMENTS Very special thanks and love to -
American Music Review the H
American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLIII, Number 2 Spring 2014 DJ Kuttin Kandi: Performing Feminism Ellie M. Hisama, Columbia University As a turntablist, Pinay, poet, feminist, and activist, DJ Kuttin Kandi challenges the sexism manifested in hip hop and popular music by collaborating with other women in her performances, publishing open letters about male-dominated lineups, and speaking critically about controversies such as Day Above Ground’s 2013 song and video “Asian Girlz.”1 In his recent book Filipinos Represent, Anthonio Tiongson Jr. suggests that hip hop DJing provides a site for Filipina DJs to negotiate gender conventions, sexual norms, and familial expectations.2 Kuttin Kandi’s performances are a form of critical authorship that actively engages a politics of the feminist body and are grounded in feminist collaboration. A long-time member of the New York-based DJ crew 5th Platoon, Kandi was the first woman to place in the US finals of the prestigious DMC USA competition in 1998.3 She has toured throughout the US and internationally, performing with distinguished musicians including Afrika Bambaataa, Kool Herc, Black Eyed Peas, MC Lyte, the Roots, dead prez, Immortal Technique, and Le Tigre. Kandi has been deeply in- volved in cultural advocacy and grassroots political organiza- tions, having worked with Filipino American Human Services and Gabriela Network to fight the sexual exploitation of Filipi- nas, police brutality, and sweatshop labor. While living in New York, she taught the art of turntabling and DJing at the Scratch DJ Academy, and taught spoken word and poetry to high school students at El Puente Leadership Center in Brooklyn. -
Karaoke Mietsystem Songlist
Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind.