Here Were You Born?
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Oral History Interview with H.R. Haldeman
California State Archives State Government Oral History Program Oral History Interview with H. R. HALDEMAN Regent, University of California, 1965-1967, 1968 June 18 and 25, 1991 Santa Barbara, California By Dale E. Treleven Oral History Program University of California, Los Angeles RESTRICTIONS ON THIS INTERVIEW None. LITERARY RIGHTS AND QUOTATION This manuscript is hereby made available for research purposes only. No part of the manuscript may be quoted for publication without the written permission of the California State Archivist or the Head, Department of Special Collections, University Research Library, UCLA. Requests for permission to quote for publication should be addressed to: California State Archives 1020 0 Street, Room 130 Sacramento, CA 95814 or Department of Special Collections University Research Library 405 S. Hilgard Avenue UCLA Los Angeles, CA 90024-1575 The request should include identification of the specific passages and identification of the user. It is recommended that this oral history be cited as follows: H. R. Haldeman, Oral History Interview, Conducted 1991 by Dale E. Tre1even, UCLA Oral History Program, for the California State Archives State Government Oral History Program. Information California State Archives (916) 445-4293 March Fong Eu Research Room (916) 445-4293 1020 0 Street, Room 130 Exhibit Hall (916) 445-4293 Secretary of State Sacramento, CA 95814 Legislative Bill Service (916) 445-2832 (prior years) PREFACE On September 25, 1985, Governor George Deukmejian signed into law A.B. 2104 (Chapter 965 of the Statutes of 1985). This legislation established, under the administration of the California State Archives, a State Government Oral History Program "to provide through the use of oral history a continuing documentation of state policy development as reflected in California's legislative and executive history." The following interview is one of a series of oral histories undertaken for inclusion in the state program. -
As Tribute to the Daughters of the South: Illuminating the Work of Black Women Principals
Georgia Southern University Digital Commons@Georgia Southern Electronic Theses and Dissertations Graduate Studies, Jack N. Averitt College of Summer 2013 "A Song for You" As Tribute to the Daughters of the South: Illuminating the Work of Black Women Principals Beverly Cox Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/etd Part of the Curriculum and Social Inquiry Commons, Educational Leadership Commons, Elementary and Middle and Secondary Education Administration Commons, Gender and Sexuality Commons, and the Race and Ethnicity Commons Recommended Citation Cox, Beverly, ""A Song for You" As Tribute to the Daughters of the South: Illuminating the Work of Black Women Principals" (2013). Electronic Theses and Dissertations. 859. https://digitalcommons.georgiasouthern.edu/etd/859 This dissertation (open access) is brought to you for free and open access by the Graduate Studies, Jack N. Averitt College of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. “A SONG FOR YOU” AS TRIBUTE TO THE DAUGHTERS OF THE SOUTH: ILLUMINATING THE WORK OF BLACK WOMEN PRINCIPALS by BEVERLY COX (Under the Direction of Sabrina Ross) ABSTRACT Curriculum can be understood as a place of both struggle and possibility, where curriculum workers engage in complicated conversations about self, society, and the purposes of education (Pinar, 2004). Although curriculum theorists have contributed much to discussions of how to improve the current state of education, little attention in the field is given to the role that leadership can play in educational transformation (Ylimaki, 2011). -
Home and Family
5 Home and Family UNCORRECTED PAGE PROOFS Copyright © 2017 (and distributed by) Bedford, Freeman & Worth High School Publishers. Strictly for use with its products. Not for redistribution 06_JAG_8251_ch05_148_307.indd 148 18/08/16 12:26 PM hat makes a house a W home? “Home” suggests sanctuary, loved ones, nourishment — a place where everybody knows your name. The term is woven deep into our language as well as our consciousness. Consider the connotations of homemade and homespun. Home can offer refuge from the hostile world, or it can be a prison. People living together inevitably — sometimes intentionally — rub one another the wrong way. This chafing provides writers with rich material for art. (Remember, without conflict there is no story.) Are these writers working through their own failed relationships with mothers, fathers, and siblings? Sometimes. Are they exploring their conflicted feelings toward a home they left behind? Maybe. Are they holding up a mirror that allows us to see our own homes and families in a new light? Most certainly. Though the trappings of Happy families are all alike; home and family differ across every unhappy family is unhappy cultures, human families have in its own way. much in common. Legend has it that a man from Czechoslovakia, — Leo Tolstoy, Anna Karenina after watching a production of August Wilson’s Fences (set in Pittsburgh in the 1950s), approached the playwright and asked him, “How did you know about my family?” Wilson may not have known that particular man’s family, but he knew about families and how the sins of the Getty Images / father play out in the lives of sons. -
Noncitizen Charts How to Use These Charts
FSML – 73 NC-WG #1 April 1, 2014 Noncitizen Charts Page - 1 Worker Guide Noncitizen Charts This Worker Guide is intended to assist workers in determining which documents are required to verify alien status for the department‟s programs. How to Use these Charts The charts are set up to show you what programs applicants may qualify for, based on their alien status. Key for the chart YES = Meets the alien status requirement for the program NO = Does not meet the alien status requirement for the program Noncitizens are admitted into the United States under different provisions of immigration laws. They may be admitted under one provision but later adjust their status under another. The first column indicates the initial immigration status of the noncitizen. The Department of Human Services (DHS) considers their initial qualified status to determine if the alien status requirement is met. Example 1: A noncitizen was granted political asylum and was given an I-94 or an I-688B/I-766 annotated “274a.12(a)(5).” A few years later, he applied to become a lawful permanent resident and was granted the status and given an I-551 with a status code “AS1.” This noncitizen is now an LPR but his initial immigration status was an asylee (ASY). Example 2: A noncitizen from Laos was given refugee status in 1978. His initial immigration document was an I-94 marked section 207. He became an LPR in 1980 with an IC6. His initial immigration status was a refugee (REF). Example 3: A U.S. citizen married a noncitizen from Brazil three years ago. -
Singing While Female: a Narrative Study on Gender
SINGING WHILE FEMALE: A NARRATIVE STUDY ON GENDER, IDENTITY & EXPERIENCE OF FEMALE VOICE IN CIS, TRANSMASCULINE & NON-BINARY SINGERS by Felix Andrew Graham Dissertation Committee: Professor Hal Abeles, Sponsor Professor Jeanne Goffi-Fynn Approved by the Committee on the Degree of Doctor of Education Date 13 February 2019 Submitted in partial fulfillment of the requirements for the Degree of Doctor of Education in Teachers College, Columbia University 2019 ABSTRACT SINGING WHILE FEMALE: A NARRATIVE STUDY ON GENDER, IDENTITY & EXPERIENCE OF FEMALE VOICE IN CIS, TRANSMASCULINE & NON-BINARY SINGERS Felix Andrew Graham This study explored the personal narratives of six AFAB (“assigned female at birth”) singers – three cis and three trans/non-binary performers of varying ages, ethnicities and locales – to understand how their experiences informed their musical, vocal and gender identities and shaped their musical and vocal lives. Using semi-structured interview process, the singers recounted their memories and understanding of significant events in their development, and together, each singer and I explored those recollections through a process of collaborative self- exploration. Emerging themes from those narratives underscored the need for further investigation into the intersection of AFAB voice, singing and gender, as both existing literature and the results of this study suggest a deeper understanding of the issues around gender socialization, normative expectations and voice is ii necessary to appropriately and effectively prepare singers at all levels of their musical and vocal education. Study results found that there are many sources of socially-mediated influences which shape AFAB singers’ development of self, their individual and social identities, and their perceptions of their voice – particularly in the context of normative expectations that define gender and gender identities. -
Passport Size Photo Requirements
Passport Size Photo Requirements Unstriped Buster suedes snortingly or slip-on gratifyingly when Jameson is labour-saving. Felonious and glorified Sonnie never colonises his dissimulation! Rejoicing Myles harmonizing that neuroma disillusions mythologically and transfigures talkatively. Photos must not be digitally enhanced or altered to change your appearance in any way. Clearly the requirements for passport photos are lengthy, but not unmanageable. First, you need to select a formal photo that you want to use. Review list of what NOT to wear and see examples. The passport seekers are, therefore, advised to submit the photographs, as specified, to avoid delay in processing their passport applications. Ready to have your passport or ID photos taken? Unfortunately, you will not receive an answer if you have sent us a question here. As long as you are recognizable in the photos, they will be acceptable. Another option would be to place the child in a baby seat covered by a white sheet. For more information: bit. You cannot smile in your passport picture. Do not scan or photograph that ID photo for uploading to your LSAC account. Also, getting a visa to India has become easier than ever. If it is difficult for you to take a passport photo due to a disability, there are many services available to you to help you meet the requirements successfully. Though it may feel awkward, you can always ask your photographer to take another picture if you are unsatisfied with the previous one. We recommend that you have your passport photos taken professionally. Luckily it is very easy to make a digital copy of your photo yourself. -
10410/19 Dcs/Ml 1 JAI.1 Delegations Will Find Attached the Annual Reports
Council of the European Union Brussels, 20 June 2019 (OR. en, fr) 10410/19 VISA 140 COMIX 329 NOTE From: General Secretariat of the Council To: Delegations Subject: Local Schengen cooperation between Member States' consulates (Article 48(5), first paragraph, of the Visa Code) - Compilation of annual reports covering the period 2018-2019 Delegations will find attached the annual reports drawn up in the local Schengen cooperation, as transmitted by the services of the Commission. 10410/19 DCs/ml 1 JAI.1 EN/FR ANNEX LOCAL SCHENGEN COOPERATION ANNUAL REPORTS - 2018-2019 ALBANIA p. 4 ALGERIA* p. 6 ARGENTINA p. 10 AUSTRALIA p. 14 BANGLADESH* p. 17 BELARUS* p. 19 BENIN* p. 22 BOLIVIA* p. 26 BOTSWANA* p. 28 BRAZIL p. 30 CABO VERDE* p. 34 CAMBODIA* p. 37 CANADA p. 39 CHINA* p. 42 CONGO – BRAZZAVILLE* p. 47 DRC* p. 49 ECUADOR* p. 51 ETHIOPIA* p. 53 HONG KONG AND MACAU p. 55 INDIA* p. 57 INDONESIA* p. 61 ISRAEL p. 64 JORDAN* p. 66 KAZAKHSTAN* p. 69 KOSOVO* p. 71 LEBANON* p. 75 LIBYA* p. 79 MADAGASCAR* p. 81 MAURITANIA* p. 86 MEXICO p. 88 MONTENEGRO p. 91 MOROCCO* p. 94 MOZAMBIQUE* p. 99 NIGERIA * p. 101 PAKISTAN* p. 106 PERU p. 110 PHILIPPINES* p. 113 RUSSIAN FEDERATION* p. 115 SENEGAL* p. 121 SOUTH KOREA p. 126 SRI LANKA* p. 129 10410/19 DCs/ml 2 ANNEX JAI.1 EN/FR THAILAND* p. 133 TRINIDAND AND TOBAGO p. 136 TURKEY* p. 138 UGANDA* p. 140 UKRAINE p. 142 UNITED KINGDOM p. 145 VIETNAM* p. 146 *= third state whose nationals are subject to the visa requirement. -
Cash Box TOP 100 JUNE 12, 1965
he soundtrack album of Walt Disney's “Mary Poppins” (starring Julie Andrews and Dick Van Dyke) is today the best-selling LP in the U.S., with additional smash sales in Eng- ind, Canada and Australia. As the fabulously successful film, winner of five Academy Awards, opens in other countries this summer and fall, the LP will probably become one of le world’s all-time sales champs. Close to 2 million disks have been sold in the U.S. alone since the Buena Vista item was released last fall. In addition, French, German, Italian BY ALL ODDS ONE OF THE BEST NEW SINGLES OF ’65! SING’JESSEJAM E S''c,w“S UZYL... ON OOLUMBIA REOORDSB — Gash Box CashBox Vol. XXVI-Number 47 June 12, 1965 FOUNDED BY BILL GERSH Gash Box (Publication Office) 1780 Broadway New York 19, N. Y. 10019 (Phone: JUdson 6-2640) CABLE ADDRESS: CASHBOX, N. Y. JOE ORLECK President and Publisher NORMAN ORLECK Vice President The Big Beat’s GEORGE ALBERT Vice President MARTY OSTROW Generai Manager MUSIC & RECORDS DITORIAL IRV LiCHTMAN Editor-in-Chief DICK ZIMMERMAN Associate Editor 1st Decade MIKE MARTUCCI Editorial Assistant JERRY ORLECK Editorial Assistant MARV GOODMAN Editorial Assistant TOM McENTEE Editorial Assistant DVERTISING STEVE CHAZEN BILL STUPER HARVEY GELLER, Hollywood Some purists may debate the point, hind the musical style. Significantly, MARTY TOOHEY but the trade generally claims 1955 as the sources who comment this time General Manager COIN MACHINES & VENDING the year that rock ’n roll first took a around see the idiom in a more favor- Assistant ED ADLUM, foothold on the pop music market. -
The Bluest Eye
OceanofPDF.com Contents Title Page Dedication Foreword The Bluest Eye Autumn Winter Spring Summer About the Author Also by Toni Morrison Acclaim for Toni Morrison Copyright OceanofPDF.com To the two who gave me life and the one who made me free OceanofPDF.com Foreword There can’t be anyone, I am sure, who doesn’t know what it feels like to be disliked, even rejected, momentarily or for sustained periods of time. Perhaps the feeling is merely indifference, mild annoyance, but it may also be hurt. It may even be that some of us know what it is like to be actually hated—hated for things we have no control over and cannot change. When this happens, it is some consolation to know that the dislike or hatred is unjustified—that you don’t deserve it. And if you have the emotional strength and/or support from family and friends, the damage is reduced or erased. We think of it as the stress (minor or disabling) that is part of life as a human. When I began writing The Bluest Eye, I was interested in something else. Not resistance to the contempt of others, ways to deflect it, but the far more tragic and disabling consequences of accepting rejection as legitimate, as self- evident. I knew that some victims of powerful self-loathing turn out to be dangerous, violent, reproducing the enemy who has humiliated them over and over. Others surrender their identity; melt into a structure that delivers the strong persona they lack. Most others, however, grow beyond it. -
Copyrighting Tattoos: Artist Vs
Mitchell Hamline Law Review Volume 42 | Issue 1 Article 8 2016 Copyrighting Tattoos: Artist vs. Client in the Battle of the (Waiver) Forms Brayndi L. Grassi Follow this and additional works at: http://open.mitchellhamline.edu/mhlr Part of the Intellectual Property Law Commons Recommended Citation Grassi, Brayndi L. (2016) "Copyrighting Tattoos: Artist vs. Client in the Battle of the (Waiver) Forms," Mitchell Hamline Law Review: Vol. 42: Iss. 1, Article 8. Available at: http://open.mitchellhamline.edu/mhlr/vol42/iss1/8 This Article is brought to you for free and open access by the Law Reviews and Journals at Mitchell Hamline Open Access. It has been accepted for inclusion in Mitchell Hamline Law Review by an authorized administrator of Mitchell Hamline Open Access. For more information, please contact [email protected]. © Mitchell Hamline School of Law Grassi: Copyrighting Tattoos: Artist vs. Client in the Battle of the (Wai 2 (Do Not Delete) 3/24/2016 7:52 PM COPYRIGHTING TATTOOS: ARTIST VS. CLIENT IN THE BATTLE OF THE (WAIVER) FORMS* Brayndi L. Grassi† I. INTRODUCTION ........................................................................ 44 II. BRIEF HISTORY OF COPYRIGHT LAW IN NEW MEDIUMS ........... 46 III. FIRST INSTANCE OF COPYRIGHTS IN TATTOOS: REED V. NIKE, INC. ................................................................................. 47 IV. ARE TATTOOS COPYRIGHTABLE? ............................................. 48 A. Tattoos Meet All of the Requirements of the Copyright Act ...... 49 1. Originality ................................................................... -
Songs by Title
Songs by Title Title Artist Title Artist - Human Metallica (I Hate) Everything About You Three Days Grace "Adagio" From The New World Symphony Antonín Dvorák (I Just) Died In Your Arms Cutting Crew "Ah Hello...You Make Trouble For Me?" Broadway (I Know) I'm Losing You The Temptations "All Right, Let's Start Those Trucks"/Honey Bun Broadway (I Love You) For Sentimental Reasons Nat King Cole (Reprise) (I Still Long To Hold You ) Now And Then Reba McEntire "C" Is For Cookie Kids - Sesame Street (I Wanna Give You) Devotion Nomad Feat. MC "H.I.S." Slacks (Radio Spot) Jay And The Mikee Freedom Americans Nomad Featuring MC "Heart Wounds" No. 1 From "Elegiac Melodies", Op. 34 Grieg Mikee Freedom "Hello, Is That A New American Song?" Broadway (I Want To Take You) Higher Sly Stone "Heroes" David Bowie (If You Want It) Do It Yourself (12'') Gloria Gaynor "Heroes" (Single Version) David Bowie (If You're Not In It For Love) I'm Outta Here! Shania Twain "It Is My Great Pleasure To Bring You Our Skipper" Broadway (I'll Be Glad When You're Dead) You Rascal, You Louis Armstrong "One Waits So Long For What Is Good" Broadway (I'll Be With You) In Apple Blossom Time Z:\MUSIC\Andrews "Say, Is That A Boar's Tooth Bracelet On Your Wrist?" Broadway Sisters With The Glenn Miller Orchestra "So Tell Us Nellie, What Did Old Ironbelly Want?" Broadway "So When You Joined The Navy" Broadway (I'll Give You) Money Peter Frampton "Spring" From The Four Seasons Vivaldi (I'm Always Touched By Your) Presence Dear Blondie "Summer" - Finale From The Four Seasons Antonio Vivaldi (I'm Getting) Corns For My Country Z:\MUSIC\Andrews Sisters With The Glenn "Surprise" Symphony No. -
"A Song for You" As Tribute to the Daughters of the South: Illuminating the Work of Black Women Principals
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Georgia Southern University: Digital Commons@Georgia Southern Georgia Southern University Digital Commons@Georgia Southern Electronic Theses and Dissertations Graduate Studies, Jack N. Averitt College of Summer 2013 "A Song for You" As Tribute to the Daughters of the South: Illuminating the Work of Black Women Principals Beverly Cox Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/etd Part of the Curriculum and Social Inquiry Commons, Educational Leadership Commons, Elementary and Middle and Secondary Education Administration Commons, Gender and Sexuality Commons, and the Race and Ethnicity Commons Recommended Citation Cox, Beverly, ""A Song for You" As Tribute to the Daughters of the South: Illuminating the Work of Black Women Principals" (2013). Electronic Theses and Dissertations. 859. https://digitalcommons.georgiasouthern.edu/etd/859 This dissertation (open access) is brought to you for free and open access by the Graduate Studies, Jack N. Averitt College of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. “A SONG FOR YOU” AS TRIBUTE TO THE DAUGHTERS OF THE SOUTH: ILLUMINATING THE WORK OF BLACK WOMEN PRINCIPALS by BEVERLY COX (Under the Direction of Sabrina Ross) ABSTRACT Curriculum can be understood as a place of both struggle and possibility, where curriculum workers engage in complicated conversations about self, society, and the purposes of education (Pinar, 2004). Although curriculum theorists have contributed much to discussions of how to improve the current state of education, little attention in the field is given to the role that leadership can play in educational transformation (Ylimaki, 2011).