DOCSLIB.ORG

(En)Compassing Heart

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

(EN)COMPASSING HEART: A GRASSROOTS NGOs NAVIGATION TOWARDS SUSTAINABILITY By Rachel Larabee A thesis submitted in conformity with the requirements For the degree of Master of Arts Graduate Department of Adult Education and Counselling Psychology University of Toronto ©Copyright by Rachel Larabee 2009 Abstract Rachel Larabee (En)Compassing Heart: A Grassroots NGO’s Navigation Towards Sustainability Master of Arts 2009 Department of Adult Education and Counselling Psychology Ontario Institute for Studies in Education (En)Compassing Heart explores and documents the organizational journey of POR AMOR Community Enhancement Initiatives. POR AMOR is a current, Toronto based, youth-led, non-profit organization I co-founded with three other young women in 2003. POR AMOR initiatives focus on youth empowerment and specifically helping young people to make responsible transitions into adulthood and become active leaders in their communities. Through the use of arts-informed methodological practices, this project is constructed as a modern narrative, infused with spoken-word poetry, to track the journey of a young girl from her passion for the arts to becoming an empowered individual within her community. The young protagonist is representative of the journey of POR AMOR, our journey as young people navigating our way to meaningful work in communities. The mission of POR AMOR is to promote and facilitate art-based youth empowerment initiatives in local and international community contexts. II Dedications (Intentions) I dedicate this story to the ancestors who have guided its purpose and passion. To the four winds, south, west, north and east, from the end to the beginning, through the archetypal powers— may we learn the ways of our ancient ones and re-member the wisdom they transpire. May we honour them and receive their gentle awakening. I dedicate this story to the wisdom, traditions, teachings, kindness and inspiration of the indigenous people of Turtle Island. I particularly dedicate it to those of the Six Nations whose paths and teachings I have had the honour of crossing and whose medicine I have had the honour of receiving. I dedicate this story to youth and our dreams for them: that they receive the guidance that leads them to their quest of Self discovery; that they become empowered through the recognition of who they are and what they are worth; that they realize their inner strengths, creative powers and carry their light forward like shining medicine on the open wounds of our past, like shining compasses on the dark tunnels of our present, like fierce, fire blazing torches paving trails for the next seven generations. I dedicate this story to parents, grandparents, teachers, guidance councillors, therapists, social workers, and all people who interact with young people: that they may see the value in training, investing and valuing young people as keepers of the Earth and family ties (human bonds); that they recognize the glowing heart in every young person and work to keep that glow nourished, guided and supported instead of feared, loathed and misunderstood. Our communities need not be plagued with children of low self esteem who in turn cause destruction and violence out of anger for not being seen, heard and acknowledged, out of frustration because our youth struggle to find their way and we fear them as they struggle, as they cannot locate their dreams, as they feel like they do not belong; that these people direct their attention to the precious resource our youth provide to our communities. That they refrain from looking upon youth as a burden but instead as young, vibrant, resilient and inspired warriors who will carry the torch for those of us naturally beginning to slow III down; that they see the value in young social activists who stand up for virtues of love, justice, peace, and harmony; that they refrain from describing these concepts as unrealistic idealism but instead encourage the awareness of oppositions to these concepts as an assault and abuse to the Self, because we are ONE. I dedicate this story to my sisters: Erin, Tanika and Melissa; that they may continue to honour their heart and dreams; that we may continue to support each other in the next steps and phase of this dream manifestation and community renewal. Most importantly, I dedicate this story to the Great Spirit and all manifestations of it; to the life force, the creative force, the ocean, the forests, the gardens, the mountains, the four-legged, two- legged, multiple-legged ones, the winged ones, the stones, the ether and all the blessed energy in motion--LOVE...from my deepest, highest place—Namaste. IV Acknowledgements There are several people I’d like to acknowledge for their unconditional support to me throughout this heart-full work. First and foremost to the Creator—I will never stop praising your many names and blessed ways. To my family, Mom, Dad and Ashley—thank you for always helping me recognize the fullness of love and being there through and through to show Love’s many reflections. Words could never contain the fullness of my love and appreciation for you. To my supervisor, Ardra Cole—You saw my vision through its twists and turns and spoke my language from day one. I am humbled by your gentle yet powerful guidance and strength. You have been an indescribable support academically, professionally, personally and always heartfully. Words cannot say how much I appreciate your wisdom and support throughout this process. To my second reader, Gary Knowles—thank you for your constant support in the AECP Department, in my navigations through academia and for all your caring help along the way. Thanks to professors at OISE: Ed O’Sullivan, Nancy Jackson, Solveiga Miezitis, Anne Goodman and Kunle Akingbola for all the valuable resources and information your experiences provide. Special thanks to my friends at OISE for all your help: Erika Bailey, Paula Cameron, Dan Hill, Laurel Waterman, Angie Leto and Rebecca Ballen. To my BFF always, Mang—God has blessed us with such an eternal and intangible gift—may we never take it for granted. To my POR AMOR Co-Creators—thank you for making dreams come true with me. And lastly, to all the youth participants who have participated in our projects over the years—you keep me young and hopeful—thank you. V Table of Contents Abstract.............................................................................................................................................. II Dedications (Intentions) .................................................................................................................. III Acknowledgements .......................................................................................................................... V Table of Contents ............................................................................................................................. VI Table of Figures ................................................................................................................................ IX Introduction ........................................................................................................................................ 1 “Butterflies” .............................................................................................................................. 1 Part 1: The Experiential Journey ....................................................................................................... 6 Chapter One: Dreams that Awaken .............................................................................................. 7 “Our Way” .............................................................................................................................. 10 Chapter Two: The Confidence to Begin ...................................................................................... 21 “This Place They Tell Me is Home” ........................................................................................ 26 Chapter Three: The Law of Manifestation ................................................................................. 37 “My Time to Rhyme” ............................................................................................................. 53 VI Chapter Four: The Mind Serves; The Heart Leaps ..................................................................... 57 “POR AMOR” .......................................................................................................................... 80 Chapter Five: Patience for the Unfolding ................................................................................... 84 “Fire on the Roof” .................................................................................................................. 94 Part 2: Reflective/Theoretical Journey ......................................................................................... 106 Chapter Six: Lost in the Land of Structure ................................................................................107 “Puerto Plata” ....................................................................................................................... 121 Chapter Seven: Constructing the Inner Compass ..................................................................... 128 “System?”............................................................................................................................. 129 “Compass Medicine” ...........................................................................................................
Recommended publications
  • Scanned Image

    Scanned Image

    INSIDE Singleschart, 6-7;Album chart,17; New Singles, 18; NewAlbums, 13; Airplay guide, 14-15; lndpendent Labels, 8; Retailing 5. June 28, 1982 VOLUME FIVE Number 12 65p RCA sets price Industry puts brave rises on both face on plunging LPs & singles RCAis implementing itsfirst wide- ranging increase in prices since January Summer disc sales 1981. Then its new 77p dealer price for singles sparked trade controversy but ALL THE efforts of the record industryfor the £s that records appear to be old the rest of the industry followed in due to hold down prices and generate excite-hat. People who are renting a VCR are course. ment in recorded music are meeting amaking monthly payment equivalent to With the new prices coming into stubbornly flat market. purchasing one LP a week," he said. effect on July 1, RCA claims now to be Brave faces are being worn around the Among the major companies howev- merely coming into line with other major companies but itis becominger, there is steadfast resistance to gloom. companies. clear that the business is in the middle of Paul Russell, md of CBS, puts the New dealer price for singles will be an even worse early Summer depressionproblem down to weak releases and is 85p (ex VAT) with 12 -inch releases than that of 1981. happy to be having success with Joan costing £1.49, a rise of 16p. On tapes The volume of sales mentioned by theJett, The Clash, Neil Diamond andWHETHER IT likes it or not, Polydorand albums the 3000 series goes from RB chart department shows a decline ofAltered Images with the prospect of bigis now heavy metal outfit Samson's£2.76 to £2.95, the 6000 series from between 20 and 30 percent over the samereleases from Judas Priest and REOrecord company.
  • 17 22 @Annieareyouokay Because We Each Have a Place That Makes

    17 22 @Annieareyouokay Because We Each Have a Place That Makes

    17 22 View conversation Jahar @J_tsar · 16 Jul 2012 @AnnieAreYouOkay because we each have a place that makes us who we are, why live by what was instead of what is annie. 18 39 View conversation Jahar retweeted #Muslim @hash_Muslim · 16 Jul 2012 #Ramadan picks us up from our slackness, re­charge our faith, and give us a push towards our Creator. 142 49 Jahar @J_tsar · 16 Jul 2012 @therealAbdul_ for the blind and the lazy 1 4 Jahar retweeted Stewie Griffin @itStewieGriffin · 13 Jul 2012 In a Grammar class : Teacher:­ "HE does not like girls" What is 'He' in this sentence. ?? . Student :­ Gay. !! 62 20 Jahar retweeted Stewie Griffin @itStewieGriffin · 16 Jul 2012 You take "the" out of psychotherapist 71 33 Jahar @J_tsar · 16 Jul 2012 just gotta get away from reality and dream a little 81 109 Jahar @J_tsar · 16 Jul 2012 bed time is the best time 71 87 Jahar @J_tsar · 15 Jul 2012 whats all the fucking fussin for because im grubbing more? 10 26 Jahar @J_tsar · 15 Jul 2012 breaking bad tonight #bestshow 19 26 Jahar retweeted Words @funnyortruth · 15 Jul 2012 You're probably naked under all those clothes. You slut. 928 269 Jahar @J_tsar · 15 Jul 2012 too waved to even fall asleep #thespins 9 23 9 23 Jahar @J_tsar · 15 Jul 2012 so much hate i need a ak 82 88 Jahar retweeted Kat @KizzMcDutchie · 15 Jul 2012 Just saw a fat topless homeless woman bang out another fat white homeless woman in central sq lmfaooo 1 3 Jahar @J_tsar · 14 Jul 2012 byyyyyyyyyyaaaaaaaaaaahh 18 25 Jahar retweeted Alan Garner @AlanHungover · 14 Jul 2012 Oh look, it's raining outside.
  • I'm Gonna Keep Growin'

    I'm Gonna Keep Growin'

    always bugged off of that like he always [imi­ tated] two people. I liked the way he freaked that. So on "Gimme The Loot" I really wanted to make people think that it was a different person [rhyming with me]. I just wanted to make a hot joint that sounded like two nig­ gas-a big nigga and a Iii ' nigga. And I know it worked because niggas asked me like, "Yo , who did you do 'Gimme The Loot' wit'?" So I be like, "Yeah, well, my job is done." I just got it from Slick though. And Redman did it too, but he didn't change his voice. What is the illest line that you ever heard? Damn ... I heard some crazy shit, dog. I would have to pick somethin' from my shit, though. 'Cause I know I done said some of the most illest rhymes, you know what I'm sayin'? But mad niggas said different shit, though. I like that shit [Keith] Murray said [on "Sychosymatic"]: "Yo E, this might be my last album son/'Cause niggas tryin' to play us like crumbs/Nobodys/ I'm a fuck around and murder everybody." I love that line. There's shit that G Rap done said. And Meth [on "Protect Ya Neck"]: "The smoke from the lyrical blunt make me ugh." Shit like that. I look for shit like that in rhymes. Niggas can just come up with that one Iii' piece. Like XXL: You've got the number-one spot on me chang in' the song, we just edited it.
  • A Stylistic Analysis of 2Pac Shakur's Rap Lyrics: in the Perpspective of Paul Grice's Theory of Implicature

    A Stylistic Analysis of 2Pac Shakur's Rap Lyrics: in the Perpspective of Paul Grice's Theory of Implicature

    California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2002 A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature Christopher Darnell Campbell Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Rhetoric Commons Recommended Citation Campbell, Christopher Darnell, "A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature" (2002). Theses Digitization Project. 2130. https://scholarworks.lib.csusb.edu/etd-project/2130 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English: English Composition by Christopher Darnell Campbell September 2002 A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino by Christopher Darnell Campbell September 2002 Approved.by: 7=12 Date Bruce Golden, English ABSTRACT 2pac Shakur (a.k.a Makaveli) was a prolific rapper, poet, revolutionary, and thug. His lyrics were bold, unconventional, truthful, controversial, metaphorical and vulgar.
  • Dolemite Is My Name

    Dolemite Is My Name

    DOLEMITE IS MY NAME Written by Scott Alexander and Larry Karaszewski FINAL IN THE BLACK We hear Marvin Gaye's "What's Goin' On" playing softly. VOICE I ain't lying. People love me. INT. DOLPHIN'S - DAY CU of a beat-up record from the 1950s. On the paper cover is a VERY YOUNG Rudy, in a tuxedo. It says "Rudy Moore - BUGGY RIDE" RUDY You play this, folks gonna start hoppin' and squirmin', just like back in the day. A hand lifts the record up to the face of RUDY RAY MOORE, late '40s, black, sweet, determined. RUDY When I sang this on stage, I swear to God, people fainted! Ambulance man was picking them off the floor! When I had a gig, the promoter would warn the hospital: "Rudy's on tonight -- you're gonna be carrying bodies out of the motherfucking club!" We see that we are in a RADIO BOOTH. A sign blinks "On The Air." The DJ, ROJ, frowns at the record. ROJ "Buggy Ride"? RUDY Wasn't no small-time shit. ROJ GodDAMN, Rudy! That record's 1000 years old! I've got Marvin Gaye singin' "Let's Get It On"! I can't be playin' no "Buggy Ride." (beat) Look, I have 60 seconds. I have to cue the next tune. Hm! Rudy bites his lip and walks away. Roj tries to go back to his job. He reaches for a Sly Stone single -- when Rudy suddenly bounds back up. RUDY How about "Step It Up and Go"? That's a real catchy rhythm-and-blues number.
  • Anthology of Polish Poetry. Fulbright-Hays Summer Seminars Abroad Program, 1998 (Hungary/Poland)

    Anthology of Polish Poetry. Fulbright-Hays Summer Seminars Abroad Program, 1998 (Hungary/Poland)

    DOCUMENT RESUME ED 444 900 SO 031 309 AUTHOR Smith, Thomas A. TITLE Anthology of Polish Poetry. Fulbright-Hays Summer Seminars Abroad Program, 1998 (Hungary/Poland). INSTITUTION Center for International Education (ED), Washington, DC. PUB DATE 1998-00-00 NOTE 206p. PUB TYPE Collected Works - General (020)-- Guides Classroom - Teacher (052) EDRS PRICE MF01/PC09 Plus Postage. DESCRIPTORS Anthologies; Cultural Context; *Cultural Enrichment; *Curriculum Development; Foreign Countries; High Schools; *Poetry; *Poets; Polish Americans; *Polish Literature; *World Literature IDENTIFIERS Fulbright Hays Seminars Abroad Program; *Poland; Polish People ABSTRACT This anthology, of more than 225 short poems by Polish authors, was created to be used in world literature classes in a high school with many first-generation Polish students. The following poets are represented in the anthology: Jan Kochanowski; Franciszek Dionizy Kniaznin; Elzbieta Druzbacka; Antoni Malczewski; Adam Mickiewicz; Juliusz Slowacki; Cyprian Norwid; Wladyslaw Syrokomla; Maria Konopnicka; Jan Kasprowicz; Antoni Lange; Leopold Staff; Boleslaw Lesmian; Julian Tuwim; Jaroslaw Iwaszkiewicz; Maria Pawlikowska; Kazimiera Illakowicz; Antoni Slonimski; Jan Lechon; Konstanty Ildefons Galczynski; Kazimierz Wierzynski; Aleksander Wat; Mieczyslaw Jastrun; Tymoteusz Karpowicz; Zbigniew Herbert; Bogdan Czaykowski; Stanislaw Baranczak; Anna Swirszczynska; Jerzy Ficowski; Janos Pilinsky; Adam Wazyk; Jan Twardowski; Anna Kamienska; Artur Miedzyrzecki; Wiktor Woroszlyski; Urszula Koziol; Ernest Bryll; Leszek A. Moczulski; Julian Kornhauser; Bronislaw Maj; Adam Zagajewskii Ferdous Shahbaz-Adel; Tadeusz Rozewicz; Ewa Lipska; Aleksander Jurewicz; Jan Polkowski; Ryszard Grzyb; Zbigniew Machej; Krzysztof Koehler; Jacek Podsiadlo; Marzena Broda; Czeslaw Milosz; and Wislawa Szymborska. (BT) Reproductions supplied by EDRS are the best that can be made from the original document. Anthology of Polish Poetry. Fulbright Hays Summer Seminar Abroad Program 1998 (Hungary/Poland) Smith, Thomas A.
  • Flashback, Flash Forward: Re-Covering the Body and Id-Endtity in the Hip-Hop Experience

    Flashback, Flash Forward: Re-Covering the Body and Id-Endtity in the Hip-Hop Experience

    FLASHBACK, FLASH FORWARD: RE-COVERING THE BODY AND ID-ENDTITY IN THE HIP-HOP EXPERIENCE Submitted By Danicia R. Williams As part of a Tutorial in Cultural Studies and Communications May 04,2004 Chatham College Pittsburgh, Pennsylvania Tutor: Dr. Prajna Parasher Reader: Ms. Sandy Sterner Reader: Dr. Robert Cooley ACKNOWLEDGEMENTS I would like to thank Dr. Prajna Paramita Parasher, my tutor for her faith, patience and encouragement. Thank you for your friendship. Ms. Sandy Sterner for keeping me on my toes with her wit and humor, and Dr. Cooley for agreeing to serve on my board. Kathy Perrone for encouraging me always, seeing things in me I can only hope to fulfill and helping me to develop my writing. Dr. Anissa Wardi, you and Prajna have changed my life every time I attend your classes. My parent s for giving me life and being so encouraging and trusting in me even though they weren't sure what I was up to. My Godparents, Jerry and Sharon for assisting in the opportunity for me to come to Chatham. All of the tutorial students that came before me and all that will follow. I would like to give thanks for Hip-Hop and Sean Carter/Jay-Z, especially for The Black Album. With each revolution of the CD my motivation to complete this project was renewed. Whitney Brady, for your excitement and brainstorming sessions with me. Peace to Divine Culture for his electricity and Nabri Savior. Thank you both for always being around to talk about and live in Hip-Hop. Thanks to my friends, roommates and coworkers that were generally supportive.
  • 2 to Be Somebody: Ambition and the Desire to Be Different

    2 to Be Somebody: Ambition and the Desire to Be Different

    2 To Be Somebody: Ambition and the Desire to Be Different The context for difference This chapter aims to identify some of the bands that enjoyed chart success during the late 1970s and ’80s and identify their artistic traits by means of conversations with band members and those close to the bands. This chapter does not claim to be a definitive account or an inclusive list of innovative bands but merely a viewpoint from some of the individuals who were present at the time and involved in music, creativity and youth culture. Some of these individuals were in the eye of the storm while others were more on the periphery. However, common themes emerge and testify to the Scouse resilience identified in the previous chapter. Also, identifying objective truth is a difficult task, as one band member will often have a view of his band’s history that conflicts with that of other members of the same band. As such, it is acknowledged that this chapter presents only selective viewpoints. Trying something new: In what ways were the Liverpool bands creative and different? ‘Liverpool has always made me brave, choice-wise. It was never a city that criticized anyone for taking a chance.’ David Morrissey1 In terms of creativity, the theory underpinning this book which was stated in Chapter 1 is that successful Liverpool bands in the 1980s were different from each other and did not attempt to follow the latest local or national pop music trends. None of the bands interviewed falls into the categories of punk, disco or New Romantic, which were popular trends at the time.
  • Genesys John Peel 78339 221 2 2 Timewyrm: Exodus Terrance Dicks

    Genesys John Peel 78339 221 2 2 Timewyrm: Exodus Terrance Dicks

    Sheet1 No. Title Author Words Pages 1 1 Timewyrm: Genesys John Peel 78,339 221 2 2 Timewyrm: Exodus Terrance Dicks 65,011 183 3 3 Timewyrm: Apocalypse Nigel Robinson 54,112 152 4 4 Timewyrm: Revelation Paul Cornell 72,183 203 5 5 Cat's Cradle: Time's Crucible Marc Platt 90,219 254 6 6 Cat's Cradle: Warhead Andrew Cartmel 93,593 264 7 7 Cat's Cradle: Witch Mark Andrew Hunt 90,112 254 8 8 Nightshade Mark Gatiss 74,171 209 9 9 Love and War Paul Cornell 79,394 224 10 10 Transit Ben Aaronovitch 87,742 247 11 11 The Highest Science Gareth Roberts 82,963 234 12 12 The Pit Neil Penswick 79,502 224 13 13 Deceit Peter Darvill-Evans 97,873 276 14 14 Lucifer Rising Jim Mortimore and Andy Lane 95,067 268 15 15 White Darkness David A McIntee 76,731 216 16 16 Shadowmind Christopher Bulis 83,986 237 17 17 Birthright Nigel Robinson 59,857 169 18 18 Iceberg David Banks 81,917 231 19 19 Blood Heat Jim Mortimore 95,248 268 20 20 The Dimension Riders Daniel Blythe 72,411 204 21 21 The Left-Handed Hummingbird Kate Orman 78,964 222 22 22 Conundrum Steve Lyons 81,074 228 23 23 No Future Paul Cornell 82,862 233 24 24 Tragedy Day Gareth Roberts 89,322 252 25 25 Legacy Gary Russell 92,770 261 26 26 Theatre of War Justin Richards 95,644 269 27 27 All-Consuming Fire Andy Lane 91,827 259 28 28 Blood Harvest Terrance Dicks 84,660 238 29 29 Strange England Simon Messingham 87,007 245 30 30 First Frontier David A McIntee 89,802 253 31 31 St Anthony's Fire Mark Gatiss 77,709 219 32 32 Falls the Shadow Daniel O'Mahony 109,402 308 33 33 Parasite Jim Mortimore 95,844 270
  • WARNER BROS. / WEA RECORDS 1970 to 1982

    WARNER BROS. / WEA RECORDS 1970 to 1982

    AUSTRALIAN RECORD LABELS WARNER BROS. / WEA RECORDS 1970 to 1982 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, APRIL 2019 WARNER BROS. / WEA RECORDS, 1970–1982 A BRIEF WARNER BROS. / WEA HISTORY WIKIPEDIA TELLS US THAT... WEA’S ROOTS DATE BACK TO THE FOUNDING OF WARNER BROS. RECORDS IN 1958 AS A DIVISION OF WARNER BROS. PICTURES. IN 1963, WARNER BROS. RECORDS PURCHASED FRANK SINATRA’S REPRISE RECORDS. AFTER WARNER BROS. WAS SOLD TO SEVEN ARTS PRODUCTIONS IN 1967 (FORMING WARNER BROS.-SEVEN ARTS), IT PURCHASED ATLANTIC RECORDS AS WELL AS ITS SUBSIDIARY ATCO RECORDS. IN 1969, THE WARNER BROS.-SEVEN ARTS COMPANY WAS SOLD TO THE KINNEY NATIONAL COMPANY. KINNEY MUSIC INTERNATIONAL (LATER CHANGING ITS NAME TO WARNER COMMUNICATIONS) COMBINED THE OPERATIONS OF ALL OF ITS RECORD LABELS, AND KINNEY CEO STEVE ROSS LED THE GROUP THROUGH ITS MOST SUCCESSFUL PERIOD, UNTIL HIS DEATH IN 1994. IN 1969, ELEKTRA RECORDS BOSS JAC HOLZMAN APPROACHED ATLANTIC'S JERRY WEXLER TO SET UP A JOINT DISTRIBUTION NETWORK FOR WARNER, ELEKTRA, AND ATLANTIC. ATLANTIC RECORDS ALSO AGREED TO ASSIST WARNER BROS. IN ESTABLISHING OVERSEAS DIVISIONS, BUT RIVALRY WAS STILL A FACTOR —WHEN WARNER EXECUTIVE PHIL ROSE ARRIVED IN AUSTRALIA TO BEGIN SETTING UP AN AUSTRALIAN SUBSIDIARY, HE DISCOVERED THAT ONLY ONE WEEK EARLIER ATLANTIC HAD SIGNED A NEW FOUR-YEAR DISTRIBUTION DEAL WITH FESTIVAL RECORDS. IN MARCH 1972, KINNEY MUSIC INTERNATIONAL WAS RENAMED WEA MUSIC INTERNATIONAL. DURING THE 1970S, THE WARNER GROUP BUILT UP A COMMANDING POSITION IN THE MUSIC INDUSTRY. IN 1970, IT BOUGHT ELEKTRA (FOUNDED BY HOLZMAN IN 1950) FOR $10 MILLION, ALONG WITH THE BUDGET CLASSICAL MUSIC LABEL NONESUCH RECORDS.
  • Songs by Artist

    Songs by Artist

    Sound Master Entertianment Songs by Artist smedenver.com Title Title Title .38 Special 2Pac 4 Him Caught Up In You California Love (Original Version) For Future Generations Hold On Loosely Changes 4 Non Blondes If I'd Been The One Dear Mama What's Up Rockin' Onto The Night Thugz Mansion 4 P.M. Second Chance Until The End Of Time Lay Down Your Love Wild Eyed Southern Boys 2Pac & Eminem Sukiyaki 10 Years One Day At A Time 4 Runner Beautiful 2Pac & Notorious B.I.G. Cain's Blood Through The Iris Runnin' Ripples 100 Proof Aged In Soul 3 Doors Down That Was Him (This Is Now) Somebody's Been Sleeping Away From The Sun 4 Seasons 10000 Maniacs Be Like That Rag Doll Because The Night Citizen Soldier 42nd Street Candy Everybody Wants Duck & Run 42nd Street More Than This Here Without You Lullaby Of Broadway These Are Days It's Not My Time We're In The Money Trouble Me Kryptonite 5 Stairsteps 10CC Landing In London Ooh Child Let Me Be Myself I'm Not In Love 50 Cent We Do For Love Let Me Go 21 Questions 112 Loser Disco Inferno Come See Me Road I'm On When I'm Gone In Da Club Dance With Me P.I.M.P. It's Over Now When You're Young 3 Of Hearts Wanksta Only You What Up Gangsta Arizona Rain Peaches & Cream Window Shopper Love Is Enough Right Here For You 50 Cent & Eminem 112 & Ludacris 30 Seconds To Mars Patiently Waiting Kill Hot & Wet 50 Cent & Nate Dogg 112 & Super Cat 311 21 Questions All Mixed Up Na Na Na 50 Cent & Olivia 12 Gauge Amber Beyond The Grey Sky Best Friend Dunkie Butt 5th Dimension 12 Stones Creatures (For A While) Down Aquarius (Let The Sun Shine In) Far Away First Straw AquariusLet The Sun Shine In 1910 Fruitgum Co.
  • Ella Fitzgerald Collection of Sheet Music, 1897-1991

    Ella Fitzgerald Collection of Sheet Music, 1897-1991

    http://oac.cdlib.org/findaid/ark:/13030/tf2p300477 No online items Ella Fitzgerald collection of sheet music, 1897-1991 Finding aid prepared by Rebecca Bucher, Melissa Haley, Doug Johnson, 2015; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] ©2002 The Regents of the University of California. All rights reserved. Ella Fitzgerald collection of sheet PASC-M 135 1 music, 1897-1991 Title: Ella Fitzgerald collection of sheet music Collection number: PASC-M 135 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 13.0 linear ft.(32 flat boxes and 1 1/2 document boxes) Date (inclusive): 1897-1991 Abstract: This collection consists of primarily of published sheet music collected by singer Ella Fitzgerald. Physical Location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. creator: Fitzgerald, Ella Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library Special Collections. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright.