An Investigation of the Impact of the 6+1 Trait Writing Model on Grade 5
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Tolono Library CD List
Tolono Library CD List CD# Title of CD Artist Category 1 MUCH AFRAID JARS OF CLAY CG CHRISTIAN/GOSPEL 2 FRESH HORSES GARTH BROOOKS CO COUNTRY 3 MI REFLEJO CHRISTINA AGUILERA PO POP 4 CONGRATULATIONS I'M SORRY GIN BLOSSOMS RO ROCK 5 PRIMARY COLORS SOUNDTRACK SO SOUNDTRACK 6 CHILDREN'S FAVORITES 3 DISNEY RECORDS CH CHILDREN 7 AUTOMATIC FOR THE PEOPLE R.E.M. AL ALTERNATIVE 8 LIVE AT THE ACROPOLIS YANNI IN INSTRUMENTAL 9 ROOTS AND WINGS JAMES BONAMY CO 10 NOTORIOUS CONFEDERATE RAILROAD CO 11 IV DIAMOND RIO CO 12 ALONE IN HIS PRESENCE CECE WINANS CG 13 BROWN SUGAR D'ANGELO RA RAP 14 WILD ANGELS MARTINA MCBRIDE CO 15 CMT PRESENTS MOST WANTED VOLUME 1 VARIOUS CO 16 LOUIS ARMSTRONG LOUIS ARMSTRONG JB JAZZ/BIG BAND 17 LOUIS ARMSTRONG & HIS HOT 5 & HOT 7 LOUIS ARMSTRONG JB 18 MARTINA MARTINA MCBRIDE CO 19 FREE AT LAST DC TALK CG 20 PLACIDO DOMINGO PLACIDO DOMINGO CL CLASSICAL 21 1979 SMASHING PUMPKINS RO ROCK 22 STEADY ON POINT OF GRACE CG 23 NEON BALLROOM SILVERCHAIR RO 24 LOVE LESSONS TRACY BYRD CO 26 YOU GOTTA LOVE THAT NEAL MCCOY CO 27 SHELTER GARY CHAPMAN CG 28 HAVE YOU FORGOTTEN WORLEY, DARRYL CO 29 A THOUSAND MEMORIES RHETT AKINS CO 30 HUNTER JENNIFER WARNES PO 31 UPFRONT DAVID SANBORN IN 32 TWO ROOMS ELTON JOHN & BERNIE TAUPIN RO 33 SEAL SEAL PO 34 FULL MOON FEVER TOM PETTY RO 35 JARS OF CLAY JARS OF CLAY CG 36 FAIRWEATHER JOHNSON HOOTIE AND THE BLOWFISH RO 37 A DAY IN THE LIFE ERIC BENET PO 38 IN THE MOOD FOR X-MAS MULTIPLE MUSICIANS HO HOLIDAY 39 GRUMPIER OLD MEN SOUNDTRACK SO 40 TO THE FAITHFUL DEPARTED CRANBERRIES PO 41 OLIVER AND COMPANY SOUNDTRACK SO 42 DOWN ON THE UPSIDE SOUND GARDEN RO 43 SONGS FOR THE ARISTOCATS DISNEY RECORDS CH 44 WHATCHA LOOKIN 4 KIRK FRANKLIN & THE FAMILY CG 45 PURE ATTRACTION KATHY TROCCOLI CG 46 Tolono Library CD List 47 BOBBY BOBBY BROWN RO 48 UNFORGETTABLE NATALIE COLE PO 49 HOMEBASE D.J. -
Experimental Study on the Impact of the 6+1 Trait Writing Model On
Experimental Study on the Impact of the 6+1 Trait® Writing Model on Student Achievement in Writing Northwest Regional Educational Laboratory Northwest Regional Educational Laboratory This report is part of a series from NWREL to assist in school improvement. Publications are available in five areas: Re-engineering Assists schools, districts, and communities in reshaping rules, roles, structures, and relationships to build capacity for long-term improvement Quality Teaching and Learning Provides resources and strategies for teachers to improve curriculum, instruction, and assessment by promoting professional learning through reflective, collegial inquiry School, Family, and Community Partnerships Promotes child and youth success by working with schools to build culturally responsive partnerships with families and communities Language and Literacy Assists educators in understanding the complex nature of literacy development and identifying multiple ways to engage students in literacy learning that result in highly proficient readers, writers, and speakers Assessment Helps schools identify, interpret, and use data to guide planning and accountability Experimental Study on the Impact of the 6+1 Trait® Writing Model on Student Achievement in Writing Michael Kozlow Peter Bellamy December 2004 Northwest Regional Educational Laboratory 101 SW Main Street, Suite 500 Portland, Oregon 97204 Northwest Regional Educational Laboratory 101 SW Main Street, Suite 500 Portland, Oregon 97204-3213 503-275-9500 www.nwrel.org [email protected] Center for Research, Evaluation, and Assessment Assessment Program © Northwest Regional Educational Laboratory, 2004 All Rights Reserved This project has been funded at least in part with Federal funds from the U.S. Department of Education under contract number ED-01-CO-0013. The content of this publication does not necessarily reflect the views or policies of the U.S. -
The Derailment of Feminism: a Qualitative Study of Girl Empowerment and the Popular Music Artist
THE DERAILMENT OF FEMINISM: A QUALITATIVE STUDY OF GIRL EMPOWERMENT AND THE POPULAR MUSIC ARTIST A Thesis by Jodie Christine Simon Master of Arts, Wichita State University, 2010 Bachelor of Arts. Wichita State University, 2006 Submitted to the Department of Liberal Studies and the faculty of the Graduate School of Wichita State University in partial fulfillment of the requirements for the degree of Master of Arts July 2012 @ Copyright 2012 by Jodie Christine Simon All Rights Reserved THE DERAILMENT OF FEMINISM: A QUALITATIVE STUDY OF GIRL EMPOWERMENT AND THE POPULAR MUSIC ARTIST The following faculty members have examined the final copy of this thesis for form and content, and recommend that it be accepted in partial fulfillment of the requirement for the degree of Masters of Arts with a major in Liberal Studies. __________________________________________________________ Jodie Hertzog, Committee Chair __________________________________________________________ Jeff Jarman, Committee Member __________________________________________________________ Chuck Koeber, Committee Member iii DEDICATION To my husband, my mother, and my children iv ACKNOWLEDGMENTS I would like to thank my adviser, Dr. Jodie Hertzog, for her patient and insightful advice and support. A mentor in every sense of the word, Jodie Hertzog embodies the very nature of adviser; her council was very much appreciated through the course of my study. v ABSTRACT “Girl Power!” is a message that parents raising young women in today’s media- saturated society should be able to turn to with a modicum of relief from the relentlessly harmful messages normally found within popular music. But what happens when we turn a critical eye toward the messages cloaked within this supposedly feminist missive? A close examination of popular music associated with girl empowerment reveals that many of the messages found within these lyrics are frighteningly just as damaging as the misogynistic, violent, and explicitly sexual ones found in the usual fare of top 100 Hits. -
Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy
Illinois State University ISU ReD: Research and eData Theses and Dissertations 3-2-2017 On My Grind: Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy Evan Nave Illinois State University, [email protected] Follow this and additional works at: https://ir.library.illinoisstate.edu/etd Part of the African American Studies Commons, Creative Writing Commons, Curriculum and Instruction Commons, and the Educational Methods Commons Recommended Citation Nave, Evan, "On My Grind: Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy" (2017). Theses and Dissertations. 697. https://ir.library.illinoisstate.edu/etd/697 This Dissertation is brought to you for free and open access by ISU ReD: Research and eData. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. ON MY GRIND: FREESTYLE RAP PRACTICES IN EXPERIMENTAL CREATIVE WRITING AND COMPOSITION PEDAGOGY Evan Nave 312 Pages My work is always necessarily two-headed. Double-voiced. Call-and-response at once. Paranoid self-talk as dichotomous monologue to move the crowd. Part of this has to do with the deep cuts and scratches in my mind. Recorded and remixed across DNA double helixes. Structurally split. Generationally divided. A style and family history built on breaking down. Evidence of how ill I am. And then there’s the matter of skin. The material concerns of cultural cross-fertilization. Itching to plant seeds where the grass is always greener. Color collaborations and appropriations. Writing white/out with black art ink. Distinctions dangerously hidden behind backbeats or shamelessly displayed front and center for familiar-feeling consumption. -
Before the FEDERAL COMMUNICATIONS COMMISSION
Exhibit 52.1 Before the FEDERAL COMMUNICATIONS COMMISSION Washington, DC ,QWKH0DWWHURI $SSOLFDWLRQVRI&RPFDVW&RUSRUDWLRQ 0%'RFNHW1R *HQHUDO(OHFWULF&RPSDQ\ DQG1%&8QLYHUVDO,QF )RU&RQVHQWWR$VVLJQ/LFHQVHVDQG 7UDQVIHU&RQWURORI/LFHQVHHV ANNUAL REPORT OF COMPLIANCE WITH TRANSACTION CONDITIONS Comcast Corporation NBCUniversal Media,LLC 1HZ-HUVH\$YHQXH1: 6XLWH :DVKLQJWRQ'& )HEUXDU\ TABLE OF CONTENTS Page 3$5721(&203/,$1&(29(59,(: $ &RPFDVW7UDQVDFWLRQ&RPSOLDQFH7HDP % 1%&8QLYHUVDO7UDQVDFWLRQ&RPSOLDQFH7HDP & 7UDLQLQJRIWKH5HOHYDQW%XVLQHVV8QLWV ' &RPSOLDQFH0RQLWRULQJDQG$XGLWLQJ 3$577:2&203/,$1&(:,7+63(&,),&&21',7,216 , '(),1,7,216 ,, $&&(6672&1%&8352*5$00,1* ,,, &$55,$*(2)81$)),/,$7('9,'(2352*5$00,1* 1RQ'LVFULPLQDWRU\&DUULDJH 1HLJKERUKRRGLQJ 1HZ,QGHSHQGHQW1HWZRUNV 3URJUDP&DUULDJH&RPSODLQWV ,9 21/,1(&21',7,216 $ 2QOLQH3URJUDP$FFHVV5HTXLUHPHQWVDQG3URFHGXUHV % ([FOXVLYLW\:LQGRZLQJ & &RQWLQXHG$FFHVVWR2QOLQH&RQWHQWDQG+XOX &RQWLQXHG3URJUDPPLQJRQ1%&FRP 3UHH[LVWLQJ29''HDOV 3URYLVLRQRI&RQWHQWWR+XOX 5HOLQTXLVKPHQWRI&RQWURORYHU+XOX ' 6WDQGDORQH%URDGEDQG,QWHUQHW$FFHVV6HUYLFH ³%,$6´ 3URYLVLRQRI6WDQGDORQH%,$6 9LVLEO\2IIHUDQG$FWLYHO\0DUNHW5HWDLO6WDQGDORQH%,$6 %,$6$QQXDO5HSRUW ( 2WKHU%,$6&RQGLWLRQV 6SHFLDOL]HG6HUYLFH5HTXLUHPHQWV 0ESV2IIHULQJ ) ³6SHFLDOL]HG6HUYLFH´RQ&RPFDVW6HW7RS%R[HV ³67%V´ * 8QIDLU3UDFWLFHV 9 127,&(2)&21',7,216 9, 5(3/$&(0(172)35,25&21',7,216 9,, &200(5&,$/$5%,75$7,215(0('< 9,,, 02',),&$7,21727+($$$58/(6)25$5%,75$7,21 ,; %52$'&$67&21',7,216 ; ',9(56,7<&21',7,216 7HOHPXQGR0XOWLFDVW&KDQQHO 7HOHPXQGRDQGPXQ3URJUDPPLQJRQ&RPFDVW2Q'HPDQG -
Jennifer Lopez Has a Comeback Plan: 'The Back-Up Plan' - Movies - Kentucky.Com Page 1 of 1
Jennifer Lopez has a comeback plan: 'The Back-Up Plan' - Movies - Kentucky.com Page 1 of 1 Back to web version Tuesday, May 4, 2010 Posted on Fri, Apr. 23, 2010 Jennifer Lopez has a comeback plan: 'The Back-Up Plan' In the wake of flops and a hiatus, Jennifer Lopez aims to return to the heights she once reached By Frank Lovece Newsday Dancer-singer-actress Jennifer Lopez hadn't danced, sung or acted much since taking time off to have kids — although People reportedly paid her and husband Marc Anthony $4 million to $6 million in 2008 to parade them on a magazine cover, ironically the most successful thing she has done in years. Before her hiatus, she had a string of flop movies, a single that didn't crack the Billboard Top 10, and an American Music Award downshift from favorite pop/rock female artist in 2003 to the more niche-y favorite Latin artist in 2007. Oh, and her record label just dropped her. Now, at 40, she is calibrating a comeback that has included guest appearances on How I Met Your Mother, Saturday Night Live and reportedly an upcoming episode of Glee, all to support her romantic comedy The Back-Up Plan, opening Friday. In the meantime, with businesses encompassing music, movies, a clothing line and a Cuban restaurant, she's the ninth-richest woman in entertainment, says Forbes magazine, which in 2007 estimated her net worth at $110 million. So shed no tears for her career. Dancer-singer-actress or waitress-writer-dog walker, we all have our highs and lows. -
From the Time Ariel Graduated the Institute of Audio Research (New York, NY) in the Mid Nineties, He Spent His Time Living and Breathing All Things Audio
From the time Ariel graduated the Institute of Audio Research (New York, NY) in the mid nineties, he spent his time living and breathing all things audio. That passion has kept him in the studio for countless hours for more than 10 years. He has spent most of that time working on projects for music business heavy hitters such as Puffy, T.I. , 8Ball and MJG, The Black Eye Peas, J-Lo, Faith Evans, Just Blaze, Kanye West, and many more. The experience and training he brings to any session adds an undeniable value that can truly be heard. His credits include Grammy nominated and multi-platinum award winning albums. In addition to working at various studios throughout the world, Ariel is owner of C4 Studios in, a NYC based 24X7 recording and mixing studio. If you are interested in his services please contact [email protected] Ariel Borujow Recording & Mixing Engineer Discography Year Artist Album 2007 Omillio Sparks The Payback (Mixing) 2007 Poison Pen Feat Immortal Technique Presents: he Mark of The East (Mixing, Tracking) 2007 Jin the Emcee 100 Grand Jin (Production, Mixing, Tracking) 2006 Ras Kass Eat or Die (Mixing, Tracking) 2006 T.I. King (mixing on “ King Back produced by Just Blaze) 2006 ESPN “The Season” (Theme Song) (Producer) 2006 FN-Co. FN-Co. (Production, Mixing, and Tracking) 2005 Unique Whips (The Speed Channel) (Producer for 6 tracks on show) 2004 8-Ball & MJG Living Legends (Tracking) 2004 Carl Thomas featuring Kanye West Violator 3 compilation (Tracking) 2004 Fred Niznik The Renaissance LP (Production, Mixing, -
Appendix B - Responses to Comments Received on the 6/28/12 NOP/IS
Appendix B - Responses to Comments Received on the 6/28/12 NOP/IS 1-1 B-1 Appendix B - Responses to Comments Received on the 6/28/12 NOP/IS 1-2 1-3 1-4 B-2 Appendix B - Responses to Comments Received on the 6/28/12 NOP/IS 1-4 Cont. 1-5 B-3 Appendix B - Responses to Comments Received on the 6/28/12 NOP/IS 1-5 Cont. 1-6 B-4 Appendix B - Responses to Comments Received on the 6/28/12 NOP/IS Socio Econ 1-6 Cont. 1-7 1-8 1-9 B-5 Appendix B - Responses to Comments Received on the 6/28/12 NOP/IS 1-9 Cont. B-6 Appendix B - Responses to Comments Received on the 6/28/12 NOP/IS 1-9 Cont. 1-10 1-11 1-12 B-7 Appendix B - Responses to Comments Received on the 6/28/12 NOP/IS 1-12 Cont. 1-13 B-8 Appendix B - Responses to Comments Received on the 6/28/12 NOP/IS Responses to Comment Letter #1 Consumer Specialty Products Association (CSPA) – Joe Yost (7/19/12) 1-1 This comment notifies the SCAQMD that a comment letter is attached. No further response is necessary. 1-2 This comment notifies the SCAQMD that the comments contained in the letter pertain to the Initial Study for the Draft Program EIR for the 2012 AQMP. No further response is necessary. 1-3 This comment is a general comment opposing including control measure CTS-04 in the 2012. -
Latino/A Pop Music in the Cultural Mainstream
Seattle University School of Law Digital Commons Faculty Scholarship 1-1-2001 Will the Wolf Survive?: Latino/a Pop Music in the Cultural Mainstream Steven W. Bender Follow this and additional works at: https://digitalcommons.law.seattleu.edu/faculty Part of the Law and Society Commons Recommended Citation Steven W. Bender, Will the Wolf Survive?: Latino/a Pop Music in the Cultural Mainstream, 78 DENV. U. L. REV. 719 (2001). https://digitalcommons.law.seattleu.edu/faculty/357 This Article is brought to you for free and open access by Seattle University School of Law Digital Commons. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Seattle University School of Law Digital Commons. For more information, please contact [email protected]. WILL THE WOLF SURVIVE?:* LATINO/A POP MUSIC IN THE CULTURAL MAINSTREAM STEVEN W. BENDER* 2 The American' news media dubbed 1999 as the year of the Latino based almost entirely on the runaway sales success3 and appeal4 of La- *. Titled after track number 11 of the same name from Los Lobos' debut album in 1984 How Will the Wolf Survive? Los LOBos, How WILL THE WOLF SURVIVE (Wea/Warner Bros. 1984). That track is an anthem of hope for cultural and spiritual survival in a challenging and changing America, as is the less hopeful Los Lobos tune One Time, One Night [In America] from 1987. Los LOBOS, One Time, One Night, on BY THE LIGHT OF THE MOON (Wea/Warner Bros. 1987). **. Associate Professor of Law, University of Oregon School of Law. Thanks to the partici- pants at LatCrit V where I presented this paper as part of the plenary Multi/Cultural Artistic Re/Presentations in Mass Media: Capitalism, Power, Privilege and Cultural Production. -
Rock Album Discography Last Up-Date: September 27Th, 2021
Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least. -
Latino/A Pop Music in the Cultural Mainstream
Denver Law Review Volume 78 Issue 4 Latcrit V Symposium - Class in LatCrit: Theory and Praxis in a World of Economic Article 12 Inequality December 2020 Will the World Survive: Latino/a Pop Music in the Cultural Mainstream Steven W. Bender Follow this and additional works at: https://digitalcommons.du.edu/dlr Recommended Citation Steven W. Bender, Will the World Survive: Latino/a Pop Music in the Cultural Mainstream, 78 Denv. U. L. Rev. 719 (2001). This Article is brought to you for free and open access by Digital Commons @ DU. It has been accepted for inclusion in Denver Law Review by an authorized editor of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. WILL THE WOLF SURVIVE?:* LATINO/A POP MUSIC IN THE CULTURAL MAINSTREAM STEVEN W. BENDER* 2 The American' news media dubbed 1999 as the year of the Latino based almost entirely on the runaway sales success3 and appeal4 of La- *. Titled after track number 11 of the same name from Los Lobos' debut album in 1984 How Will the Wolf Survive? Los LOBos, How WILL THE WOLF SURVIVE (Wea/Warner Bros. 1984). That track is an anthem of hope for cultural and spiritual survival in a challenging and changing America, as is the less hopeful Los Lobos tune One Time, One Night [In America] from 1987. Los LOBOS, One Time, One Night, on BY THE LIGHT OF THE MOON (Wea/Warner Bros. 1987). **. Associate Professor of Law, University of Oregon School of Law. Thanks to the partici- pants at LatCrit V where I presented this paper as part of the plenary Multi/Cultural Artistic Re/Presentations in Mass Media: Capitalism, Power, Privilege and Cultural Production. -
Still on the Road 1963 Concerts and Recording Sessions
STILL ON THE ROAD 1963 CONCERTS AND RECORDING SESSIONS JANUARY 30 December, London, England BBC TV Studios, Madhouse On Castle Street 4 January sessions. 14 & 15 London, England Dobell's Jazz Record Shop New York City, New York Alan Lomax’s apartment, Manhattan FEBRUARY New York City, New York Folkways Studio 8 New York City, New York The Basement of Gerde's Folk City New York City, New York WBAI Studios, Skip Weshner Show “Winter” New York City, New York Witmark Studio MARCH New York City, New York WNBC Radio Studios, Oscar Brand Show New York City, New York Witmark Studio 3 New York City, New York Westinghouse Studios, Folk songs and more folk songs 28 New York City, New York WBAI Studios, Bob Fass Show, Radio Unnameable APRIL New York City, New York Witmark Studio 12 New York City, New York Town Hall, soundcheck 12 New York City, New York Town Hall 19 New York City, New York The Home Of Eve and Mac MacKenzie, Second MacKenzies Tape 19 & 20 New York City, New York Café Yana 21 Cambridge, Massachusetts Club 47 24 New York City, New York Studio A, Columbia Recording Studios, The 8th and last Freewheelin’ Bob Dylan session, produced by John Hammond. 24 New York City, New York Gerde’s Folk City 25 Chicago, Illinois The Bear 26 Chicago, Illinois WFMT-Radio Studio, Studs Terkel Wax Museum MAY New York City, New York Witmark Studio 10 Waltham, Massachusetts Brandeis University 12 New York City, New York CBS TV-Studio 18 Monterey, California Monterey Folk Festival Bob Dylan recording sessions & concerts 1963 Minneapolis, Minnesota The Home Of Tony Glover JULY 6 Greenwood, Mississippi Silas Magee's Farm, Vote Registration Rally 17 Minneapolis, Minnesota The Home Of Dave Whitaker “Summer” New York City, New York Unidentified Recording Studio 26 Newport, Rhode Island Freebody Park, Newport Folk Festival.