Delta Winds Volume 26 a Magazine of Student Essays 2013 Table of Contents Finding Je!
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Excesss Karaoke Master by Artist
XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not -
BALOO's BUGLE Volume 14, Number 12 "Make No Small Plans
BALOO'S BUGLE Volume 14, Number 12 "Make no small plans. They have no magic to stir men's blood and probably will not themselves be realized." D. Burnham July 2008 Cub Scout Roundtable August 2008 Cub Scout Theme S'MORE SUMMER FUN Tiger Cub Activities Webelos Forester & Naturalist The Old Colony District of Southern NJ Council, my FOCUS district has attained the Chief’s Winner Circle for Cub Scout Roundtable Leaders’ Guide having a plus one in chartered units and more than plus The summer is not over yet! Let's have "S'More" summer one percent in registered youth membership compared fun in the outdoors this month. The weather is hot, but the to the registered youth membership of June 30 of one fun is cool as the Cub Scouts do all they can before school year ago. We actually registered a 2.2 % growth in starts in the Fall. Is a picnic, softball game, or hike through membership vs. last June 30. the forest part of your pack's plans?? Last week my Webelos Resident Camp was a roaring success. We had a >50% increase in Webelos from 40 to 65. And we were the first to use the brand new pool at Pine Hill Scout Reservation. Pretty soon we will be as famous as our gold course neighbor! We had two Bears from our pack that moved to Webelos June 1st for whom this was their first time away and they did great!! And my council has a new Scout Executive as of July 1, CORE VALUES 2008. -
Kathy Sledge Press
Web Sites Website: www.kathysledge.com Website: http: www.brightersideofday.com Social Media Outlets Facebook: www.facebook.com/pages/Kathy-Sledge/134363149719 Twitter: www.twitter.com/KathySledge Contact Info Theo London, Management Team Email: [email protected] Kathy Sledge is a Renaissance woman — a singer, songwriter, author, producer, manager, and Grammy-nominated music icon whose boundless creativity and passion has garnered praise from critics and a legion of fans from all over the world. Her artistic triumphs encompass chart-topping hits, platinum albums, and successful forays into several genres of popular music. Through her multi-faceted solo career and her legacy as an original vocalist in the group Sister Sledge, which included her lead vocals on worldwide anthems like "We Are Family" and "He's the Greatest Dancer," she's inspired millions of listeners across all generations. Kathy is currently traversing new terrain with her critically acclaimed show The Brighter Side of Day: A Tribute to Billie Holiday plus studio projects that span elements of R&B, rock, and EDM. Indeed, Kathy's reached a fascinating juncture in her journey. That journey began in Philadelphia. The youngest of five daughters born to Edwin and Florez Sledge, Kathy possessed a prodigious musical talent. Her grandmother was an opera singer who taught her harmonies while her father was one-half of Fred & Sledge, the tapping duo who broke racial barriers on Broadway. "I learned the art of music from my father and my grandmother. The business part of music was instilled through my mother," she says. Schooled on an eclectic array of artists like Nancy Wilson and Mongo Santamaría, Kathy and her sisters honed their act around Philadelphia and signed a recording contract with Atco Records. -
Into the Woods Is Presented Through Special Arrangement with Music Theatre International (MTI)
PREMIER SPONSOR ASSOCIATE SPONSOR MEDIA SPONSOR Music and Lyrics by Book by Stephen Sondheim James Lapine June 28-July 13, 2019 Originally Directed on Broadway by James Lapine Orchestrations by Jonathan Tunick Original Broadyway production by Heidi Landesman Rocco Landesman Rick Steiner M. Anthony Fisher Frederic H. Mayerson Jujamcyn Theatres Originally produced by the Old Globe Theater, San Diego, CA. Scenic Design Costume Design Shoko Kambara† Megan Rutherford Lighting Design Puppetry Consultant Miriam Nilofa Crowe† Peter Fekete Sound Design Casting Director INTO The Jacqueline Herter Michael Cassara, CSA Woods Musical Director Choreographer/Associate Director Daniel Lincoln^ Andrea Leigh-Smith Production Stage Manager Production Manager Myles C. Hatch* Adam Zonder Director Michael Barakiva+ Into the Woods is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.MTIShows.com Music and Lyrics by Book by STEPHEN JAMES Directed by SONDHEIM LAPINE MICHAEL * Member of Actor’s Equity Association, † USA - Member of Originally directed on Broadway by James LapineBARAKIVA the Union of Professional Actors and United Scenic Artists Orchestrations by Jonathan Tunick Stage Managers in the United States. Local 829. ^ Member of American Federation of Musicians, + Local 802 or 380. CAST NARRATOR ............................................................................................................................................HERNDON LACKEY* CINDERELLA -
Dandelion Day 2012 Set for Weekday 1970S 1990S
C AMPUS TIMES VOLUME 139, NUMBER 4 Serving the University of Rochester community since 1873 THURSDAY , FEBRUARY 16, 2012 Dandelion Day 2012 set for weekday Sparking student outcry, UR announces plans to move cherished day to Friday, spend three times previous budget BY LEAH BULETTI NEWS EDITOR “It’s a symbolic move. In an effort to curb what We’re trying to go back to has escalated in recent years into a day of excessive drink- the roots ing, this year’s Dandelion Day of the day will be held on Friday, April and make 27, rather than the Saturday before reading period when it it more is traditionally held. closely The decision — the result of aligned with months of ongoing discussion between the administration events from old and various student groups D-Days.” — was publicly announced to the Students’ Association —Dean of Students Senate meeting on Monday, Matthew Burns Feb. 13. 1970s 1990s “It’s a symbolic move,” PHOTOS COURTESY OF RARE BOOKS A N D SP ECIAL COLLECTIO N S , UN IVERSITY OF ROCHESTER LIBRARIES julia sklar • PRESE N TATIO N EDITOR Dean of Students Matthew 1950s, was not how UR wanted name” — and for an expanded cause it had become too diffi- needed than an email sent by Burns said that, given the Burns said of the decision. to handle the problem. selection of activities, which cult to control and “not worth a URMC doctor, whose name ample evidence of escalating “We’re trying to go back to “We wanted to keep it, but they hope will help divert some the investment,” UR has kept was not disclosed, to Burns problems and the fact that the roots of the day and make make it safer,” he explained. -
How a Struggling Single Mom Found True Riches
IN THIS ISSUE: Whose Are You? FOR WOMEN p.3 ® Crossword Puzzle INSIDE JOURNAL p.3 Find Your Identity YOUR SOURCE OF INSPIRATION AND INFORMATION VOLUME 3, NO. 2 SPRING 2020 p.4 WHAT IS ANGEL TREE CAMPING? How a Struggling Single An extension of the Prison Fellowship® Angel Tree® Christmas program, Angel Tree Camping® Mom Found True Riches helps children ages 5 to 18 who have an by A.R. Quinn incarcerated parent or stepparent to attend was never able to a Christian summer be just an innocent camp* on a scholarship. child,” says Michelle To find out if there is an “ Payette. Angel Tree Camp near Her father was your child, you or your anI abusive man with legal child’s caregiver can troubles. Those troubles call 800.55.ANGEL eventually drove Michelle and (26435) to get her family from Illinois, her connected to the Angel birthplace, to the racetrack Tree Camping specialist town of Saratoga Springs, in your region. New York. Soon after, her parents got divorced, and *Camps are not owned or operated by Prison Fellowship. Michelle’s mother married a man who was a convicted felon, though Michelle didn’t know it until much later. she had the appearance of He ran an automotive shop success—a nice house, a car, that kept two sets of books. a family. But her marriage Michelle grew up thinking was unhealthy, and when Photo by Veronica Huang by Veronica Photo that it wasn’t quite legal, but she got pregnant again, her she figured that was just the When Michelle was a kid, she tried to grow up too fast and wound up as a young mom in a bad marriage. -
The Song of the Lark I
HE ONG OF THE ARK T S L BY WILLA CATHER © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor This PDF eBook was produced in the year 2010 by Tantor Media, Incorporated, which holds the copyright thereto. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. -
Recognizing Female Desire and Subjectivity in the Oedipus Complex
Jenna Davis 1 Beyond Castration: Recognizing Female Desire and Subjectivity in the Oedipus Complex Je=aDavis Critical Theory Swathmore College December 2011 Jenna Davis 2 CHAPTER 1 Argument and Methodology Psychoanalysis was developed by Austrian physician Sigmund Freud in the late nineteenth and early twentieth centuries. One of Freud's most celebrated theories was that of the Oedipus complex, which explores the psychic structures that underlie sexual development. In the following chapters I will be examining the Oedipal and preoedipal stages of psychosexual development, drawing out their implicit gendered assumptions with the help of modern feminist theorists and psychoanalysts. I am pursuing a Lacanian reading of Freud, in which the biological roles of mother and father are given structural importance, so that whomever actually occupies these roles is less important than their positional significance. After giving a brief history of the evolution of psychoanalytic theory in the first chapter, I move on in the second chapter to explicate Freud's conception of the Oedipus complex (including the preoedipal stage) and the role of the Oedipal myth, making use of theorist Teresa de Lauretis. In the third chapter, I look at several of Freud's texts on femininity and female sexuality. I will employ Simone de Beauvoir, Kaja Silverman and de Lauretis to discuss male and female investments in femininity and the identities that are open to women. After this, Jessica Benjamin takes the focus away from individuals and incorporates the other in her theory of intersubjectivity. I end chapter three with Helene Cixous, Julia Kristeva and Luce Irigaray, who all attest to the necessity of symbolic female representation--Cixous proposes a specifically female manner of writing called ecriture feminine, Kristeva introduces the semiotic realm to contend with Lacan's symbolic realm, and Irigaray believes in the need for corporeal Jenna Davis 3 representation for women within a female economy. -
How Female Musicians Are Treated Differently in Music
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2006 10x The Talent = 1/3 Of The Credit: How Female Musicians Are Treated Differently In Music Meggan Jordan University of Central Florida Part of the Sociology Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Jordan, Meggan, "10x The Talent = 1/3 Of The Credit: How Female Musicians Are Treated Differently In Music" (2006). Electronic Theses and Dissertations, 2004-2019. 946. https://stars.library.ucf.edu/etd/946 10X THE TALENT = 1/3 OF THE CREDIT HOW FEMALE MUSICIANS ARE TREATED DIFFERENTLY IN MUSIC by MEGGAN M. JORDAN B.A. University of Central Florida, 2004 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Sociology in the College of Sciences at the University of Central Florida Orlando, Florida Summer Term 2006 © 2006 Meggan M. Jordan ii ABSTRACT This is an exploratory, qualitative study of female musicians and their experiences with discrimination in the music industry. Using semi-structured interviews, I analyze the experiences of nine women, ages 21 to 56, who are working as professional musicians, or who have worked professionally in the past. I ask them how they are treated differently based on their gender. -
Conceptually Androgynous
Umeå Center for Gender Studies Conceptually androgynous The production and commodification of gender in Korean pop music Petter Almqvist-Ingersoll Master Thesis in Gender Studies Spring 2019 Thesis supervisor: Johanna Overud, Ph. D. ABSTRACT Stemming from a recent surge in articles related to Korean masculinities, and based in a feminist and queer Marxist theoretical framework, this paper asks how gender, with a specific focus on what is referred to as soft masculinity, is constructed through K-pop performances, as well as what power structures are in play. By reading studies on pan-Asian masculinities and gender performativity - taking into account such factors as talnori and kkonminam, and investigating conceptual terms flower boy, aegyo, and girl crush - it forms a baseline for a qualitative research project. By conducting qualitative interviews with Swedish K-pop fans and performing semiotic analysis of K-pop music videos, the thesis finds that although K-pop masculinities are perceived as feminine to a foreign audience, they are still heavily rooted in a heteronormative framework. Furthermore, in investigating the production of gender performativity in K-pop, it finds that neoliberal commercialism holds an assertive grip over these productions and are thus able to dictate ‘conceptualizations’ of gender and project identities that are specifically tailored to attract certain audiences. Lastly, the study shows that these practices are sold under an umbrella of ‘loyalty’ in which fans are incentivized to consume in order to show support for their idols – in which the concept of desire plays a significant role. Keywords: Gender, masculinity, commercialism, queer, Marxism Contents Acknowledgments ................................................................................................................................... 1 INTRODUCTION ................................................................................................................................. -
Cardinal Sins
Cardinal Sins Volume 29, Issue 1 The fine arts and literature magazine of Saginaw Valley State University 7400 Bay Road University Center, MI 48710 www.svsu.edu/cardinalsins Produced by the students and staff of Saginaw Valley State University and published on campus by the Graphics Center, Cardinal Sins features art, photography, poetry, and prose by members of the SVSU community, including alumni. All submissions are considered for publication. Selection is made by blind voting of the staff, who are excluded from receiving an award in any category. Cardinal Sins uses Adobe InDesign. This issue features MyriadPro and American Typewriter fonts. Copyright 2009, Cardinal Sins. All subsequent publishing rights revert to the artists. Cover designed by Nicole Vlisides. SVSU does not discriminate based on race, religion, color, gender, sexual orientation, national origin, age, physical impairment, disability or veteran status in the provision of education, employment and other services. Cardinal Sins Editor-in-Chief Amelia Glebocki Editorial Staff Charles Davenport Beth Erbacher Noah Essenmacher Chris Giroux Emily Krueger Kirsten McIlvenna Kelly Mundt Tracy Thiel Tim Windy Business Manager Alex Soares Web Manager Trevor Baranek Academic Adviser Peter Brian Barry Administrative Support Patricia Latty Sharon Opheim Table of Contents Editor’s Note...................................................................................................................8 Black & White Artwork The Battle Cassandra Birchmeier...........................................................................14 -
Kenny Burrell Kenny Burrell Mp3, Flac, Wma
Kenny Burrell Kenny Burrell mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Kenny Burrell Country: US Released: 1956 Style: Hard Bop, Bop MP3 version RAR size: 1734 mb FLAC version RAR size: 1777 mb WMA version RAR size: 1855 mb Rating: 4.5 Votes: 480 Other Formats: VQF RA MP2 MP4 WAV FLAC MP1 Tracklist Hide Credits Get Happy A1 Written-By – Arlen*, Koehler* But Not For Me A2 Written-By – Gershwin* Mexico City A3 Written-By – Kenny Dorham Moten Swing A4 Written-By – Bennie Moten, Buster Moten Cheeta B1 Written-By – Kenny Burrell Now See How You Are B2 Written-By – Pettiford*, Harris* Phinupi B3 Written-By – Kenny Burrell How About You B4 Written-By – Lane*, Freed* Companies, etc. Recorded At – Van Gelder Studio, Hackensack, New Jersey Recorded At – Audio-Video Studios Copyright (c) – Liberty Records, Inc. Credits Bass – Oscar Pettiford (tracks: A4, B1, B2, B3, B4), Paul Chambers (tracks: A1), Sam Jones (tracks: A3) Design [Cover Artwork] – Andy Warhol Design [Cover] – Reid Miles Drums – Arthur Edgehill (tracks: A3), Kenny Clarke (tracks: A1), Shadow Wilson (tracks: A4, B1, B2, B3, B4) Liner Notes – Leonard Feather Percussion – Candido (tracks: A1) Piano – Bobby Timmons (tracks: A3), Tommy Flanagan Producer – Alfred Lion Recorded By [Recording By], Mastered By [Mastering By] – Rudy Van Gelder Tenor Saxophone – Frank Foster (tracks: B2, B3, B4), J.R. Monterose (tracks: A3) Trumpet – Kenny Dorham (tracks: A3) Notes Recorded at the Audio-Video Studios, NYC on March 12, 1956 (tracks A4 to B4), at the Rudy Van Gelder Studio, Hackensack, NJ, on May 29, 1956 (track A1) and on May 30, 1956 (tracks A2, A3).