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Hungry Like the Wolf Difficulty = Aaa Duran Duran CHORDS USED in THIS SONG D C Cmaj7 Am7 Bb F Eb Dm7 Dm
Hungry Like The Wolf Difficulty = aaa Duran Duran CHORDS USED IN THIS SONG D C Cmaj7 Am7 Bb F Eb Dm7 Dm (Intro) [D] [D] [D] Dark in the city, night is a wire, steam in the subway, the earth is a-fire d-do-do-[C]d-do-do-[Cmaj7]-d-do-do-[Am7]-d-do-do-[Cmaj7]d-do-do-[D]-do-do-do [D] Woman you want me, give me a sign, and catch me breathing I'm even closer behind d-do-do-[C]d-do-do-[Cmaj7]-d-do-do-[Am7]-d-do-do-[Cmja7]d-do-do-[D]-do-do-do [Bb] In touch with the [F] ground, I'm on the [Eb] hunt, I'm after you I smell like a [Bb] sound, I'm lost and I'm [F] found, and I'm [Eb] hungry like the [C] wolf Straddle the [Bb] line, it's discord and rhy[F]me, I'm on the [Eb] hunt, I'm after you Mouth is a-[Bb]-live, juices like [F] wine and I'm [Eb] hungry like the [C] wolf [Dm7] [D] Stalked in the forest too close to hide, I'll be upon you by the moonlight side d-do-do-[C]d-do-do-[Cmaj7]-d-do-do-[Am7]-d-do-do-[Cmaj7]d-do-do-[D]-do-do-do [D] High blood drumming on your skin, it's so tight, you feel my heat I'm just a moment behind d-do-do-[C]d-do-do-[Cmaj7]-d-do-do-[Am7]-d-do-do-[Cmaj7]d-do-do-[D]-do-do-do [Bb] In touch with the [F] ground, I'm on the [Eb] hunt, I'm after you Scent and a [Bb] sound, I'm lost and I'm [F] found, and I'm [Eb] hungry like the [C] wolf Straddle the [Bb] line, it's discord and rhy[F]me, I'm on the [Eb] hunt, I'm after you Mouth is a-[Bb]-live, all running in[F]side and I'm [Eb] hungry like the [C] wolf [Dm] [Dm7] [Dm] Hungry like the [Dm7] Wolf [Dm] Hungry like the [Dm7] Wolf [Dm] Hungry like the [Dm7] Wolf Burning the [Bb] -
How Campaign Songs Sold the Image of Presidential Candidates
University of Central Florida STARS Honors Undergraduate Theses UCF Theses and Dissertations 2019 Music and the Presidency: How Campaign Songs Sold the Image of Presidential Candidates Gary M. Bogers University of Central Florida Part of the Music Commons, and the United States History Commons Find similar works at: https://stars.library.ucf.edu/honorstheses University of Central Florida Libraries http://library.ucf.edu This Open Access is brought to you for free and open access by the UCF Theses and Dissertations at STARS. It has been accepted for inclusion in Honors Undergraduate Theses by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation Bogers, Gary M., "Music and the Presidency: How Campaign Songs Sold the Image of Presidential Candidates" (2019). Honors Undergraduate Theses. 511. https://stars.library.ucf.edu/honorstheses/511 MUSIC AND THE PRESIDENCY: HOW CAMPAIGN SONGS SOLD THE IMAGE OF PRESIDENTIAL CANDIDATES by GARY MICHAEL BOGERS JR. A thesis submitted in partial fulfillment of the requirements for the Honors in the Major Program in Music Performance in the College of Arts and Humanities and in The Burnett Honors College at the University of Central Florida Orlando, Florida Spring Term, 2019 Thesis Chair: Dr. Scott Warfield Co-chairs: Dr. Alexander Burtzos & Dr. Joe Gennaro ©2019 Gary Michael Bogers Jr. ii ABSTRACT In this thesis, I will discuss the importance of campaign songs and how they were used throughout three distinctly different U.S. presidential elections: the 1960 campaign of Senator John Fitzgerald Kennedy against Vice President Richard Milhouse Nixon, the 1984 reelection campaign of President Ronald Wilson Reagan against Vice President Walter Frederick Mondale, and the 2008 campaign of Senator Barack Hussein Obama against Senator John Sidney McCain. -
Nile Rodgers in New York City, 1991
Nile Rodgers in New York City, 1991 68 MUSICAL EXCELLENCE Nile Rodgers HE CREATES A DISTINCTIVE SOUND ON THE RECORDS HE WRITES, PRODUCES, ARRANGES, AND PLAYS ON. BY ROB BOWMAN Nile Rodgers’ influence on popular music over the past forty years is nearly unfathomable. As a guitarist, songwriter, producer, arranger, and funkster extraordinaire, Rodgers has left his imprint on a stun- ningly wide array of genres including disco, R&B, rock, mainstream pop, hip-hop, and EDM. Looking over the breadth of his career, a case could easily be made that no single individual has had a greater impact on the sound of pop, from the late 1970s to the present day. ¶ Alongside his partner, bass player wunderkind Bernard Edwards, Rodgers wrote and produced hit after hit for Chic, Sister Sledge, and Diana Ross, tearing up both the dance floor and the radio. After Chic broke up and Rodgers and Edwards went their separate ways, Rodgers broke free of the disco moniker and reinvented himself, producing, arranging, and playing guitar on David Bowie’s come- back album, Let’s Dance (1983), and Madonna’s breakout album, 69 Like a Virgin (1984). Along the way he took INXS and Chic in their prime then Duran Duran to new heights with “Original Sin” with Rodgers and and “The Reflex,” respectively, and produced albums by Bernard Edwards Mick Jagger, Jeff Beck, the B-52s, and David Lee Roth. center stage, 1979 He played key guitar parts on Steve Winwood’s “High- er Love” and Michael Jackson’s HIStory. More recent- ly he cowrote and played guitar on Daft Punk’s “Get Lucky,” winning two Grammy Awards in the process. -
The Prayer of Jabez by Bruce Wilkingson Lesson V
1 The Prayer of Jabez By Bruce Wilkingson Lesson V “Keeping The Legacy Safe” “O That You Would Keep Me From Evil” 1 Chronicles 4:9-10 9) And Jabez was more honourable than his brethren: and his mother called his name Jabez, saying, Because I bare him with sorrow. 10) And Jabez called on the God of Israel, saying, Oh that thou wouldest bless me indeed, and enlarge my coast, and that thine hand might be with me, and that thou wouldest keep me from evil, that it may not grieve me! And God granted him that which he requested. Introduction: 1. A caption read “Sometimes you can afford to come in second. Sometimes you cannot.” a. This was placed under a Roman Gladiator who was in trouble. b. Here is the picture i. The Gladiator has dropped his sword ii. The enraged lion is in mid lunge with his jaws wide iii. The crowd is on their feet watching in horror as the panic-stricken gladiator tries to flee. Note: This is a horrible time to come in second. 2. Jabez had asked for supernatural blessing, influence, and power. a. Many people think that they can jump into any arena with any lion, “and win.” b. Some people with the hand of God upon them might pray “Lord, Keep me through evil,” but not Jabez. i. Jabez prayed “Keep me from evil.” ii. The best way to defeat a roaring lion is to stay out of the arena. 2 iii. Therefore Jabez prayed “Keep me from evil” which was a prayer that is saying: “God, keep me out of the fight.” 3. -
Representations of Female Adolescence in the Teen Makeover Film
Representations of Female Adolescence in the Teen Makeover Film By Kendra Marston A Thesis Submitted to the Victoria University of Wellington in Fulfilment of the Requirements for a Degree of Master of Arts in Film Victoria University of Wellington 2010 Abstract This thesis proposes to analyse the representation of female adolescence in the contemporary teen makeover film. The study will situate this body of films within the context of the current postfeminist age, which I will argue has bred specific fears both of and for the female adolescent. This thesis will examine the construction of the initial wayward makeover protagonist, paying attention to why she needs to be trained in an idealised gender performance that has as its urgent goal the assurance of heteronormativity and ‘healthy’ sex role power relations. I will also analyse the representation of deviant adolescent female characters in terms of how their particular brand of postfeminist female masquerade masks a power and status-oriented agenda. The behaviour of these characters is shown to impact negatively on the peer group within the film, and is particularly dangerous as it threatens to negate the need for romance. 1 Contents Abstract 1 Acknowledgements 3 Introduction 4 Chapter One 23 Chapter Two 62 Chapter Three 86 Chapter Four 112 Conclusion 132 Bibliography 143 Filmography 153 Television Sources 155 Internet Sources 157 2 Acknowledgements I would like to acknowledge my supervisor Sean Redmond for the time he put in to helping me with this thesis, as well as for the encouragement, support and advice offered. 3 Introduction My Moment of Awakening in the Makeover Moment While watching The Princess Diaries (Garry Marshall, 2001) for the purpose of this research, I became fascinated by the particular tone of its makeover scene. -
ADAM and the ANTS Adam and the Ants Were Formed in 1977 in London, England
ADAM AND THE ANTS Adam and the Ants were formed in 1977 in London, England. They existed in two incarnations. One of which lasted from 1977 until 1982 known as The Ants. This was considered their Punk era. The second incarnation known as Adam and the Ants also featured Adam Ant on vocals, but the rest of the band changed quite frequently. This would mark their shift to new wave/post-punk. They would release ten studio albums and twenty-five singles. Their hits include Stand and Deliver, Antmusic, Antrap, Prince Charming, and Kings of the Wild Frontier. A large part of their identity was the uniform Adam Ant wore on stage that consisted of blue and gold material as well as his sophisticated and dramatic stage presence. Click the band name above. ECHO AND THE BUNNYMEN Formed in Liverpool, England in 1978 post-punk/new wave band Echo and the Bunnymen consisted of Ian McCulloch (vocals, guitar), Will Sergeant (guitar), Les Pattinson (bass), and Pete de Freitas (drums). They produced thirteen studio albums and thirty singles. Their debut album Crocodiles would make it to the top twenty list in the UK. Some of their hits include Killing Moon, Bring on the Dancing Horses, The Cutter, Rescue, Back of Love, and Lips Like Sugar. A very large part of their identity was silohuettes. Their music videos and album covers often included silohuettes of the band. They also have somewhat dark undertones to their music that are conveyed through the design. Click the band name above. THE CLASH Formed in London, England in 1976, The Clash were a punk rock group consisting of Joe Strummer (vocals, guitar), Mick Jones (vocals, guitar), Paul Simonon (bass), and Topper Headon (drums). -
The Clash and Mass Media Messages from the Only Band That Matters
THE CLASH AND MASS MEDIA MESSAGES FROM THE ONLY BAND THAT MATTERS Sean Xavier Ahern A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2012 Committee: Jeremy Wallach, Advisor Kristen Rudisill © 2012 Sean Xavier Ahern All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This thesis analyzes the music of the British punk rock band The Clash through the use of media imagery in popular music in an effort to inform listeners of contemporary news items. I propose to look at the punk rock band The Clash not solely as a first wave English punk rock band but rather as a “news-giving” group as presented during their interview on the Tom Snyder show in 1981. I argue that the band’s use of communication metaphors and imagery in their songs and album art helped to communicate with their audience in a way that their contemporaries were unable to. Broken down into four chapters, I look at each of the major releases by the band in chronological order as they progressed from a London punk band to a globally known popular rock act. Viewing The Clash as a “news giving” punk rock band that inundated their lyrics, music videos and live performances with communication images, The Clash used their position as a popular act to inform their audience, asking them to question their surroundings and “know your rights.” iv For Pat and Zach Ahern Go Easy, Step Lightly, Stay Free. v ACKNOWLEDGMENTS This thesis would not have been possible without the help of many, many people. -
2019-System-Blue-Catalog.Pdf
SYSTEM BLUE Excellence is in our DNA. Backed by over 100 years of experience and knowledge, System Blue proudly delivers the products and education many have only dared to imagine. Our team of designers has walked the very path you walk now. We are the same dedicated performers and educators that you are, and we’re turning our ideas into reality. We have stood in your shoes and marched the PROFESSIONAL PERCUSSION 2 same fields. We know you. We ARE you. You are CONCERT PERCUSSION 10 not alone, and you never were. System Blue ON2 PERCUSSION SLIPS 16 empowers us all to reach our greatest potential. STANDS & CARRIERS 18 DRUM STICKS & BAGS 20 TOGETHER, MALLETS, BAGS & HEADS 22 IT’S OUR TIME. PROFESSIONAL BRASS 24 TRADITIONAL BRASS 32 MOUTHPIECES 36 SOUND REINFORCEMENT 38 HEALTH & WELLNESS 40 DRILLMASTERS 41 SYSTEM BLUE EDUCATION 42 EDUCATIONAL EVENTS 44 DESIGN QUALITY & COMMITMENT 46 SYSTEM BLUE DESIGNERS 47 TESTIMONIALS 48 PROFESSIONAL PERCUSSION EVOLUTIONARY. System Blue Professional Marching Percussion Series is like no other product on the market. These drums are lightweight, built for speed with the player’s health and wellness in mind. The rich, smooth, and resonant voices blend and project in any venue. Each instrument is aesthetically beautiful, eye-catching, and, in a word — elegant. While there have been evolutions in marching percussion in the last 50 years, there has never been design and innovation like the System Blue Professional Marching Percussion Series. We’ve fine-tuned and streamlined every detail, and the results are extraordinary. 2 SYSTEM BLUE • 2017 systemblue.org 3 PROFESSIONAL PERCUSSION It’s the LIGHTEST marching snare on the market.. -
"So Very," "So Fetch": Constructing Girls on Film in the Era of Girl Power and Girls in Crisis
Georgia State University ScholarWorks @ Georgia State University Institute for Women's, Gender, and Sexuality Women's, Gender, and Sexuality Studies Theses Studies 11-19-2008 "So Very," "So Fetch": Constructing Girls on Film in the Era of Girl Power and Girls in Crisis Mary Larken McCord Follow this and additional works at: https://scholarworks.gsu.edu/wsi_theses Recommended Citation McCord, Mary Larken, ""So Very," "So Fetch": Constructing Girls on Film in the Era of Girl Power and Girls in Crisis." Thesis, Georgia State University, 2008. https://scholarworks.gsu.edu/wsi_theses/13 This Thesis is brought to you for free and open access by the Institute for Women's, Gender, and Sexuality Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Women's, Gender, and Sexuality Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. “SO VERY,” “SO FETCH”: CONSTRUCTING GIRLS ON FILM IN THE ERA OF GIRL POWER AND GIRLS IN CRISIS by MARY LARKEN MCCORD Under the Direction of Amira Jarmakani ABSTRACT In the mid-1990s, two discourses of girlhood emerged in both the popular and academic spheres. Consolidated as the girl power discourse and girls in crisis discourse, the tension between these two intertwined discourses created a space for new narratives of female adolescence in the decade between 1995 and 2005. As sites of cultural construction and representation, teen films reveal the narratives of girlhood. The films under consideration serve as useful exemplars for an examination of how such discourses become mainstreamed, pervading society’s image of female adolescence. -
Please Read Before Loading Card Into
Top 50 Drummers V.I Expansion Pack a sound enhancing expansion pack for the Roland TD-20 Drum Module Owner’s Manual i End User License Agreement (EULA) This is a legal agreement ("this Agreement") between you and V Expressions LTD., ("V Expressions LTD."). This Agreement pertains to your use of the V Expressions LTD. expansion programming, documentation and updates which are provided to you by V Expressions LTD (collectively, the "Product"). By purchasing a V Expressions LTD. Product, you are consenting to the terms of this Agreement. This Agreement grants you a personal, exclusive, non-transferable, non-sub licensable right to use one copy of the V Expressions LTD. Product for your own personal use on a single computer and/or compatible drum module. V Expressions LTD. reserves all rights in the Product not expressly granted herein, including ownership and proprietary rights. This software may not, in whole or in any part, be copied, reproduced, resold, transmitted, translated (into any language, natural or computer), reduced to any electronic medium or machine readable format, or by any other form or means without prior consent, in writing, from V Expressions LTD. License Restrictions: You may not reproduce or distribute the Product. You may not copy the Product to any media, server or location for reproduction or distribution. You may not reverse engineer, de-compile or disassemble the Product or otherwise attempt to derive the source code for the Product, or without limitation, redistribute, sublicense, or otherwise transfer rights in the Product. This Product may not be rented, lent or leased. The restrictions contained herein apply equally to any updates that may be provided to you by V Expressions LTD. -
Save a Prayer Duran Duran
Save a Prayer Duran Duran Simon Le Bon, John Taylor, Roger Taylor, Andy Taylor, Nick Rhodes Moderato Intro Dm⁹ 5 Dm⁷ Fmaj⁷ B♭maj⁷ G⁷ Fmaj⁷ rit. A1 9 Dm F B♭ G F 2 a tempo You saw me stand ing by the wall cor ner of a main street 13 Dm F B♭ G C And the lights are flash ing on your win dow sill If you can you'll see the world in all his fire Dm F B♭ G F 17 5 5 5 1 All al one ain't much fun So you're look ing for the thrill Take a chance like all drea mers so you can't find an oth er way Duran Duran - Save A Prayer Simon Le Bon, John Taylor, Roger Taylor, Andy Taylor, Nick Rhodes 21 Dm F B♭ G C And you know just what it takes and where to go You don't have to dream it all just live a day B1,B2 25 Bm D G F♯m A Don't say a prayer for me now , Save it 'til the mor ning af add 29 Bm D ⁹ G To Coda F♯m A ter No, don't you say a prayer for me now, Save it 'til the mor ning af 33 Dm Fmaj⁷ B♭maj⁷ G⁷ Fmaj⁷ ter D.S. al Coda A2 37 Dm F B♭ G F I feel the bree ze deep on the in side , look you down in to the well. Duran Duran - Save A Prayer 2 Simon Le Bon, John Taylor, Roger Taylor, Andy Taylor, Nick Rhodes 41 F♯m A Bm D G Save it 'til the morn ing af ter 45 F♯m A Save it 'til the morn ing af Bridge 46 Dm F B♭ G rit. -
Top 40 Singles Top 40 Albums
15 August 1982 CHART #344 Top 40 Singles Top 40 Albums Beautiful Woman Telegram Sam Avalon Pelican West 1 Toots and the Maytals 21 Bauhaus 1 Roxy Music 21 Haircut 100 Last week 1 / 12 weeks Gold / FESTIVAL Last week 12 / 5 weeks RTC Last week 3 / 8 weeks POLYGRAM Last week 12 / 15 weeks EMI Forever Now 65 Love Affair Circus Animals Pavarotti's Greatest Hits 2 Cold Chisel 22 Paul Davis 2 Cold Chisel 22 Luciano Pavarotti Last week 2 / 9 weeks WEA Last week 16 / 8 weeks EMI Last week 1 / 19 weeks Gold / WEA Last week 14 / 5 weeks POLYGRAM E-Ipo Have You Ever Been In Love Time And Tide Memories 3 Prince Tui Teka 23 Leo Sayer 3 Split Enz 23 Barbra Streisand Last week 3 / 12 weeks RCA Last week 23 / 9 weeks FESTIVAL Last week 2 / 16 weeks POLYGRAM Last week 27 / 8 weeks Gold / CBS The Other Woman Going To A Go Go Eye In The Sky Pinky Blue 4 Ray Parker Jnr 24 Rolling Stones 4 The Alan Parsons Project 24 Altered Images Last week 4 / 8 weeks EMI Last week 31 / 4 weeks EMI Last week 5 / 9 weeks Gold / EMI Last week 17 / 5 weeks CBS Poison Arrow Empty Garden Business As Usual Architecture & Morality 5 ABC 25 Elton John 5 Men at Work 25 Orchestral Manoeuvres in the Dark Last week 5 / 13 weeks POLYGRAM Last week 22 / 5 weeks POLYGRAM Last week 4 / 27 weeks Platinum / CBS Last week 33 / 7 weeks RTC If I Were You Radio A Flock Of Seagulls Tattoo You 6 Lulu 26 The Members 6 Flock of Seagulls 26 Rolling Stones Last week 8 / 9 weeks CBS Last week - / 1 weeks FESTIVAL Last week - / 1 weeks FESTIVAL Last week 39 / 45 weeks Platinum / EMI Cat People Maid