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SOCIAL CLASS in AMERICA TRANSCRIPT – FULL Version
PEOPLE LIKE US: SOCIAL CLASS IN AMERICA TRANSCRIPT – FULL Version Photo of man on porch dressed in white tank top and plaid shorts MAN: He looks lower class, definitely. And if he’s not, then he’s certainly trying to look lower class. WOMAN: Um, blue collar, yeah, plaid shorts. MAN: Lower middle class, something about the screen door behind him. WOMAN ON RIGHT, BROWN HAIR: Pitiful! WOMAN ON LEFT, BLOND HAIR, SUNGLASSES: Lower class. BLACK WOMAN, STANDING WITH WHITE MAN IN MALL: I mean, look how high his pants are up–my god! Wait a minute–I’m sorry, no offense. Something he would do. Photo of slightly older couple. Man is dressed in crisp white shirt, woman in sleeveless navy turtle neck with pearl necklace. WOMAN: Upper class. MAN: Yeah, definitely. WOMAN: Oh yeah. WOMAN: He look like he the CEO of some business. OLD WOMAN: The country club set- picture of smugness. GUY ON STREET: The stereotypical “my family was rich, I got the money after they died, now we’re happily ever after.” They don’t really look that happy though. Montage of images: the living situations of different social classes Song: “When you wish upon a star, makes no difference who you are. Anything your heart desires will come to you. If your heart is in your dream, no request is too extreme.” People Like Us – Transcript - page 2 R. COURI HAY, society columnist: It’s basically against the American principle to belong to a class. So, naturally Americans have a really hard time talking about the class system, because they really don’t want to admit that the class system exists. -
Livin' a Boss' Life
REAL, RAW, & UNCENSORED WEST COAST RAP SHIT TURF TALK BEEDA WEEDA CLYDE CARSON MAC MALL DAMANI & MORE BAY AREA AMBASSADOR - LIVIN’ AE BOSS’40 LIFE * WEST COAST DJs SOUND OFF ON MIXTAPE DRAMA * THE GAME’S BROTHER BIG FASE100 * BUMSQUAD’S LATIN PRINCE & MORE // OZONE WEST Publisher EDITOR’S NOTE Julia Beverly Editor-IN-Chief N. Ali Early Music Editor Randy Roper Art Director Tene Gooden Contributors D-Ray DJ BackSide Joey Colombo Toby Francis Wendy Day Street Reps Anthony Deavers Bigg P-Wee Dee1 Demolition Men DJ E-Z Cutt DJ Jam-X DJ K-Tone DJ Quote MUST BE DREAMIN’ DJ Strong & DJ Warrior John Costen Kewan Lewis Lisa Coleman Maroy been living in Atlanta a good decade and I still haven’t gotten completely accus- Rob J Official tomed to it, nor have I embraced it all the way. What can I say? I’m a Bayboy to the Rob Reyes heart. Anyone who knows me, knows that I rep the Bay – all day, every day. I went Sherita Saulsberry I’vehome for Xmas and all I could think about was what kind of Bay Tees I was gonna snatch so I could have William Major the option of reppin’ my soil every day for two weeks straight (that’s 14, but who’s counting?). Took Moms in there and scooped about eight of ‘em REAL QUICK (already had 6). Alas, I didn’t leave my heart in San Francisco ala Tony Bennett. It’s somewhere in Tha Rich! But I gotta love the A and I gotta give JB props for bringing me on board, ‘cause without the move from Orlando this opportunity may have never cracked off. -
About... the Communist Revolution and the REAL Path to Emancipation: Its History and Our Future Raymond Lotta
You Don’t Know What You Think You “Know” About... The Communist Revolution and the REAL Path to Emancipation: Its History and Our Future Raymond Lotta Insight Press, Inc. Chicago, IL © 2014 by Raymond Lotta. All rights reserved. Published in 2014 by Insight Press FIRST EDITION An earlier version of this work appeared as a special issue of Revolution newspaper (revcom.us) and is reprinted with permission from RCP Publications. Includes bibliographical references. ePub ISBN 978-0-9832661-3-6 1. Political Science / History & Theory, 2. History / Modern / 20th Century Insight Press, Inc. 4044 N. Lincoln Ave., #264 Chicago, IL 60618 www.insight-press.com No Wonder They Slander Communism Bob Avakian Chairman of the Revolutionary Communist Party, USA If you step back and think about it, no wonder they slander communism so much. If you presided over a system that has such glaring, howling contradictions and disparities in terms of how people lived, a system which denied a decent life to the majority of humanity, and weighed them down with tremendous oppression and superstition and ignorance, while a relative handful in a few countries lived a life of unbelievable luxury—but, more than just luxury, they continued to accumulate capital while they fought with each other over who would beat out the other through this exploitation and accumulation of capital— if you stood back and looked at that... Imagine if you said to somebody: go to a drawing board and draw up the way you think the world should be. And imagine if somebody went to the drawing board and painted a picture of the way the world is now, and they said: this is the way the world should be. -
The Speech Act of Greeting Performed by Russian Efl Learners
THE SPEECH ACT OF GREETING PERFORMED BY RUSSIAN EFL LEARNERS By GALINA SHLEYKINA Bachelor of Arts in Russian and English Petrozavodsk State University Petrozavodsk, Russia 1998 Master of Arts in Russian and English Petrozavodsk State University Petrozavodsk, Russia 1998 Doctor of Philosophy in Russian Petrozavodsk State University Petrozavodsk, Russia 2007 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY May, 2016 THE SPEECH ACT OF GREETING PERFORMED BY RUSSIAN EFL LEARNERS Dissertation Approved: Dissertation Adviser Dr. Gene Halleck Committee Member Dr. Dennis Preston Committee Member Dr. Rebecca Damron Outside Committee Member Dr. Lesley Rimmel ii Name: GALINA SHLEYKINA Date of Degree: MAY, 2016 Title of Study: THE SPEECH ACT OF GREETING PERFORMED BY RUSSIAN EFL LEARNERS Major Field: ENGLISH Abstract: The present study centers on interlanguage and cross-cultural pragmatics. It investigates semantic formulas in the speech act of greeting performed by Russian EFL learners. In particular, it compares the non-native speakers’ (NNS) and native speakers’ (NS) production of semantic formulas in terms of their number, frequency, and content. Secondly, the study examines the NSs’ perception of NNS greetings for their pragmatic appropriateness and identifies areas that influence the ratings. A Free Discourse Completion Test (FDCT) containing 16 situational prompts was used to elicit greetings by the English NNSs and NSs. Retrospective interviews were additionally administered to triangulate the data. The NNSs’ greetings were rated by the NS raters on a four-point scale for their pragmatic appropriateness. The results show that the NNSs significantly deviate from the NSs in terms of number, frequency, and content of greetings strategies, namely, greetings proper, phatic questions and phrases, address terms, and situational greetings. -
The Top 7000+ Pop Songs of All-Time 1900-2017
The Top 7000+ Pop Songs of All-Time 1900-2017 Researched, compiled, and calculated by Lance Mangham Contents • Sources • The Top 100 of All-Time • The Top 100 of Each Year (2017-1956) • The Top 50 of 1955 • The Top 40 of 1954 • The Top 20 of Each Year (1953-1930) • The Top 10 of Each Year (1929-1900) SOURCES FOR YEARLY RANKINGS iHeart Radio Top 50 2018 AT 40 (Vince revision) 1989-1970 Billboard AC 2018 Record World/Music Vendor Billboard Adult Pop Songs 2018 (Barry Kowal) 1981-1955 AT 40 (Barry Kowal) 2018-2009 WABC 1981-1961 Hits 1 2018-2017 Randy Price (Billboard/Cashbox) 1979-1970 Billboard Pop Songs 2018-2008 Ranking the 70s 1979-1970 Billboard Radio Songs 2018-2006 Record World 1979-1970 Mediabase Hot AC 2018-2006 Billboard Top 40 (Barry Kowal) 1969-1955 Mediabase AC 2018-2006 Ranking the 60s 1969-1960 Pop Radio Top 20 HAC 2018-2005 Great American Songbook 1969-1968, Mediabase Top 40 2018-2000 1961-1940 American Top 40 2018-1998 The Elvis Era 1963-1956 Rock On The Net 2018-1980 Gilbert & Theroux 1963-1956 Pop Radio Top 20 2018-1941 Hit Parade 1955-1954 Mediabase Powerplay 2017-2016 Billboard Disc Jockey 1953-1950, Apple Top Selling Songs 2017-2016 1948-1947 Mediabase Big Picture 2017-2015 Billboard Jukebox 1953-1949 Radio & Records (Barry Kowal) 2008-1974 Billboard Sales 1953-1946 TSort 2008-1900 Cashbox (Barry Kowal) 1953-1945 Radio & Records CHR/T40/Pop 2007-2001, Hit Parade (Barry Kowal) 1953-1935 1995-1974 Billboard Disc Jockey (BK) 1949, Radio & Records Hot AC 2005-1996 1946-1945 Radio & Records AC 2005-1996 Billboard Jukebox -
Celluloid Anthropology
CELLULOID ANTHROPOLOGY Film, after all, is more than mere Uncle Ike and my father, Jacob celluloid. It is socially constructed within a three-cornered association between filmmakers, film spectators, and the film texts themselves, and at every point in that nexus of relationships we encounter negotiation and interaction involving active social beings and institutionalized social practices.--Andrew Tudor, “Sociology and Film” As a bit of tea-soaked madeleine summoned Marcel’s memories of holidays in Combray, the aroma of sandalwood soap, simply cooked lentils, and hot sweet milk with a cream skin call up the general sensation of one period I spent in India. Sparing my kind father from her hormonal vicissitudes, my pregnant and homesick mother left Chicago for the duration of her pregnancy and took me along to her maternal house. There she was properly pampered and I was entertained by a merry cast of characters from a world to which I belonged, all of us in giddy anticipation of my sister’s birth. Like those “sonorous, fragrant, limpid hours” Proust’s protagonist spent in the country, the time I spent as an only child suddenly plunged into a warm extended family continues to affect and color my life. I cling to the sense of security, contentment, and connection I sensed in what was, for six months, my world instead of the one I so lightly inhabit. So shocked I was by our return to America that when I saw my own sweet father I blinked at him frankly and said, “I’m shy of you.” The people of that faraway land were very different from the quiet wintry Chicago to which we returned, and if I was borne of that world then I was forever very different too. -
G-Eazy Firar Albumreleasen Av ”When It's Dark Out”
2015-11-16 15:35 CET G-Eazy firar albumreleasen av ”When It’s Dark Out” med Sverigebesök I samband med albumreleasen av ”When It’s Dark Out” som släpps den 4 december kommer den amerikanske rapparen G-Eazy till Sverige den 26 november för att göra en exklusiv spelning i Stockholm. G-Eazy är just nu aktuell med singeln ”Me, Myself & I” feat. Bebe Rexha som är producerad av Michael Keenan. G-Eazy vars riktiga namn är Gerald Earl Gillum har tillsammans med parhästen Christoph Anderson samt Boi-1da, Southside, DJ Spinz, Kane Beatz och Remo producerat det nya albumet. ”When It’s Dark Out” är uppföljaren till albumet “These Things Happen” som gick rakt in på förstaplatsen på Billboard R&B/Hip-Hop-listan och albumlistan Top Rap. ”These Things Happen” säkrade även en tredjeplats på den prestigefulla topplistan Billboard 200. Det hyllade debutalbumet gästades av artister som E-40, A$AP Ferg, Jay Ant, Blackbear och innehöll framgångsrika låtar som “Far Alone”, “Let’s Get Lost”, “I Mean It”, ”Tumblr Girls” och “Lotta That”. ”These Things Happen” fick två miljoner streams på Spotify i USA under releaseveckan och blev därmed ett av de starkaste debutalbumen i USA under 2014. G-Eazys musik och liveframträdanden har hyllats av bland annat Billboard, MTV, Interview Magazine, Pitchfork, VIBE, The Source, Rolling Stone Magazine och The New York Times. Efter 40 000 sålda biljetter under en utsåld världsturné och framträdanden på festivaler så som Roskilde, Wireless och Lollapalooza är vi extra stolta och glada att G-Eazy kommer till Stockholm för en exklusiv spelning samt för att möta svensk media för första gången. -
Chapter 1: Parts of Speech Overview, Pp. 1–25
L09NAGUMA10_001-012.qxd 12/11/07 2:28 PM Page 1 Chapter 1: Parts of Speech 14. Leslie always lapses into baby talk when Overview, pp. 1–25 she sees a litter of kittens. Common, Proper, Concrete, and Abstract Nouns, 15. The band included one song that sounded as p. 1 if it had been recorded in an echo chamber. EXERCISE Com, A [or Con] 16. The class presented Ms. Stockdale with a 1. A constitution may have a bill of rights. bouquet of baby’s breath. 2. The Constitution of the United States guar- Com, A 17. The TV weatherperson explained to the antees freedomof speech. P, Con audience how a barometer works. 3. The Works Progress Administration existed 18. In order to get a good batch of cookies, you during the Great Depression. need to use the best oatmeal available. 4. That candidate is a staunch supporter of a Com, A [or Con] 19. A school of killer whales followed in the republican form of government. P, Con wake of the ship. 5. The Articles of Confederation were y of the instructor. 20. The bird-watchers were awe-struck as the approved in 1781. flock of geese lifted into the sky. 6. This document established “a firm league Com, A of friendship” among the states. Pronouns and Antecedents, p. 3 Com, Con Possessive pronouns in items 1 and 3, Ex. A, and 7. The editorial in today’s newspaper items 14 and 15, Ex. B, also may be identified as defended the proposed amendment. possessive adjectives. P, Con 8. -
Cambridge English For
C A M B R ID G E Professional English Cambridge English for Colm Downes Cambridge English for Colm Downes Series Editor: Jeremy Day C a m b r i d g e UNIVERSITY PRESS CAMBRIDGE UNIVERSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sao Paulo, Delhi Cambridge University Press The Edinburgh Building, Cambridge CB2 8RU, UK www.cambridge.org Information on this title: www.cambridge.org/9780521722155 © Cambridge University Press 2008 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2008 Printed in Italy by L.E.G.O. S.p.A. A catalogue record for this publication is available from the British Library ISBN 978-0-521-72215-5 Student's Book with Audio CD Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party Internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Information regarding prices, travel timetables and other factual information given in this work are correct at the time of first printing but Cambridge University Press does not guarantee the accuracy of such information thereafter. Introduction The aim of Cambridge English for Job-hunting is to develop the English language and communication skills you need to get the job you want. Specifically designed for -
2012 Catalogue
Catalogue Rollercoaster Records was founded in RRC 2006 1976. Since our first release by the SINGLES Crickets in 1977 we have continued to Vinyl still lives at Rollercoaster! The HARDROCK release what we feel are important re- following RRC series 7” 45rpm singles are GUNTER issues together with releases featuring new all in picture sleeves, except where noted. JUKEBOX material, mostly from 50s and 60s artists. HELP ME With only a few releases every year we try RRC 2001 FIND MY to make each one worthwhile and BABY interesting with quality sound and THE informative packaging. If you have any CRICKETS comments, we’d like to hear from you. We have recently discovered a few forgotten CRUISE IN IT Our email address is copies of this great 45s in our warehouse - order [email protected]. now if you'd like one. And isn't that our very Or you can send letters the old-fashioned own design and artwork master, David Gibsone, way to: in the background next to the Rock-Ola on the cover - another reason to buy a copy! Rollercoaster Records Ltd, Rock House, Jukebox help me find my baby/Fiddle bop London Road, St Marys, Stroud, A 1979 single, recorded in Nashville with Gloucestershire, GL6 8PU England Sonny Curtis, JI Allison and Joe B Mauldin Barcode 5 012814 000065 Please note we do not have retail sales Cruise In It/Rock Around With Ollie Vee RRC 2007 premises and all enquiries should be made Barcode 5 012814 000010 to the above address by mail. The Crickets THE RRC 2004 CRICKETS If you telephone please note that our lines Forever in mind (PLAIN COVER) are open from 10am to 4.30pm Monday to BILL HALEY The weekend Friday only. -
A Formal Analysis and Performance Guide
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 TYLER KLINE’S RENDER: A FORMAL ANALYSIS AND PERFORMANCE GUIDE John Douglas Handshoe University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2018.499 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Handshoe, John Douglas, "TYLER KLINE’S RENDER: A FORMAL ANALYSIS AND PERFORMANCE GUIDE" (2018). Theses and Dissertations--Music. 130. https://uknowledge.uky.edu/music_etds/130 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
TRANS-WARE-JOHN-Memories-20110218-FINAL
The David and Barbara Pryor Center for Arkansas Oral and Visual History University of Arkansas 1 East Center Street Fayetteville, AR 72701 (479) 575-6829 Arkansas Memories Project John A. Ware Interviewed by Scott Lunsford February 18, 2011 Fayetteville, Arkansas Copyright 2012 Board of Trustees of the University of Arkansas. All rights reserved. Objective Oral history is a collection of an individual's memories and opinions. As such, it is subject to the innate fallibility of memory and is susceptible to inaccuracy. All researchers using these interviews should be aware of this reality and are encouraged to seek corroborating documentation when using any oral history interview. The Pryor Center's objective is to collect audio and video recordings of interviews along with scanned images of family photographs and documents. These donated materials are carefully preserved, catalogued, and deposited in the Special Collections Department, University of Arkansas Libraries, Fayetteville. The transcripts, audio files, video highlight clips, and photographs are made available on the Pryor Center website at http://pryorcenter.uark.edu. The Pryor Center recommends that researchers utilize the audio recordings and highlight clips, in addition to the transcripts, to enhance their connection with the interviewee. Transcript Methodology The Pryor Center recognizes that we cannot reproduce the spoken word in a written document; however, we strive to produce a transcript that represents the characteristics and unique qualities of the interviewee's speech pattern, style of speech, regional dialect, and personality. For the first twenty minutes of the interview, we attempt to transcribe verbatim all words and utterances that are spoken, such as uhs and ahs, false starts, and repetitions.