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And I Heard 'Em Say: Listening to the Black Prophetic Cameron J
Claremont Colleges Scholarship @ Claremont Pomona Senior Theses Pomona Student Scholarship 2015 And I Heard 'Em Say: Listening to the Black Prophetic Cameron J. Cook Pomona College Recommended Citation Cook, Cameron J., "And I Heard 'Em Say: Listening to the Black Prophetic" (2015). Pomona Senior Theses. Paper 138. http://scholarship.claremont.edu/pomona_theses/138 This Open Access Senior Thesis is brought to you for free and open access by the Pomona Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pomona Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. 1 And I Heard ‘Em Say: Listening to the Black Prophetic Cameron Cook Senior Thesis Class of 2015 Bachelor of Arts A thesis submitted in partial fulfillment of the Bachelor of Arts degree in Religious Studies Pomona College Spring 2015 2 Table of Contents Acknowledgements Chapter One: Introduction, Can You Hear It? Chapter Two: Nina Simone and the Prophetic Blues Chapter Three: Post-Racial Prophet: Kanye West and the Signs of Liberation Chapter Four: Conclusion, Are You Listening? Bibliography 3 Acknowledgments “In those days it was either live with music or die with noise, and we chose rather desperately to live.” Ralph Ellison, Shadow and Act There are too many people I’d like to thank and acknowledge in this section. I suppose I’ll jump right in. Thank you, Professor Darryl Smith, for being my Religious Studies guide and mentor during my time at Pomona. Your influence in my life is failed by words. Thank you, Professor John Seery, for never rebuking my theories, weird as they may be. -
AN ANALYSIS of the MUSICAL INTERPRETATIONS of NINA SIMONE by JESSIE L. FREYERMUTH B.M., Kansas State University, 2008 a THESIS S
AN ANALYSIS OF THE MUSICAL INTERPRETATIONS OF NINA SIMONE by JESSIE L. FREYERMUTH B.M., Kansas State University, 2008 A THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2010 Approved by: Major Professor Dale Ganz Copyright JESSIE L. FREYERMUTH 2010 Abstract Nina Simone was a prominent jazz musician of the late 1950s and 60s. Beyond her fame as a jazz musician, Nina Simone reached even greater status as a civil rights activist. Her music spoke to the hearts of hundreds of thousands in the black community who were struggling to rise above their status as a second-class citizen. Simone’s powerful anthems were a reminder that change was going to come. Nina Simone’s musical interpretation and approach was very unique because of her background as a classical pianist. Nina’s untrained vocal chops were a perfect blend of rough growl and smooth straight-tone, which provided an unquestionable feeling of heartache to the songs in her repertoire. Simone also had a knack for word painting, and the emotional climax in her songs is absolutely stunning. Nina Simone did not have a typical jazz style. Critics often described her as a “jazz-and-something-else-singer.” She moved effortlessly through genres, including gospel, blues, jazz, folk, classical, and even European classical. Probably her biggest mark, however, was on the genre of protest songs. Simone was one of the most outspoken and influential musicians throughout the civil rights movement. Her music spoke to the hundreds of thousands of African American men and women fighting for their rights during the 1960s. -
Strange Fruit
Get hundreds more LitCharts at www.litcharts.com Strange Fruit antithetical to the South's purported values. The poem thus SUMMARY forcefully argues that no society can call itself civil and also be capable of acts like lynching; the South can’t be an idyllic The trees in the southern United States hang heavy with an “pastoral” place if black people’s corpses swing in the breeze. unusual fruit. These trees have blood on their leaves and at According to the poem, notions of progress and civilization are their roots. The dead bodies of black lynching victims sway nothing but hollow lies if such racism is allowed to thrive. back and forth in the gentle southern wind; these bodies are the strange fruit that hang from the branches of poplar trees. And, importantly, this racist hatred affects the entire tree—which becomes covered in blood “on the leaves” “at Picture the natural beauty and chivalry of the American South, and the root.” Just as a tree must suck up water from the ground where corpses hang with swollen eyes and contorted mouths. and spread it all the way through its branches, the poem implies The sweet, fresh smell of magnolia flowers floats on the air, that the "blood" shed by racism works its way through until suddenly interrupted by the smell of burning flesh. humanity. Lynching is thus a failure of humanity that results in Crows will eat the flesh from these bodies. The rain will fall on the rotting of the human family tree. them, the wind will suck them dry, and the sun will rot them. -
Turner on Zarzynski, 'Ghost Fleet Awakened: Lake George's Sunken Bateaux of 1758'
H-War Turner on Zarzynski, 'Ghost Fleet Awakened: Lake George's Sunken Bateaux of 1758' Review published on Thursday, April 22, 2021 Joseph W. Zarzynski. Ghost Fleet Awakened: Lake George's Sunken Bateaux of 1758. Albany: Excelsior Editions, 2019. Illustrations. 284 pp. $24.95 (paper),ISBN 978-1-4384-7672-8. Reviewed by Jobie Turner (Air University) Published on H-War (April, 2021) Commissioned by Margaret Sankey (Air University) Printable Version: https://www.h-net.org/reviews/showpdf.php?id=55121 On July 5, 1758, Major General Abercrombie’s army of sixteen thousand British and colonial soldiers and Native American allies alighted in nine hundred craft (boats, bateaux, and canoes) at the south end of Lake George, New York.[1] The vast armada was the largest military force assembled on the continent by any European power to that date. Their destination was Fort Carillon, twenty-six miles north and a few miles over land. Fort Carillon had been held by the French since the start of the Seven Years’ War and had vexed the British for three years. Most famously, French general Louis- Joseph de Montcalm had sailed south in 1757 and besieged Fort William Henry. It was on the ruins of Fort William Henry that the British built their camp to prepare for their row up Lake George in 1758. After one overnight camp, Abercrombie’s troops disembarked and began their movement to Fort Carillon. By July 8, 1755, the British were in full rout, the French and their native allies killing and wounding more than 1,500 of the British force. -
Anatomy of the River
Anatomy of the River Chambly Canal Québec Canada United States A map of the River drawn in 1758 captures the sweep of its course while illustrating the deployment of British and French forces at the Battle of Carillon. Collections of Fort Ticonderoga. New York The stretch of river that once carried boats to and from Lake Champlain has now reverted to a natural state, creating Construction of the railroad in 1874 drastically a haven for wildlife just a altered the LaChute outlet. A causeway confined few yards from civiliza- the River’s flow to a narrow channel, hastening the tion. Photograph by formation of a marsh in the broad estuary where Robert C. Stevens. Vermont LaChute River meets Lake Champlain. Photograph by Virginia Westbrook. You Are Here Ticonderoga The LaChute is a river with both a short course and a short history. It cut its way whirlpool at the sharp turn just downstream from here. Once it reaches the level through Ticonderoga only 12,000 years ago, when the waters of the newly-formed of Lake Champlain below the lower falls, the River spreads out into waterlogged Champlain Canal Lake George first spilled over a ridge between Mount Defiance and Cook’s Mountain. bottomlands. N Glaciers had revised the local landscape, blocking off two watercourses that flowed north and south out of that valley, leaving a lake basin in need of an outlet. The A river transports solid material as well as water. LaChute River blends water from waters found a fast, steep route into glacial Lake Champlain. two sources—Lake George and the Trout Brook Valley. -
Open Steinle Cory Kanyecriticism.Pdf
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF COMMUNICATION ARTS & SCIENCES “I THOUGHT ABOUT KILLING YOU”: CONSIDERING THE UTILITY OF RHETORICAL AND BIOGRAPHICAL CRITICAL APPROACHES TO KANYE WEST’S YE CORY N. STEINLE SPRING 2020 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Communication Arts and Sciences and Labor and Employment Relations with honors in Communication Arts and Sciences Reviewed and approved* by the following: Bradford Vivian Professor of Communication Arts & Sciences Thesis Supervisor Lori Bedell Associate Teaching Professor in Communication Arts & Sciences Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT This paper examines the merits of intrinsic and extrinsic critical approaches to hip-hop artifacts. To do so, I provide both a neo-Aristotelian and biographical criticism of three songs from ye (2018) by Kanye West. Chapters 1 & 2 consider Roland Barthes’ The Death of the Author and other landmark papers in rhetorical and literary theory to develop an intrinsic and extrinsic approach to criticizing ye (2018), evident in Tables 1 & 2. Chapter 3 provides the biographical antecedents of West’s life prior to the release of ye (2018). Chapters 4, 5, & 6 supply intrinsic (neo-Aristotelian) and extrinsic (biographical) critiques of the selected artifacts. Each of these chapters aims to address the concerns of one of three guiding questions: which critical approaches prove most useful to the hip-hop consumer listening to this song? How can and should the listener construct meaning? Are there any improper ways to critique and interpret this song? Chapter 7 discusses the variance in each mode of critical analysis from Chapters 4, 5, & 6. -
“I Know That We the New Slaves”: an Illusion of Life Analysis of Kanye West’S Yeezus
1 “I KNOW THAT WE THE NEW SLAVES”: AN ILLUSION OF LIFE ANALYSIS OF KANYE WEST’S YEEZUS A THESIS SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS BY MARGARET A. PARSON DR. KRISTEN MCCAULIFF - ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2017 2 ABSTRACT THESIS: “I Know That We the New Slaves”: An Illusion of Life Analysis of Kanye West’s Yeezus. STUDENT: Margaret Parson DEGREE: Master of Arts COLLEGE: College of Communication Information and Media DATE: May 2017 PAGES: 108 This work utilizes an Illusion of Life method, developed by Sellnow and Sellnow (2001) to analyze the 2013 album Yeezus by Kanye West. Through analyzing the lyrics of the album, several major arguments are made. First, Kanye West’s album Yeezus creates a new ethos to describe what it means to be a Black man in the United States. Additionally, West discusses race when looking at Black history as the foundation for this new ethos, through examples such as Dr. Martin Luther King Jr. and Nina Simone’s rhetoric, references to racist cartoons and movies, and discussion of historical events such as apartheid. West also depicts race through lyrics about the imagined Black male experience in terms of education and capitalism. Second, the score of the album is ultimately categorized and charted according to the structures proposed by Sellnow and Sellnow (2001). Ultimately, I argue that Yeezus presents several unique sounds and emotions, as well as perceptions on Black life in America. 3 Table of Contents Chapter One -
Strange Fruit John 12:20-33 a Sermon Preached in Duke University Chapel on March 22, 2015 by the Rev
Strange Fruit John 12:20-33 A Sermon preached in Duke University Chapel on March 22, 2015 by the Rev. Dr. Luke A. Powery Jesus said, “…unless a grain of wheat falls into the earth and dies, it remains just a single grain; but if it dies, it bears much fruit.” John has brought us to a place that we may not want to be today. It is clearly the time when the Passover is approaching. Right before our lesson, John mentions the Passover for the third time in his gospel (11:55, 12:1; cf. 2:13, 23; 6:4) like a theological-musical motif that continues to ring in our ears if we are paying attention. Maybe we missed it because we stayed up too late watching the NCAA basketball tournament. Maybe we missed it because we don’t really want to deal with it. We don’t really want to deal with the fact of the Passover, which is the fact of death that is a part of a religion of life. But before we come down too hard on John for not making this Lenten season light and fluffy, let’s remind ourselves that each Sunday we process into a chapel building that is cruciform—it is an architectural form of death. Duke Chapel is in the shape of a cross, which historically has been a tool of execution, a device of death. We worship under the shadow of death. If you perform the sign of the cross, you perform your life’s death sentence for the sake of Christ. -
The United States Vs Billie Holiday
THE UNITED STATES VS BILLIE HOLIDAY Screenplay by Suzan-Lori Parks Based on the Book, “Chasing the Scream” by Johann Hari FINAL PICTURE SCRIPT OVER BLACK: IN 1937, A BILL TO FINALLY BAN THE LYNCHING OF AFRICAN- AMERICANS WAS CONSIDERED BY THE SENATE. IT DID NOT PASS. BILLIE HOLIDAY ROSE TO FAME IN PART DUE TO HER SONG STRANGE FRUIT, A LYRICAL, HORRIFYING DESCRIPTION OF A LYNCHING. FADE IN: NEW YORK CITY MAY 3, 1957 A1 INT. TBD JANKY APARTMENT/RADIO STATION - NIGHT A1 BILLIE, strung out, but dressed to the nines, forces a smile as she sits for an interview with REGINALD LORD DEVINE - an aging white gossip columnist. Think Skip E. Lowe. MISS FREDDY, her devoted stylist, stands by watching. Reginald grabs an item from his bar, sets it on his desk next to the recorder, then places the microphone on top of it. REGINALD DEVINE I’m going to put this up here so I can get both of us. Reginald then starts recording. Reginald and Billie both have drinks. REGINALD DEVINE (CONT'D) My next guest has played Broadway. She’s sold out Carnegie Hall. She played in Hollywood movies opposite the likes of Louis Armstrong. I am Reginald Lord Devine - and oh my god. Oh my god. I can’t believe we have the opportunity to interview, as I live and breathe, the legend, the lady, my hero - Miss Billie Holiday, Miss Lady Day. Which do you prefer, honey? FREDDY She’d prefer you pay her her money first. Reginald grabs the cash from his desk drawer, hands it over to Freddy. -
52Issue November 2019
Issue 52 November 2019 Issue 52 ONLINE www.thecutmagazine.com FACEBOOK www.facebook.com/TheCutMagazine ADDRESS The Cut Magazine 5000 Forbes Avenue UC Box 122 Pittsburgh, PA 15238 COVER PHOTO Michelle Ng November 2019 Editor-in-Chief Trevor Lazar Assistant Editor Jamie McArthur Digital Media Chair Cassandra Scheirer PR Editor CJ Rosado Issue 52 Design Editor Michelle Ng Letter Copy Editor Greta Markey From Writing Staff Aysha Zackria Claudia Osorio Daniel Yeh The Divya Viswanathan Eliza Hallinan Gavin Grnja Natalie Jarrett Editor Omasan Richardson Shambhavi Mishra Zofia Majewski The summer is clinging on We’ve got a brand new for dear life here in Pittsburgh, website, some renewed social but The Cut is looking ahead. media, and a whole lot of Design Staff Ajunie Virk We’ve got some amazing new excitement. Looking ahead, Erin Lee voices here, especially first- we’ve got a backlog of amazing Jennifer Shin years. Our collective music mixtape ideas that might find Shai Bhardwaj taste is always shifting, always their way into future issues. Teresa Lourie at odds with itself. The heat This group of writers, editors, has kept us in rooms with A/C designers, and artists have put and fluorescent lights, but their heart and soul into this Photo/Art Staff Aysha Zackria we’ve been going everywhere. issue. And we’re just getting Claudio Osorio started. Jennifer Shin We’ve hit tons of killer shows, talked to some amazing I couldn’t be prouder to artists, and written some present Issue 52. hilarious, poignant, and absurd articles. Some of my personal favorite this time Trevor Lazar around include a breakdown Editor-in-Chief Letter of better Charlie’s Angels trios, a synesthesia mixtape, and a new column called “My Shazams” from Divya From Viswanathan. -
Race, Gender, Class & Identity Through Rap Music
University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2018-01-01 Yeezy Taught Me: Race, Gender, Class & Identity Through Rap Music April Marie Reza University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the Communication Commons Recommended Citation Reza, April Marie, "Yeezy Taught Me: Race, Gender, Class & Identity Through Rap Music" (2018). Open Access Theses & Dissertations. 154. https://digitalcommons.utep.edu/open_etd/154 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. YEEZY TAUGHT ME: RACE, GENDER, CLASS & IDENTITY THROUGH RAP MUSIC APRIL MARIE REZA Master’s Program in Communication APPROVED: Richard Pineda, Ph.D., Chair Arthur Aguirre, Ph.D. Dennis Bixler-Marquez, Ph.D. Charles Ambler, Ph.D. Dean of the Graduate School Copyright © by April Marie Reza 2018 DEDICATION For my family, Mom, Dad, Eric, Dani, and Victor. I wouldn’t be where I am today, without your love and support. YEEZY TAUGHT ME: RACE, GENDER, CLASS & IDENTITY THROUGH RAP MUSIC by APRIL MARIE REZA, B.A. THESIS Presented to the Faculty of the Graduate School of The University of Texas at El Paso in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Department of Communication THE UNIVERSITY OF TEXAS AT EL PASO December 2018 ACKNOWLEDGEMENTS First and foremost, I would like to thank my family for their constant support throughout my education. -
Into Your Hands 4.3.15
Into Your Hands Luke 23:44-49 A Sermon preached in Duke Chapel on Good Friday, April 3, 2015, by the Rev. Dr. Luke A. Powery Oh holy night the stars are not brightly shining because it is the night of our dear Savior’s death. Death’s dark shadow is not put to flight. It engulfs this church building tonight and you have willingly entered the valley of the shadow of death where Death is the other preacher. We are at the place called the Skull; By no means is this afternoon tea at the Washington Duke Inn. But tonight, Jesus will have the last word. He speaks on his wooden deathbed and when he speaks, we have to listen. Many say that for pastors Holy Week is a hell of week Because it’s a Busy time in the liturgical season But it’s also true Because tonight is hell. There’s lots of discussion aBout what hell is, if there’s a hell, who’s going to hell. Some say, “Hell is other people” (Jean-Paul Sartre). For introverts, hell is other people at Breakfast. And if Duke loses in BasketBall tomorrow that will surely Be hell incarnate. Tonight we are confronted with hell on earth. Tonight is the night we face death to see life for what it truly is. Didn’t you come to hear the truth? When an innocent 1st century man is placed on crucified lockdown in the ancient near eastern prison industrial complex, we should Be compelled to tell the truth. When we come to remember the funeral of God on a cross, what Better time to tell the truth? This year we remember “Bloody Sunday” on the Pettus Bridge in Selma, AlaBama, 50 years ago.