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A Long Walk Home: the Role of Class and the Military in the Springsteen Catalogue Michael S
A Long Walk Home: The Role of Class and the Military in the Springsteen Catalogue Michael S. Neiberg United States Army War College and Robert M. Citino National World War II Museum1 Abstract This article analyzes the themes of class and military service in the Springsteen canon. As a member of the baby boom generation who narrowly missed service in Vietnam, Springsteen’s reflection on these heretofore unappreciated themes should not be surprising. Springsteen’s emergence as a musician and American icon coincide with the end of conscription and the introduction of the All-Volunteer Force in 1973. He became an international superstar as Americans were debating the meaning of the post-Vietnam era and the patriotic resurgence of the Reagan era. Because of this context, Springsteen himself became involved in veterans issues and was a voice of protest against the 2003 Iraq War. In a well-known monologue from his Live 1975-85 box set (1986), Bruce Springsteen recalls arguing with his father Douglas about the younger Springsteen’s plans for his future. Whenever Bruce provided inadequate explanations for his life goals, Douglas responded that he could not wait for the Army to “make a man” out of his long-haired, seemingly aimless son. Springsteen 1 Copyright © Michael S. Neiberg and Robert M. Citino, 2016. Michael Neiberg would like to thank Derek Varble, with whom he saw Springsteen in concert in Denver in 2005, for his helpful comments on a draft of this article. Address correspondence to [email protected] or [email protected]. BOSS: The Biannual Online-Journal of Springsteen Studies 2.1 (2016) http://boss.mcgill.ca/ 42 NEIBERG AND CITINO describes his fear as he departed for an Army induction physical in 1968, at the height of domestic discord over the Vietnam War. -
Download a Transcript of the Episode
Scene on Radio Freedom Summer (Season 4, Episode 7) Transcript http://www.sceneonradio.org/s4-e7-freedom-summer/ John Biewen: A content warning: this episode includes descriptions of intense violence, and the use of a racial slur. Chenjerai Kumanyika: So John, when you look at history the way that we’re looking at it in this series, sometimes I start to get tempted to make really sloppy historical comparisons. You know what I mean? ‘Cause that’s easy to do. John Biewen: It is easy to do. What’s that expression: history doesn’t repeat itself, but it does often rhyme. And it’s easy to get carried away trying to hear those rhymes. Chenjerai Kumanyika: In the scholarly world, we learn to have nuance and not to do that, but, you know, sometimes, I myself have been guilty. I worked on this podcast, Uncivil, about the Civil War, and during that time I was like, everything is just like 1861. I would be at dinner parties and people are like Chenj, we get it, to 1 understand anything, like a movie–we have to go back to the 19th century, we understand. John Biewen: Yeah. Or, you know, the United States today is Germany 1933! Right? Well, maybe it is, somedays it seems to be, but yeah, you try not to get too carried away reading the newspaper every morning. Chenjerai Kumanyika: Absolutely. That said, I do think it’s really important to think about the themes and continuities and lessons that we can really learn from history. And today’s episode has me thinking about political parties, and this kinda never-ending struggle that they have between what gets called party “unity,” or maintaining a “big tent,” and then on the other hand really trying to stick to or imagine more ambitious or even radical policy positions that vulnerable groups within the base of the party care about. -
Billboard Magazine
Pop's princess takes country's newbie under her wing as part of this season's live music mash -up, May 31, 2014 1billboard.com a girl -powered punch completewith talk of, yep, who gets to wear the transparent skirt So 99U 8.99C,, UK £5.50 SAMSUNG THE NEXT BIG THING IN MUSIC 200+ Ad Free* Customized MINI I LK Stations Radio For You Powered by: Q SLACKER With more than 200 stations and a catalog of over 13 million songs, listen to your favorite songs with no interruption from ads. GET IT ON 0)*.Google play *For a limited time 2014 Samsung Telecommunications America, LLC. Samsung and Milk Music are both trademarks of Samsung Electronics Co. Ltd. Appearance of device may vary. Device screen imagessimulated. Other company names, product names and marks mentioned herein are the property of their respective owners and may be trademarks or registered trademarks. Contents ON THE COVER Katy Perry and Kacey Musgraves photographed by Lauren Dukoff on April 17 at Sony Pictures in Culver City. For an exclusive interview and behind-the-scenes video, go to Billboard.com or Billboard.com/ipad. THIS WEEK Special Double Issue Volume 126 / No. 18 TO OUR READERS Billboard will publish its next issue on June 7. Please check Billboard.biz for 24-7 business coverage. Kesha photographed by Austin Hargrave on May 18 at the MGM Grand Garden Arena in Las Vegas. FEATURES TOPLINE MUSIC 30 Kacey Musgraves and Katy 5 Can anything stop the rise of 47 Robyn and Royksopp, Perry What’s expected when Spotify? (Yes, actually.) Christina Perri, Deniro Farrar 16 a country ingenue and a Chart Movers Latin’s 50 Reviews Coldplay, pop superstar meet up on pop trouble, Disclosure John Fullbright, Quirke 40 “ getting ready for tour? Fun and profits. -
Police Traffic Services Basic Training Program. Student Study Guide
DOCUMENT RESUME ED 114 513 CE 005 269 AUTHOR Hale, Allen; Hamilton, John W. TITLE Police Traffic Services Basic Training Program. Student Study Guide. Volume 3 of 3. INSTITUTION Dunlap and Associates, Inc., Darien, Conn. SPONS AGENCY National Highway Traffic Safety Administration (DOT), Washington, D. C. REPORT NO VT-102-040 PUB DATE Oct 72 NOTE 242p.; For Volume 1, see CE 005 268; For Volume 2, see ED 083 481 AVAILABLE FROM Superintendent of Documents, U.S. Government Printing Office, Washington, D.C. 20402 (Stock Number 5003-00095 $2.25) EDRS PRICE MF-$0.76 HC-$12.05 Plus Postage DESCRIPTORS Instructional Materials; *Job Training; Law Enforcement; Pedestrian Traffic; *Police; Post Secondary Education; *Study Guides; Traffic Accidents; *Traffic Control; *Traffic Safety; Vehicular Traffic IDENTIFIERS *Police Education ABSTRACT As part of the basic training program in police traffic services intended to establish a national standard, the student study guide was developed to serve as a basic reference text to reinforce and supplement the subject material presented in class. The document consists of the six following major sections: (1) background for policy traffic services, (2) traffic law,(3) traffic direction and control,(4) traffic law enforcement, (5) accident management, and (6) traffic court. (VA) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. -
Notes to Proofer
THE BROOKINGS INSTITUTION PROSPECTS FOR THE U.S. INTELLIGENCE COMMUNITY: THE HAYDEN NOMINATION, ELECTRONIC SURVEILLANCE, AND THE QUESTION OF REFORM Washington, D.C. Monday, May 22, 2006 2 Moderator: CANDY CROWLEY Senior Political Correspondent, CNN Panelists: JANE HARMAN U.S. Representative (D-Cal.) JOHN PODESTA President and CEO, Center for American Progress JOHN E. McLAUGHLIN Former Acting Director, CIA GEORGE J. TERWILLIGER, III Partner, White & Case, LLP RICHARD FALKENRATH Senior Fellow, Foreign Policy Studies Brookings Institution * * * * * Anderson Court Reporting 706 Duke Street, Suite 100 Alexandria, VA 22314 Phone (703) 519-7180 Fax (703) 519-7190 3 P R O C E E D I N G S MS. CROWLEY: Thank you all for coming. You're obviously at the Brookings Institution. The title of the panel today is Prospects for the Intelligence Community. It was left deliberately broad, because a judge—probably they couldn't figure out what exactly about the intelligence community would be on the front page of the paper today, so they wanted to make sure it covered everything. So, we have an enormous amount of talent and knowledge on the panel today, and I'm going to introduce them one by one. They're going to do brief opening statements. We want your questions less than we want your rounds. We know you have them, but try to zero in on a question. You can offer it to any of them individually or all of them together, and they'll just let it be a (off mike) Let me introduce, first, someone that's a very familiar face to you, Congresswoman Jane Harman of the 36th District of California, Democrat, who is the Ranking Democrat on the House Permanent Select Committee on Intelligence, also a member of the Homeland Security Committee. -
The Backstreets Liner Notes
the backstreets liner notes BY ERIK FLANNIGAN AND CHRISTOPHER PHILLIPS eyond his insightful introductory note, Bruce Springsteen elected not to annotate the 66 songs 5. Bishop Danced RECORDING LOCATION: Max’s Kansas City, New included on Tracks. However, with the release York, NY of the box set, he did give an unprecedented RECORDING DATE: Listed as February 19, 1973, but Bnumber of interviews to publications like Billboard and MOJO there is some confusion about this date. Most assign the which revealed fascinating background details about these performance to August 30, 1972, the date given by the King songs, how he chose them, and why they were left off of Biscuit Flower Hour broadcast (see below), while a bootleg the albums in the first place. Over the last 19 years that this release of the complete Max’s set, including “Bishop Danced,” magazine has been published, the editors of Backstreets dated the show as March 7, 1973. Based on the known tour have attempted to catalog Springsteen’s recording and per- chronology and on comments Bruce made during the show, formance history from a fan’s perspective, albeit at times an the date of this performance is most likely January 31, 1973. obsessive one. This booklet takes a comprehensive look at HISTORY: One of two live cuts on Tracks, “Bishop Danced” all 66 songs on Tracks by presenting some of Springsteen’s was also aired on the inaugural King Biscuit Flower Hour and own comments about the material in context with each track’s reprised in the pre-show special to the 1988 Tunnel of Love researched history (correcting a few Tracks typos along the radio broadcast from Stockholm. -
59Th Press List
NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. FINAL NOMINATIONS LIST THE NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. Final Nominations List 59th Annual GRAMMY® Awards For recordings released during the Eligibility Year October 1, 2015 through September 30, 2016 Note: More or less than 5 nominations in a category is the result of ties. General Field Category 1 Record Of The Year Award to the Artist and to the Producer(s), Recording Engineer(s) and/or Mixer(s) and mastering engineer(s), if other than the artist. 1. HELLO Adele Greg Kurstin, producer; Julian Burg, Tom Elmhirst, Greg Kurstin, Liam Nolan & Alex Pasco, engineers/mixers; Tom Coyne & Randy Merrill, mastering engineers Track from: 25 [XL Recordings/Columbia Records] 2. FORMATION Beyoncé Beyoncé Knowles, Mike Will Made-It & Pluss, producers; Jaycen Joshua & Stuart White, engineers/mixers; Dave Kutch, mastering engineer Track from: Lemonade [Parkwood Entertainment/Columbia Records] 3. 7 YEARS Lukas Graham Future Animals & Pilo, producers; Delbert Bowers, Sebastian Fogh, Stefan Forrest & David LaBrel, engineers/mixers; Tom Coyne, mastering engineer Track from: Lukas Graham [Warner Bros. Records] 4. WORK Rihanna Featuring Drake Boi-1da, producer; Noel "Gadget" Campbell, Kuk Harrell, Manny Marroquin, Noah "40" Shebib & Marcos Tovar, engineers/mixers; Chris Gehringer, mastering engineer [Westbury Road Entertainment] 5. STRESSED OUT Twenty One Pilots Mike Elizondo & Tyler Joseph, producers; Neal Avron & Adam Hawkins, engineers/mixers; Chris Gehringer, mastering engineer Track from: Blurryface [Fueled By Ramen] © The Recording Academy 2016 - all rights reserved 1 Not for copy or distribution 59th Finals - Press List General Field Category 2 4. VIEWS Album Of The Year Drake Award to the Artist(s) and to the Album Producer(s), Recording dvsn, Future, Kyla, PartyNextDoor, Rihanna & Wizkid, Engineer(s) and/or Mixer(s) & Mastering Engineer(s), if other than featured artists; Brian Alexander-Morgan, Axlfoliethc, Beat the artist. -
Bruce Springsteen Observes Law and Politics Bill Haltom University of Puget Sound, [email protected]
University of Puget Sound Sound Ideas All Faculty Scholarship Faculty Scholarship 1996 From Badlands to Better Days: Bruce Springsteen Observes Law and Politics Bill Haltom University of Puget Sound, [email protected] Michael W. McCann Follow this and additional works at: http://soundideas.pugetsound.edu/faculty_pubs Citation Haltom, Bill and McCann, Michael W., "From Badlands to Better Days: Bruce Springsteen Observes Law and Politics" (1996). This Article is brought to you for free and open access by the Faculty Scholarship at Sound Ideas. It has been accepted for inclusion in All Faculty Scholarship by an authorized administrator of Sound Ideas. For more information, please contact [email protected]. From Badlands to Better Days: Bruce Springsteen Observes Law and Politics William Haltom and Michael W. McCann Western Political Science Association San Francisco 1996 Bruce Springsteen defines himself as a story-teller.1 We agree that Springsteen is as tal- ented a story-teller as rock and roll has produced.2 He has written romances of adolescence and adolescents; lyrical tales of escapes, escapees, and escapists; and elegies on parents and parenthood. The best of Springsteen’s song-stories deftly define characters by their purposes and artfully articulate the artist’s attitude toward his “material.” Not so Springsteen’s songs that con- cern law or politics. In these songs the artist’s attitude toward his creations is often lost in a flood of seemingly studied ambiguity and the charactors’ purposes are usually murky. Spring- steen, in legal and political songs as well as in his other stories, almost always evokes emotion. Until recently, too many of his songs of law or politics have been rock-and-roll Rorschach blots: scenes, acts, and actors without clear purposes and attitudes. -
Final Nominations List General Field
THE NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. Final Nominations List 59th Annual GRAMMY® Awards For recordings released during the Eligibility Year October 1, 2015 through September 30, 2016 Note: More or less than 5 nominations in a category is the result of ties. General Field Category 1 Record Of The Year Award to the Artist and to the Producer(s), Recording Engineer(s) and/or Mixer(s) and mastering engineer(s), if other than the artist. 1. HELLO Adele Greg Kurstin, producer; Julian Burg, Tom Elmhirst, Emile Haynie, Greg Kurstin, Liam Nolan, Alex Pasco & Joe Visciano, engineers/mixers; Tom Coyne & Randy Merrill, mastering engineers Track from: 25 [XL Recordings/Columbia Records] 2. FORMATION Beyoncé Beyoncé Knowles, Mike Will Made-It & Pluss, producers; Jaycen Joshua & Stuart White, engineers/mixers; Dave Kutch, mastering engineer Track from: Lemonade [Parkwood Entertainment/Columbia Records] 3. 7 YEARS Lukas Graham Future Animals & Pilo, producers; Delbert Bowers, Sebastian Fogh, Stefan Forrest & David LaBrel, engineers/mixers; Tom Coyne, mastering engineer Track from: Lukas Graham [Warner Bros. Records] 4. WORK Rihanna Featuring Drake Boi-1da, producer; Noel "Gadget" Campbell, Kuk Harrell, Manny Marroquin, Noah "40" Shebib & Marcos Tovar, engineers/mixers; Chris Gehringer, mastering engineer [Westbury Road Entertainment] 5. STRESSED OUT Twenty One Pilots Mike Elizondo & Tyler Joseph, producers; Neal Avron & Adam Hawkins, engineers/mixers; Chris Gehringer, mastering engineer Track from: Blurryface [Fueled By Ramen] © The Recording Academy 2016 - all rights reserved 1 Not for copy or distribution 59th Finals - Press List General Field Category 2 4. VIEWS Album Of The Year Drake Award to the Artist(s) and to the Album Producer(s), Recording dvsn, Future, Kyla, PARTYNEXTDOOR, Rihanna & Engineer(s) and/or Mixer(s) & Mastering Engineer(s), if other than Wizkid, featured artists; Brian Alexander-Morgan, the artist. -
Approaching Popular Music in the Field of English
Western Washington University Western CEDAR WWU Graduate School Collection WWU Graduate and Undergraduate Scholarship 2008 Approaching popular music in the field of English Christopher Reid Kerr Western Washington University Follow this and additional works at: https://cedar.wwu.edu/wwuet Part of the English Language and Literature Commons Recommended Citation Kerr, Christopher Reid, "Approaching popular music in the field of English" (2008). WWU Graduate School Collection. 5. https://cedar.wwu.edu/wwuet/5 This Masters Thesis is brought to you for free and open access by the WWU Graduate and Undergraduate Scholarship at Western CEDAR. It has been accepted for inclusion in WWU Graduate School Collection by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. APPROACHING POPULAR MUSIC IN THE FIELD OF ENGLISH: CRITICAL BOUNDARIES, REMEDIATION, AND PERFORMANCE THEORY A Thesis Presented to The Faculty of Western Washington University In Partial Fulfillment Of the Requirements for the Degree Master of Arts by Christopher Reid Kerr May 2008 iv Abstract In light of current disciplinary shifts toward digital media and multi-modal textual analysis, this thesis explores how the field of English can take up popular music for scholarly study. Through a blend of text and context, the first chapter maps a methodology to discuss central zones of analysis which include audience, author, composition, media, and cultural context – fluid zones of analysis which hold textual relationships. The second chapter isolates two forms of media, the audio recording and live performance, to discuss specific features of authorship, authenticity, audience rituals, and remediation. As an application of the theory, chapter three explores the artistic craft of popular musician Bruce Springsteen to survey his literary voice which enacts strong bonds between artist, text, and audience. -
The Protest Song: Bridge Leadership, Sonic Innovation, and the Long Civil Rights Movement
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2018 The Protest Song: Bridge Leadership, Sonic Innovation, And The Long Civil Rights Movement Julia Cox University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the African American Studies Commons, American Studies Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Cox, Julia, "The Protest Song: Bridge Leadership, Sonic Innovation, And The Long Civil Rights Movement" (2018). Publicly Accessible Penn Dissertations. 2951. https://repository.upenn.edu/edissertations/2951 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2951 For more information, please contact [email protected]. The Protest Song: Bridge Leadership, Sonic Innovation, And The Long Civil Rights Movement Abstract This dissertation tells a new story of the American Civil Rights Movement through the woman’s singing voice. The dissertation explores what is possible when political music is disentangled from patriarchal narratives of leadership and artistic genius. “The Protest Song” contends that women across the color line were pioneering new types of lyrical expressions, musical aesthetics, and performance practices that sought to articulate feminist identities inside the long black freedom movement, harnessing the power of music to push for a broader and simultaneous liberation from racial and gendered oppression. While the project prioritizes -
Arne Ristesund (BA) “Erik Steigen and USA Media Rights Were Introdu
Erik Steigen, President & CEO, USA Media Rights Photo: Arne Ristesund (BA) “Erik Steigen and USA Media Rights were introduced to me in early 2012, and has since then been an integral part of my business team. Erik handles my royalties and publishing administration. He has successfully hunted down a nice chunk of royalties for me, he has sorted out copyright and PRO issues, and he helps in many other ways that go over and beyond the job description. He has clearly taken an interest in helping me in my career and made me feel like I am a priority to him and his company, which after decades in the music business has been really refreshing.” — Dave Mason, songwriter of “Feelin’ Alright” and Rock & Roll Hall of Fame inductee "At a time when many in the industry were slow to understand the value of SoundExchange and the revenue stream we were collecting, Erik was a leader in ensuring that all of his clients were properly registered and collecting the royalties they were entitled to. Erik was an active supporter of our mission to bring greater value to artists and has been a great friend and ally. A true professional, and one of a handful that understands the complicated world of international royalty collection." — John Simson, first Executive Director of SoundExchange (2001-2010) "Through the years, I have enjoyed a business relationship with Erik. He is highly respected and his expertise and professionalism in music publishing and royalties financial management is essential to songwriters, music publishers and the industry at large." — Barbara Cane, Vice President/General Manager, BMI "Erik is providing an excellent service I didn't know I needed.