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												Excesss Karaoke Master by Artist
XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not - 
												
												The Clique Song List 2000
The Clique Song List 2000  Now Ain’t It Fun (Paramore) All About That Bass (Meghan Trainor) American Boy (Estelle & Kanye West) Applause (Lady Gaga) Before He Cheats (Carrie Underwood) Billionaire (Travie McCoy & Bruno Mars) Birthday (Katy Perry) Blurred Lines (Robin Thicke) Can’t Get You Out Of My Head (Kylie Minogue) Can’t Hold Us (Macklemore & Ryan Lewis) Clarity (Zedd) Counting Stars (OneRepublic) Crazy (Gnarls Barkley) Dark Horse (Katy Perry) Dance Again (Jennifer Lopez) Déjà vu (Beyoncé) Diamonds (Rihanna) DJ Got Us Falling In Love (Usher & Pitbull) Don’t Stop The Party (The Black Eyed Peas) Don’t You Worry Child (Swedish House Mafia) Dynamite (Taio Cruz) Fancy (Iggy Azalea) Feel This Moment (Pitbull & Christina Aguilera) Feel So Close (Calvin Harris) Find Your Love (Drake) Fireball (Pitbull) Get Lucky (Daft Punk & Pharrell) Give Me Everything (Tonight) (Pitbull & NeYo) Glad You Came (The Wanted) Happy (Pahrrell) Hey Brother (Avicii) Hideaway (Kiesza) Hips Don’t Lie (Shakira) I Got A Feeling (The Black Eyed Peas) I Know You Want Me (Calle Ocho) (Pitbull) I Like It (Enrique Iglesias & Pitbull) I Love It (Icona Pop) I’m In Miami Trick (LMFAO) I Need Your Love (Calvin Harris & Ellie Goulding) Lady (Hear Me Tonight) (Modjo) Latch (Disclosure & Sam Smith) Let’s Get It Started (The Black Eyed Peas) Live For The Night (Krewella) Loca (Shakira) Locked Out Of Heaven (Bruno Mars) More (Usher) Moves Like Jagger (Maroon 5 & Christina Aguliera) Naughty Girl (Beyoncé) On The Floor (Jennifer - 
												
												Textual Analysis Film: Do the Right Thing (1989) Director: Spike Lee Sequence Running Time: 00:50:55 - 00:55:55 Word Count: 1745
Student sample Textual Analysis Film: Do The Right Thing (1989) Director: Spike Lee Sequence Running Time: 00:50:55 - 00:55:55 Word Count: 1745 In this paper I will analyze an extract from Spike Lee's Do The Right Thing (1989) that reflects the political, geographical, social, and economical situations through Lee's stylistic use of cinematography, mise-en-scene, editing, and sound to communicate the dynamics of the characters in the cultural melting pot that is Bedford-Stuyvesant,Brooklyn in New York City. This extract manifests Lee's artistic visions that are prevalent in the film and are contemplative of Lee's personal experience of growing up in Brooklyn. "This evenhandedness that is at the center of Spike Lee's work" (Ebert) is evident through Lee's techniques and the equal attention given to the residents of this neighborhood to present a social realism cinema. Released almost thirty years ago, Lee's film continues to empower the need for social change today with the Black Lives Matter movement and was even called "'culturally significant'by the U.S. Library of Congress" (History). Do The Right Thing takes place during the late 1980s in Bed-Stuy, Brooklyn and unravels the "bigotry and violence" (Lee) in the neighborhood of a single summer day, specifically one of the hottest of the season. Being extremely socially conscious, Do The Right Thing illustrates the dangers of racism against African Americans and was motivated by injusticesof the time--especially in New York--such as the death of Yusef Hawkins and the Howard Beach racial incident. - 
												
												Newsletter Still Doesn't Have Any Reporting on Direct Queries and Submissions To: Recent Developments in U.S
N ewsletter NoVEMbER, 1991 VolUME 5 NuMbER 5 SpEciAl JournaL Issue In This Issue................................................................ 2 The Speed of DAnksess ancI "CrazecJ V ets on tHe oorstep rama e o s e PublJshER's S tatement, by Ka U TaL .............................5 D D ," by DAvId J. D R ...............40 REMF Books, by DAvid WHLs o n .............................. 45 A nnouncements, Notices, & Re p o r t s ......................... 4 eter C ortez In DarIen, by ALan FarreU ........................... 22 PoETRy, by P D ssy............................................4 4 FIctIon: Hie Romance of Vietnam, VoIces fROM tHe Past: TTie SearcTi foR Hanoi HannaK by RENNy ChRlsTophER...................................... 24 by Don NortTi ...................................................44 A FiREbAlL In tBe Nlqlrr, by WHUam M. KiNq...........25 H ollyw ood CoNfidENTlAl: 1, b y FREd GARdNER........ 50 Topics foR VJetnamese-U.S. C ooperation, PoETRy, by DennIs FRiTziNqER................................... 57 by Tran Qoock VuoNq....................................... 27 Ths A ll CWnese M ercenary BAskETbAll Tournament, Science FIctIon: This TIme It's War, by PauI OLim a r t ................................................ 57 by ALascIaIr SpARk.............................................29 (Not Much of a) War Story, by Norman LanquIst ...59 M y Last War, by Ernest Spen cer ............................50 Poetry, by Norman LanquIs t ...................................60 M etaphor ancI War, by GEORqE LAkoff....................52 A notBer - 
												
												Blackkklansman and Postcolonial Studies in the EFL Classroom
Independent Project, 15 credits “Dis joint is based upon some fo’ real, fo’ real sh*t” Challenging perspectives on race and ethnicity by incorporating Spike Lee’s movie BlacKkKlansman and postcolonial studies in the EFL classroom Author: Sofija Stanic Supervisor: Anna Greek Examiner: Anne Holm Term: HT19 Subject: English Level: Bachelor Course code: 2ENÄ2E Abstract This essay argues for the benefits of incorporating Spike Lee’s film BlacKkKlansman and discussions of postcolonialism in the Swedish upper secondary EFL classroom in order to challenge students’ perspectives on race and ethnicity. The film BlacKkKlansman by Spike Lee is a work that challenges not only American history but also the perspectives of black and white people in contemporary society. Discussing the white and black characters and the social criticism in the movie with students in the English classroom may encourage them to be more open-minded and aware of global political and social issues. Key words Postcolonial criticism; BlacKkKlansman; racial issues; racism; EFL classroom; fundamental values; stereotypes Thanks To my supervisor Anna Greek, thank you for all your kind support and help during the writing of this essay, you helped spark my interest for the subject. Table of contents Abstract 2 1 Introduction 1 2 Postcolonialism 4 2.1 Overview 4 2.2 Postcolonial Criticism and Literature Didactical Theory 9 3 Spike Lee’s BlacKkKlansman 13 3.1 The Depiction of Blackness and Whiteness 13 3.2 Connections to the Trump-Era 18 3.3 Postcolonial criticism and BlacKkKlansman in the EFL Classroom 21 4 Conclusion 25 Works Cited 1 1 Introduction The movie BlacKkKlansman from 2018, directed by Spike Lee, is a story set in the early 1970s which revolves around the protagonist Ron Stallworth who becomes the first African American police officer in the Colorado Springs police force. - 
												
												Trumpeter Terence Blanchard
Biographical Description for The HistoryMakers® Video Oral History with Terence Blanchard PERSON Blanchard, Terence Alternative Names: Terence Blanchard; Life Dates: March 13, 1962- Place of Birth: New Orleans, Louisiana, USA Work: New Orleans, LA Occupations: Trumpet Player; Music Composer Biographical Note Jazz trumpeter and composer Terence Oliver Blanchard was born on March 13, 1962 in New Orleans, Louisiana to Wilhelmina and Joseph Oliver Blanchard. Blanchard began playing piano at the age of five, but switched to trumpet three years later. While in high school, he took extracurricular classes at the New Orleans Center for Creative Arts. From 1980 to 1982, Blanchard studied at Rutgers University in New Jersey and toured with the Lionel Hampton Orchestra. In 1982, Blanchard replaced trumpeter Wynton Marsalis in Art Blakey and the Jazz Messengers, where he served as musical director until 1986. He also co- led a quintet with saxophonist Donald Harrison in the 1980s, recording five albums between 1984 and 1988. In 1991, Blanchard recorded and released his self-titled debut album for Columbia Records, which reached third on the Billboard Jazz Charts. He also composed musical scores for Spike Lee’s films, beginning with 1991’s Jungle Fever, and has written the score for every Spike Lee film since including Malcolm X, Clockers, Summer of Sam, 25th Hour, Inside Man, and Miracle At St. Anna’s. In 2006, he composed the score for Lee's four-hour Hurricane Katrina documentary for HBO entitled When the Levees Broke: A Requiem in Four Acts. Blanchard also composed for other directors, including Leon Ichaso, Ron Shelton, Kasi Lemmons and George Lucas. - 
												
												Modern Poetry Seminar “Shifting Poetics: from High Modernism to Eco-Poetics to Black Lives Matter”
San José State University Department of English and Comparative Literature ENGLISH 211: Modern Poetry Seminar “Shifting Poetics: From High Modernism to Eco-Poetics to Black Lives Matter” Spring 2021 Instructor: Prof. Alan Soldofsky Office Location: FO 106 Telephone: 408-924-4432 Email: [email protected] Virtual Office Hours: M, W 3:00 – 4:30 PM, and Th p.m. by appointment Class Days/Time: Synchronous Zoom Meetings M 7:00 – 8:30 PM; Asynchronous on Canvas (24/7) Classroom: Zoom Credit Units: 4 Credits Course Description This seminar is designed to engage students in an immersive study of salient themes and innovations in selected poets from the 20th and 21st centuries. The curriculum will include practice in close reading/explication of selected poems. The course will be taught in a partially synchronous distance learning mode, using SJSU’s Canvas and Zoom platforms, with weekly Monday Zoom class meetings, 7:00 – 8:15 p.m. The course may be taken two times for credit (toward an MA or MFA degree). Thematic Focus Shifting Cultural Politics and Poetics from High Modernism to Eco-Poetics to Black Lives Matter (1909 – 2021) The emphasis during the semester will be on the evolving poetics and associated cultural politics as viewed through various aesthetic movements in poetry from the high modernist period to the present. During the semester the curriculum will include reading one or more poems (online) by the following poets: W.B. Yeats, Ezra Pound, T.S. Eliot, William Carlos Williams, Wallace Stevens, Hart Crane, Marianne Moore, Robinson Jeffers, Langston Hughes, Claude McKay, H. - 
												
												University of California Santa Cruz the Vietnamese Đàn
UNIVERSITY OF CALIFORNIA SANTA CRUZ THE VIETNAMESE ĐÀN BẦU: A CULTURAL HISTORY OF AN INSTRUMENT IN DIASPORA A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by LISA BEEBE June 2017 The dissertation of Lisa Beebe is approved: _________________________________________________ Professor Tanya Merchant, Chair _________________________________________________ Professor Dard Neuman _________________________________________________ Jason Gibbs, PhD _____________________________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Table of Contents List of Figures .............................................................................................................................................. v Chapter One. Introduction ..................................................................................................................... 1 Geography: Vietnam ............................................................................................................................. 6 Historical and Political Context .................................................................................................... 10 Literature Review .............................................................................................................................. 17 Vietnamese Scholarship .............................................................................................................. 17 English Language Literature on Vietnamese Music - 
												
												The Vietnam Press: the Unrealised Ambition
Edith Cowan University Research Online ECU Publications Pre. 2011 1995 The Vietnam press: the unrealised ambition Frank Palmos Follow this and additional works at: https://ro.ecu.edu.au/ecuworks Part of the Journalism Studies Commons Palmos, F. (1995). The Vietnam press: The unrealised ambition. Mount Lawley, Australia: The Centre for Asian Communication, Media and Cultural Studies, Edith Cowan University. This Book is posted at Research Online. https://ro.ecu.edu.au/ecuworks/6774 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Reporting Asia Series The Vietnam Press: The Unrealised Ambition Frank Palmos Centre for Asian Communication, Media and Cultural Studies Director and Series Editor - Dr. Brian Shoesmith Faculty of Arts Edith Cowan University Western Austi·alia © 1995 Reporting Asia Series Published by - The Centre for Asian Communication, Media and Cultural Studies. Director and Series Editor- Dr Brian Shoesmith Faculty of Arts Edith Cowan University 2 Bradford Street Mount Lawley Western Australia. - 
												
												Song & Music in the Movement
Transcript: Song & Music in the Movement A Conversation with Candie Carawan, Charles Cobb, Bettie Mae Fikes, Worth Long, Charles Neblett, and Hollis Watkins, September 19 – 20, 2017. Tuesday, September 19, 2017 Song_2017.09.19_01TASCAM Charlie Cobb: [00:41] So the recorders are on and the levels are okay. Okay. This is a fairly simple process here and informal. What I want to get, as you all know, is conversation about music and the Movement. And what I'm going to do—I'm not giving elaborate introductions. I'm going to go around the table and name who's here for the record, for the recorded record. Beyond that, I will depend on each one of you in your first, in this first round of comments to introduce yourselves however you wish. To the extent that I feel it necessary, I will prod you if I feel you've left something out that I think is important, which is one of the prerogatives of the moderator. [Laughs] Other than that, it's pretty loose going around the table—and this will be the order in which we'll also speak—Chuck Neblett, Hollis Watkins, Worth Long, Candie Carawan, Bettie Mae Fikes. I could say things like, from Carbondale, Illinois and Mississippi and Worth Long: Atlanta. Cobb: Durham, North Carolina. Tennessee and Alabama, I'm not gonna do all of that. You all can give whatever geographical description of yourself within the context of discussing the music. What I do want in this first round is, since all of you are important voices in terms of music and culture in the Movement—to talk about how you made your way to the Freedom Singers and freedom singing. - 
												
												25Th Hour Le Traumatisme New-Yorkais 25Th Hour, États-Unis 2002, 135 Minutes Pascal Grenier
Document généré le 25 sept. 2021 17:48 Séquences La revue de cinéma 25th Hour Le traumatisme new-yorkais 25th Hour, États-Unis 2002, 135 minutes Pascal Grenier Numéro 224, mars–avril 2003 URI : https://id.erudit.org/iderudit/48379ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer ce compte rendu Grenier, P. (2003). Compte rendu de [25th Hour : le traumatisme new-yorkais / 25th Hour, États-Unis 2002, 135 minutes]. Séquences, (224), 41–41. Tous droits réservés © La revue Séquences Inc., 2003 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ CRITIQUES LES FILMS ^- ce scénario de David Benioff, qui relègue au se cond plan tout le suspense relatif à l'identité du mouchard qui a livré Monty au policier. D'abord, tout au long du générique, il y a ces deux faisceaux de lumière bleutée qui illuminent le ciel à l'endroit où se trouvaient les défuntes tours jumelles. James, le père de Monty, est un pompier et la caméra insiste sur une photo de son père et de quelques collègues pompiers lors de la clôture d'une séquence. - 
												
												Appendix 01. Synopsis of Blackkklansman Film the Film
Appendix 01. Synopsis of BlacKkKlansman Film The film starts with a small video of a battlefield lying everywhere with the bodies of Confederate soldiers as some try to support those injured and others weep over the dead. This then switches to another video by Dr. Kennebrew Beauregard (Alec Baldwin), who launches into a racial tirade about how African Americans take hold of the country and cause problems for white Protestant Americans. Colorado Springs, CO. 1979 John David Washington (Ron Stallworth) arrives at the local police station. Chief Bridges (Robert John Burke) and Mr. Turrerntine (Isiah Whitlock, Jr.) interview him about whether or not he should be eligible on the team. I want to know how Ron would respond if a white officer were to bully him, considering the current social and political environment surrounding African Americans, and Ron says he 'd turn the other cheek if he has to. Ron is then put on duty as the first black officer. The first task Ron does is to work inside the filing department. One Patrolman named Andy Landers (Frederick Weller) antagonizes him. Ron then goes to Bridges and asks to put him on an assignment to get out in the field, but Bridges refuses his application. Bridges later, though, changes his mind and wants to bring Ron to a Black Panther meeting to see if they intend on radicalizing themselves. Stokely Carmichael (Corey Hawkins), a popular activist, is said to speak there. Bridges has Flip Zimmerman (Adam Driver) detectives and Jimmy Creek (Michael Buscemi) sit in while Ron enters with a cable.