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Bryson Tiller's Sophomore Album True to Self Debuts
BRYSON TILLER’S SOPHOMORE ALBUM TRUE TO SELF DEBUTS AT NO. 1 ON THE BILLBOARD 200, TOP R&B/HIP HOP ALBUMS, R&B ALBUMS AND DIGITAL ALBUMS CHARTS “ONE OF THE BIGGEST RECORDS OF THE SUMMER, IF NOT THE YEAR.” - VARIETY [NEW YORK, NY - June 5, 2017] – Multi-platinum-selling recording artist BRYSON TILLER clinches the No. 1 spot on the Billboard 200 albums chart with the release of his sophomore effort True to Self via Trapsoul/RCA Records. The album also enters at No. 1 on the Top R&B/Hip Hop Albums, R&B Albums and Digital Albums charts. True to Self, released by surprise on May 26th, almost a month ahead of its previously announced June 23rd street date, is Bryson’s first No. 1 debut in the US and garnered 107,000 equivalent album units in its first week, according to Nielsen Music. True to Self, which doesn’t have any artist features, has been streamed more than 140 million times worldwide, with its lead single “Somethin Tells Me” amassing 18 million streams worldwide since its May 11th release. Physical CDs of True to Self will be available at retailers on June 23rd. The album has also garnered critical acclaim, with Variety proclaiming it, “one of the biggest records of the summer, if not the year.” HotNewHipHop writes True to Self, “not only fulfills the promise of T R A P S O U L, but manages to deliver beyond expectations,” while Rolling Out notes Bryson’s musical versatility, commenting, “One minute he’s singing, then the next minute he pops out of nowhere with a 16-bar verse that’s equally as good as his harmonies.” The Grammy-nominated singer will bring his new album to fans on his upcoming Set It Off Tour, which will kick off this August in Atlanta and make over 25 stops before concluding for a hometown finale at Louisville’s KFC Yum! Center. -
Jay Graydon Discography (Valid July 10, 2008)
Jay Graydon Discography (valid July 10, 2008) Jay Graydon Discography - A (After The Love Has Gone) Adeline 2008 RCI Music Pro ??? Songwriter SHE'S SINGIN' HIS SONG (I Can Wait Forever) Producer 1984 258 720 Air Supply GHOSTBUSTERS (Original Movie Soundtrack) Arista Songwriter 1990 8246 Engineer (I Can Wait Forever) Producer 2005 Collectables 8436 Air Supply GHOSTBUSTERS (Original Movie Soundtrack - Reissue) Songwriter 2006 Arista/Legacy 75985 Engineer (I Can Wait Forever) Producer Air Supply DEFINITIVE COLLECTION 1999 ARISTA 14611 Songwriter (I Can Wait Forever) Producer Air Supply ULTIMATE COLLECTION: MILLENNIUM [IMPORT] 2002 Korea? ??? Songwriter (I Can Wait Forever) BMG Entertainment 97903 Producer Air Supply FOREVER LOVE 2003 BMG Entertainment, Argentina 74321979032 Songwriter (I Can Wait Forever) FOREVER LOVE - 36 GREATEST Producer Air Supply HITS 1980 - 2001 2003 BMG Victor BVCM-37408 Import (2 CDs) Songwriter (I Can Wait Forever) Producer Air Supply PLATINUM & GOLD COLLECTION 2004 BMG Heritage 59262 Songwriter (I Can Wait Forever) Producer Air Supply LOVE SONGS 2005 Arista 66934 Songwriter (I Can Wait Forever) Producer Air Supply 2006 Sony Bmg Music, UK 82876756722 COLLECTIONS Songwriter Air Supply (I Can Wait Forever) 2006 Arista 75985 Producer GHOSTBUSTERS - (bonus track) remastered UPC: 828767598529 Songwriter (I Can Wait Forever) Producer Air Supply 2007 ??? ??? GRANDI SUCCESSI (2 CD) Songwriter (I Can Wait Forever) ULTIMATE COLLECTION Producer Air Supply 2007 Sony/Bmg Import ??? [IMPORT] [EXPLICIT LYRICS] [ENHANCED] Songwriter (I Can Wait Forever) Producer Air Supply ??? ??? ??? BELOVED Songwriter (I Can Wait Forever) Producer Air Supply CF TOP 20 VOL.3 ??? ??? ??? Songwriter (Compilation by various artists) (I Can Wait Forever) Producer Air Supply COLLECTIONS TO EVELYN VOL. -
My Beloved Is a Bass Line: Musical, De-Colonial Interventions in Song Criticism and Sacred Erotic Discourse
THE BIBLE & CRITICAL THEORY My Beloved is a Bass Line: Musical, De-colonial Interventions in Song Criticism and Sacred Erotic Discourse Heidi Epstein, University of Saskatchewan Abstract How might musical settings of the Song of Songs provide critical interventions in the politics of love? This case study builds a womanist intertextual matrix for the Song such that its amatory and horticultural language can be reinterpreted as irreducibly “de-colonial.” Reread through Chela Sandoval’s model of love, Alice Walker’s search for her foremothers’ and foresisters’ gardens, and Toni Morrison’s “commentary” on the Song (Beloved), the biblical text circulates de-colonial energies. And, given that music figures centrally in these womanists’ genealogies of love, a de-colonial reading of the Song mandates deconstruction of a subaltern musical archive within the Eurocentric discourse of sacred eroticism, a discourse that the Song sustains as an Ur-text. If the biblical female protagonist’s longing and seeking are reread as de-colonial and trickster-esque, she begets a subaltern musical family tree—audible today in the “Shulammitic” bass playing and protest singing of Meshell Ndegeocello. Key words Meshell Ndegeocello; Song of Songs; Bible and music; love; de-colonial theory; Toni Morrison; Alice Walker Introduction What meanings might be produced from the Song of Song’s amatory and horticultural language if it is read with a sense of love as irreducibly “de-colonial”? Some of these meanings shall emerge over the course of this article as I re-read the Song of Song’s imagery and its musicality in four phases through womanist intertexts by Chela Sandoval, Toni Morrison, Alice Walker, and Meshell Ndegeocello. -
MIAMI UNIVERSITY the Graduate School
MIAMI UNIVERSITY The Graduate School Certificate for Approving the Dissertation We hereby approve the Dissertation of Daniel J. Ciamarra Candidate for the Degree Doctor of Philosophy ______________________________ Director (Tom S. Poetter) ______________________________ Reader (Richard A. Quantz) ______________________________ Reader (Denise Baszile) _____________________________ Graduate School Representative (Bob Burke) ABSTRACT SPEAKING UP: USING A PEDAGOGY OF LOVE TO DEBUNK TECHNICAL TEACHING AND LEARNING PRACTICES by Daniel J. Ciamarra At present, our students are valued for their capacities to thoughtlessly absorb and regurgitate standardized facts and figures. Meanwhile, the affective facets of schooling, such as love, relationality, compassion, acceptance, integrity, and altruism are overlooked by politicians and educational decision makers, who claim these elements lack academic rigor. In this study, I use the dominant views of the educational elect to accentuate the current push for a more standardized, accountable, and scientific approach to schooling. Then, I employ the counternarrative as a methodological tool for talking back, offering up personal stories and experiences that frame the power of agapic love to demystify the normative views of schooling. More specifically, I employ personal narrative as means for providing teachers a voice, one which aims to debunk confounding generalizations or refute common claims about what education is or ought to be. Finally, I analyze the divergent stories through multiple theoretic and practical lenses in order to make meaning of my experiences. Moreover, the counternarratives in this study focus on how agapic love can be utilized in pedagogical and curricular efforts to transcend the present conditions that hinder many students and teachers from being and becoming who they really are. -
Due Process and the Disappearance of Black Girls in Public Education
#BLACKGIRLMAGIC: DUE PROCESS AND THE DISAPPEARANCE OF BLACK GIRLS IN PUBLIC EDUCATION ERICA YOUNG* TABLE OF CONTENTS INTRODUCTION ............................................................................ 209 II. BACKGROUND ......................................................................... 211 A. #BlackGirlMagic ................................................................ 211 B. Individuals with Disabilities Act ........................................ 212 C. Education for all Handicapped Children Act of 1975 ....... 214 D. Title IX ................................................................................ 215 II. DUE PROCESS .......................................................................... 215 A. Due Process ........................................................................ 215 B. Due Process: Special Education ........................................ 216 C. Due Process: Suspension and Expulsion ........................... 218 III. SPECIAL EDUCATION .............................................................. 219 A. Gender Disparity in Special Education .............................. 219 B. Racial Disparity in Special Education ............................... 222 C. The Intersection of Race and Gender for African AMerican Girls ........................................................................................ 225 IV. SCHOOL DISCIPLINE ............................................................... 226 A. The Impact of the Ghetto Black Girl .................................. 226 B. School Discipline -
How Do Authenticity Meanings Evolve? a Longitudinal Analysis of Music Album Reviews
ASSOCIATION FOR CONSUMER RESEARCH Labovitz School of Business & Economics, University of Minnesota Duluth, 11 E. Superior Street, Suite 210, Duluth, MN 55802 How Do Authenticity Meanings Evolve? a Longitudinal Analysis of Music Album Reviews Matteo Corciolani, University of Pisa, Italy Kent Grayson, Northwestern University, USA Ashlee Humphreys, Northwestern University, USA Previous research has focused on individual consumer evaluations and types of authenticity. We take an institutional perspective to explore field-level factors by analyzing the text of 4,924 album reviews. We find that authenticity criteria are a function of the institutional resources critics have available for judgment as a field matures. [to cite]: Matteo Corciolani, Kent Grayson, and Ashlee Humphreys (2017) ,"How Do Authenticity Meanings Evolve? a Longitudinal Analysis of Music Album Reviews", in NA - Advances in Consumer Research Volume 45, eds. Ayelet Gneezy, Vladas Griskevicius, and Patti Williams, Duluth, MN : Association for Consumer Research, Pages: 53-56. [url]: http://www.acrwebsite.org/volumes/1024557/volumes/v45/NA-45 [copyright notice]: This work is copyrighted by The Association for Consumer Research. For permission to copy or use this work in whole or in part, please contact the Copyright Clearance Center at http://www.copyright.com/. Advances in Consumer Research (Volume 45) / 53 Method Conclusion We analyze thousands of songs, testing how lyrical differen- In conclusion, analysis of thousands of song suggests that dif- tiation (i.e., how different a song’s lyrics are from others within its ferentiation plays an important role in cultural success. More gener- genre) shapes popularity. ally, this work demonstrates how natural language processing can be First, we collected song data. -
The Romance of the Rose
The Romance of the Rose 179 The Romance of the Rose The Romance of the Rose, an allegorical dream-vision poem stemming from the troubadour tradition of courtly love and written in medieval French, was perhaps the most widely read book in 14th- and 15th-century Europe. During the century of high scholasticism (the 13th), this most influential of all works of medieval romance emerged. It was composed in two stages. Around 1230, Guillaume de Lorris came out with the first 4,058 lines, without quite finishing it. Around 1275 (the year after the death of both Aquinas and Bonaventure), Jean de Meun, a very different personality who studied at the University of Paris and who warred against the mendicant orders, produced a massive amplification of Guillaume’s work, adding 17,724 lines, shifting towards the encyclopedic and dialectic, changing its character from earnest to satiric. C. S. Lewis’s scholarly work The Allegory of Love helped to revive modern interest in the work. Lewis argues for the realism of the allegorical method employed in The Romance: “[This method] was originally forced into existence by a profound moral revolution occurring in the latter days of paganism. For reasons of which we know nothing at all. , men’s gaze was turned inward. But a gaze so turned sees, not the compact ‘character’ of modern fiction, but the contending forces which cannot be described at all except by allegory.” 181 Guillaume de Lorris/Jean de Meun Prologue In the twentieth year of my life, at the time when Love exacts his tribute from young people, I lay down one night, as usual, and slept very soundly. -
Our Science, Her Magic
DIVERSE INTELLIGENCE SERIES | 2017 AFRICAN-AMERICAN WOMEN: OUR SCIENCE, HER MAGIC Copyright © 2017 The Nielsen Company FOREWORD WHAT IS #BLACKGIRLMAGIC? AND Cheryl Grace Senior Vice President, WHY SHOULD YOU CARE? U.S. Strategic Community Alliances and Consumer While the term #BlackGirlMagic is universally understood amongst Engagement African-Americans, it may require some context for others. Recently, an editor at Essence Magazine defined it as, “A term used to illustrate the universal awesomeness of Black women.” While it started as a social media hashtag and rallying call for Black women and girls to share images, ideas and sources of pride in themselves and other Black females, it has also become an illustration of Black women’s unique place of power at the intersection of culture, commerce and consciousness. African-American Women: Our Science, Her Magic is Nielsen’s seventh look Andrew McCaskill at African-American consumers and the second time we’ve focused Senior Vice President, our attention on Black women. Now more than ever, African-American Global Communications and Multicultural women’s consumer preferences and brand affinities are resonating across Marketing the U.S. mainstream, driving total Black spending power toward a record $1.5 trillion by 2021. At 24.3 million strong, Black women account for 14% of all U.S. women and 52% of all African-Americans. In the midst of data chronicling her steady growth in population, income and educational attainment, the overarching takeaway for marketers and content creators is to keep “value and values” top of mind when thinking about this consumer segment. Black women’s values spill over into all the things they watch, buy and Rebecca K. -
Bryson Tiller Returns with New Single and Visual for “Inhale” from His Forthcoming 3Rd Studio Album Due out This Fall Click Here to Watch
BRYSON TILLER RETURNS WITH NEW SINGLE AND VISUAL FOR “INHALE” FROM HIS FORTHCOMING 3RD STUDIO ALBUM DUE OUT THIS FALL CLICK HERE TO WATCH [September 3, 2020 – New York, NY] Today, chart-topping, multi-platinum selling, Grammy-Award nominated recording artist Bryson Tiller makes his official return with the release of his new single and visual for “Inhale” which will appear on his forthcoming third studio album out this fall via Trapsoul/RCA Records. Click HERE to listen/watch. “Inhale” which is produced by Dpat (Wiz Khalifa, Brent Faiyaz), continues with the introspective style that Tiller is known for while sampling SWV’s “All Night Long” and Mary J. Blige’s “Not Gon Cry.” The sensual and moody visual is directed by Tiller’s frequent collaborator Ro.Lexx. After treating fans to several releases on Souncloud, “Inhale” is the first official single release from Tiller following his critically acclaimed sophomore album, True To Self (2017), which topped the Billboard 200 albums chart upon release with Variety proclaiming it “one of the biggest records of the summer, if not the year.” Most recently Tiller has collaborated with Summer Walker for “Playing Games,” fellow Louisville native Jack Harlow for “Thru The Night,” Wale for “Love…Her Fault” and H.E.R. for “Could’ve Been” which earned the duo a Grammy nomination for R&B Performance in 2020. Listen/watch “Inhale” and keep an eye out for more from Bryson Tiller coming soon. Listen/Watch: “Inhale”: https://brysontiller.lnk.to/Inhale About Bryson Tiller: Bryson Tiller has captivated fans since his inception with the success of his 2015 debut album, T R A P S O U L. -
Sagawkit Acceptancespeechtran
Screen Actors Guild Awards Acceptance Speech Transcripts TABLE OF CONTENTS INAUGURAL SCREEN ACTORS GUILD AWARDS ...........................................................................................2 2ND ANNUAL SCREEN ACTORS GUILD AWARDS .........................................................................................6 3RD ANNUAL SCREEN ACTORS GUILD AWARDS ...................................................................................... 11 4TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 15 5TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 20 6TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 24 7TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 28 8TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 32 9TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 36 10TH ANNUAL SCREEN ACTORS GUILD AWARDS ..................................................................................... 42 11TH ANNUAL SCREEN ACTORS GUILD AWARDS ..................................................................................... 48 12TH ANNUAL SCREEN ACTORS GUILD AWARDS .................................................................................... -
The Phenomenological Ontologies of Kierkegaard and Sartre: an Existential Theory of Addiction
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1994 Love and Addiction: The Phenomenological Ontologies of Kierkegaard and Sartre: An Existential Theory of Addiction Ross Channing Reed Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the Philosophy Commons Recommended Citation Reed, Ross Channing, "Love and Addiction: The Phenomenological Ontologies of Kierkegaard and Sartre: An Existential Theory of Addiction" (1994). Dissertations. 3461. https://ecommons.luc.edu/luc_diss/3461 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1994 Ross Channing Reed LOYOLA UNIVERSITY CHICAGO "LOVE" AND ADDICTION: THE PHENOMENOLOGICAL ONTOLOGIES OF KIERKEGAARD AND SARTRE AN EXISTENTIAL THEORY OF ADDICTION A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF PHILOSOPHY BY ROSS CHANNING REED CHICAGO, ILLINOIS MAY 1994 Copyright by Ross Channing Reed, 1994 All rights reserved. ii ACKNOWLEDGEMENTS I wish to thank the following people and institutions for their support, encouragement, and prayer during the many years that led up to the production of this dissertation, as well as its actual writing: Texas A&M University Library, Millersville University Library, Franklin and Marshall College Library, Dr. John Ellsworth Winter, John Albert Cavin III, Christopher John Broniak, Richard J. Westley, John D. -
Adventures in Film Music Redux Composer Profiles
Adventures in Film Music Redux - Composer Profiles ADVENTURES IN FILM MUSIC REDUX COMPOSER PROFILES A. R. RAHMAN Elizabeth: The Golden Age A.R. Rahman, in full Allah Rakha Rahman, original name A.S. Dileep Kumar, (born January 6, 1966, Madras [now Chennai], India), Indian composer whose extensive body of work for film and stage earned him the nickname “the Mozart of Madras.” Rahman continued his work for the screen, scoring films for Bollywood and, increasingly, Hollywood. He contributed a song to the soundtrack of Spike Lee’s Inside Man (2006) and co- wrote the score for Elizabeth: The Golden Age (2007). However, his true breakthrough to Western audiences came with Danny Boyle’s rags-to-riches saga Slumdog Millionaire (2008). Rahman’s score, which captured the frenzied pace of life in Mumbai’s underclass, dominated the awards circuit in 2009. He collected a British Academy of Film and Television Arts (BAFTA) Award for best music as well as a Golden Globe and an Academy Award for best score. He also won the Academy Award for best song for “Jai Ho,” a Latin-infused dance track that accompanied the film’s closing Bollywood-style dance number. Rahman’s streak continued at the Grammy Awards in 2010, where he collected the prize for best soundtrack and “Jai Ho” was again honoured as best song appearing on a soundtrack. Rahman’s later notable scores included those for the films 127 Hours (2010)—for which he received another Academy Award nomination—and the Hindi-language movies Rockstar (2011), Raanjhanaa (2013), Highway (2014), and Beyond the Clouds (2017).