The Massacre at Paris
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John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums. -
Grade 7 Mini-Assessment Boston Massacre Set
Grade 7 Mini-Assessment Boston Massacre Set This grade 7 mini-assessment is based two passages: “The Boston Massacre” and “Excerpt from The Boston Massacre.” These texts are considered to be worthy of students’ time to read and also meet the expectations for text complexity at grade 7. Assessments aligned to the Common Core State Standards (CCSS) will employ quality, complex texts such as these. Questions aligned to the CCSS should be worthy of students’ time to answer and therefore do not focus on minor points of the text. Questions also may address several standards within the same question because complex texts tend to yield rich assessment questions that call for deep analysis. In this mini-assessment there are nine selected-response questions and two paper/pencil equivalents of a technology enhanced item that address the Reading Standards listed below, and one optional constructed-response question that addresses the Reading, Writing, and Language Standards listed below. We encourage educators to give students the time that they need to read closely and write to the source. While we know that it is helpful to have students complete the mini-assessment in one class period, we encourage educators to allow additional time as necessary. Note for teachers of English Language Learners (ELLs): This assessment is designed to measure students’ ability to read and write in English. Therefore, educators will not see the level of scaffolding typically used in instructional materials to support ELLs—these would interfere with the ability to understand their mastery of these skills. If ELL students are receiving instruction in grade-level ELA content, they should be given access to unaltered practice assessment items to gauge their progress. -
50 Cent to Join Eminem Shade 45 Channel Shade 45 Channel
50 Cent To Join Eminem Shade 45 Channel Shade 45 Channel "G Unit Radio" to Air All Day Saturdays With a Lineup of DJs and Shows NEW YORK – February 24, 2005 – SIRIUS Satellite Radio (NASDAQ: SIRI) announced today that multi-platinum artist 50 Cent will create and host exclusive programming on Shade 45, the new uncensored hip-hop radio channel co-produced by SIRIUS and Eminem. 50 Cent will oversee G Unit Radio, which will take over Shade 45 all day on Saturdays with an innovative mix of shows and DJs produced by his own DJ, Whoo Kid. “I’m bringing my A-game to SIRIUS,”said 50 Cent. “G Unit Radio is gonna blow up on Shade 45.” “Eminem and 50 Cent are two of the biggest names in hip-hop today" said SIRIUS President of Sports and Entertainment Scott Greenstein. “On Shade 45, 50 Cent will bring G Unit’s world to SIRIUS listeners.” SIRIUS launched Shade 45, the uncensored, commercial-free hip-hop music channel created by Eminem, Shady Records, Interscope Records and SIRIUS in October 2004. The channel also features other high profile figures in the world of hip-hop, including Eminem’s own DJ Green Lantern and Radio/Mixshow DJ of the Year Clinton Sparks. The channel also regularly features celebrity guests. 50 Cent, one of the most notorious figures in rap music, is also one of its most successful. His 2003 debut album, Get Rich or Die Tryin’, has sold more than 11 million copies. He has launched a successful G Unit clothing and footwear line, and can also be seen in an upcoming Jim Sheridan film, which is reported to be a semi-autobiographical film based on his ascension from drug dealer to superstar. -
The Historical Context of the Age of Gold: France 1560–1660
Vincentian Heritage Journal Volume 11 Issue 1 Article 1 Spring 1990 The Historical Context of the Age of Gold: France 1560–1660 James Hitchcock Follow this and additional works at: https://via.library.depaul.edu/vhj Recommended Citation Hitchcock, James (1990) "The Historical Context of the Age of Gold: France 1560–1660," Vincentian Heritage Journal: Vol. 11 : Iss. 1 , Article 1. Available at: https://via.library.depaul.edu/vhj/vol11/iss1/1 This Articles is brought to you for free and open access by the Vincentian Journals and Publications at Via Sapientiae. It has been accepted for inclusion in Vincentian Heritage Journal by an authorized editor of Via Sapientiae. For more information, please contact [email protected]. Professor James Hitchcock The Historical Context of the Age of Gold: France 1560-1660 B JAMES HITCHCOCK French history as defined for these purposes has a quite precise beginning - 30 June, 1559, when King Henry II, in the midst of the celebrations of his daughter's marriage to Philip II of Spain, entered the lists to try his knightly skills. His opponent's lance broke. A splinter 4 slipped through the visor of the king's helmet and penetrated his eye. He lingered for almost two weeks, then left his kingdom in the hands of his widow, Catherine de Medici, with the throne nominally occupied by his fifteen-year-old son Francis II. Although the strong foundation of French monarchy had already been laid, in fact the century 1560-1660 was largely one of turmoil and apparent disintegration, except for a few decades at the precise time of the greatest flourishing of the seventeenth-century Catholic revival. -
Richard Guise: Englishman Or French Duke
Richard Guise: Englishman or French duke ROSLYN CARTWRIGHT 1 n 1793 the name Guise appears in New South Wales colonial records. It continued to be noteworthy for more than 60 years until the traumatic events of Ithe early 1850s crushed the family’s dynastic aspirations and plunged them into erroneous folklore and, ultimately, obscurity. However, with the development of the south-western Sydney area, the name has been resurrected with the naming of Guise Public School at Macquarie Fields and Guise Avenue at Casula, both on old Guise land grant sites. These now join the lesser known Guy Forest, Guises Creek, ‘Guises Flat’, Guys Hill, Guise Hill, Guises Lake, Guises Ridge, Guises Waterholes and 2 Guise Road as reminders of an unusual and mysterious family. The mystery begins in 1789, in England, when Richard Guise joined the newly formed New South Wales Corps and was eventually promoted to the rank of 3 sergeant. (Sergeant Richard had two descendants also named ‘Richard’. To distinguish between the three of them they are hereafter designated as Richard; his son, Richard senior; and his nephew, Richard junior.) The combination of the significant year of 1789 and the French origins of the surname ‘Guise’ helped create a fallacy that is perpetuated in inadequately researched histories, articles and guides until the present. On 14 July 1789 the Paris mob raided the Bastille prison and many French nobles became émigrés fleeing the revolutionaries. On 14 October of that year 4 Richard was enlisted in the British Army. This timetable of events proved too convenient an explanation of his obscure background: Because of the destruction of records at the time of the French Revolution, it is a hopeless task to trace the parents of Sergeant Richard Guise, born in 1757. -
Defining Music As an Emotional Catalyst Through a Sociological Study of Emotions, Gender and Culture
Western Michigan University ScholarWorks at WMU Dissertations Graduate College 12-2011 All I Am: Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture Adrienne M. Trier-Bieniek Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the Musicology Commons, Music Therapy Commons, and the Sociology Commons Recommended Citation Trier-Bieniek, Adrienne M., "All I Am: Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture" (2011). Dissertations. 328. https://scholarworks.wmich.edu/dissertations/328 This Dissertation-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. "ALL I AM": DEFINING MUSIC AS AN EMOTIONAL CATALYST THROUGH A SOCIOLOGICAL STUDY OF EMOTIONS, GENDER AND CULTURE. by Adrienne M. Trier-Bieniek A Dissertation Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Department of Sociology Advisor: Angela M. Moe, Ph.D. Western Michigan University Kalamazoo, Michigan April 2011 "ALL I AM": DEFINING MUSIC AS AN EMOTIONAL CATALYST THROUGH A SOCIOLOGICAL STUDY OF EMOTIONS, GENDER AND CULTURE Adrienne M. Trier-Bieniek, Ph.D. Western Michigan University, 2011 This dissertation, '"All I Am': Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture", is based in the sociology of emotions, gender and culture and guided by symbolic interactionist and feminist standpoint theory. -
Thefairophelia Joseph Summer’S the Shakespeare Concerts Series
Joseph summer’s The Shakespeare Concerts Series 2 TheFairOphelia Joseph summer’s The Shakespeare Concerts Series The Fair Ophelia is the second offering in Navona’s THE SHAKESPEARE CONCERTS SERIES, consisting of diverse settings of Ophelia’s mad scene and Gertrude’s reflection on Ophelia’s death from Shakespeare’s The Tragedy of Hamlet, Prince of Denmark by Berlioz, Brahms, Schumann, Saint-Saëns, Strauss, Cage, and Summer. The parallax views of Ophelia experienced by the composers present the listener with an unusual opportunity to hear Ophelia in a three dimensional perspective. Is this tragic Shakespearean maiden mad because she’s angry with those characters who inhabit her world, or should we be angry with those characters who inhibit her predilections, and thus have made mad the hapless heroine? The next offering in Navona’s THE SHAKESPEARE CONCERTS SERIES is GODDESSES, featuring The Tempest’s three goddesses: Juno, Ceres, and Iris in a setting of Honour, Riches, Marriage-Blessing by Joseph Summer. Other highlights are Andrea Chenoweth singing Ariel songs by Thomas Linley accompanied by Massachusetts’ renowned period ensemble, Arcadia Players, under the direction of Ian Watson; mezzo-soprano Kellie Van Horn performing Shall I compare Thee To A Summer’s Day with Jessica Lizak on flute; and In The Old Age Black Was Not Counted Fair with tenor Luke Grooms, baritone Paul Soper, and Clark Matthews on French horn. 2 Program Notes BY JOSEPH SUMMER 3 Introduction There being a myriad of interpretations of the character of Ophelia from Shakespeare’sThe Tragedy of Hamlet, Prince of Den- mark, when it was time for me to create program notes for the 2012 concert, it seemed to me that like the program itself, within which seven composers’ interpretations were realized, the program books should reflect this diversity; ergo, instead of creating a singular template from which every copy would be manufactured, I drew up many different versions. -
I the ROLE of MUSIC THEORY in MUSIC PRODUCTION AND
THE ROLE OF MUSIC THEORY IN MUSIC PRODUCTION AND ENGINEERING by GEORGE A. WIEDERKEHR A THESIS Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts September 2015 i THESIS APPROVAL PAGE Student: George A. Wiederkehr Title: The Role of Music Theory in Music Production and Engineering This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the School of Music and Dance by: Jack Boss Chair Stephen Rodgers Member Lance Miller Member and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded September 2015 ii © 2015 George A. Wiederkehr This work is licensed under a Creative Commons Attribution (United States) License. iii THESIS ABSTRACT George A. Wiederkehr Master of Arts School of Music and Dance September 2015 Title: The Role of Music Theory in Music Production and Engineering Due to technological advancements, the role of the musician has changed dramatically in the 20 th and 21 st centuries. For the composer or songwriter especially, it is becoming increasingly expected for them to have some familiarity with music production and engineering, so that they are able to provide a finished product to employers, clients, or listeners. One goal of a successful production or engineered recording is to most effectively portray the recorded material. Music theory, and specifically analysis, has the ability to reveal important or expressive characteristics in a musical work. -
A Little Tour in France
A LITTLE TOUR IN FRANCE with ninety-four illustrations by JOSEPH PENNELL LONDON WILLIAM HEINEMANN 1900 Preface Preface The notes presented in this volume were gathered, as will easily be perceived, a number of years ago and on an expectation not at that time answered by the event, and were then published in the United States. The expectation had been that they should accompany a series of drawings, and they themselves were altogether governed by the pictorial spirit. They made, and they make in appearing now, after a considerable interval and for the first time, in England, no pretension to any other; they are impressions, immediate, easy, and consciously limited; if the written word may ever play the part of brush or pencil, they are sketches on "drawing-paper" and nothing more. From the moment the principle of selection and expression, with a tourist, is not the delight of the eyes and the play of fancy, it should be an energy in every way much larger; there is no happy mean, in other words, I hold, between the sense and the quest of the picture, and the surrender to it, and the sense and the quest of the constitution, the inner springs of the subject—springs and connections social, economic, historic. One must really choose, in other words, between the benefits of the perception of surface—a perception, when fine, perhaps none of the most frequent—and those of the perception of very complex underlying matters. If these latter had had, for me, to be taken into account, my pages would not have been collected. -
Better Mus' Come
BETTER MUS’ COME PUBLICITY CONTACTS Tilane Jones [email protected] 818.995.0050 Rating: NR TRT: 104 minutes CREDITS Written & Directed by Storm Producer Paul Bucknor Executive Produced by Joshua Bratter Samantha Bratter Paul Bucknor Director of Photography Storm Editors Storm Paul Bucknor Cast Sheldon Shepherd - Ricky Nicole Grey - Kemala Ricardo Orgill - Flames Everaldo Creary - Short Man Roger Guenveur Smith - Prime Minister SYNOPSIS Better Mus’ Come is a coming of age drama set in Jamaica’s turbulent 1970s, against the backdrop of the Cold War, a national water crisis, an energy crisis, corruption, and numerous murder scandals that gave birth to the polarized violence gripping the streets of Kingston both then and now. After months of incarceration as a suspected political agitator, Ricky is released. Haunted by the tragic death of his devoted young wife and paralyzed by conflicting feelings of guilt and loyalty to his political tribe, he tries to navigate his way through the minefields created by the constant social upheaval that seems to be ubiquitous in his community, while providing a better life for his 5- year old son. At his home coming party Ricky meets Kemala, a book smart country girl, who lives in the opposing neighborhood, enemy territory. In many ways they are opposites, but what starts as antagonism quickly turns into burning passion. Kemala encourages Ricky to convince his old friends in the community to adopt a more passive approach. To defy the status quo of confrontation, this leads to the inevitable cycle of violence. The big question is, can Ricky and his crew beat the odds and ensure that Better Mus’ Come? Director’s Statement I’ve always been a bit of a cold war junkie, and there was a point in my life where I would watch, read, and research everything I could on geopolitics and espionage in the 20th century. -
The Performative Politicization of Public Space: Mexico 1968-2008-2012 Robin Adèle Greeley
thresholds 41 Spring 2013, 18-31 THE PERFORMATIVE POLITICIZATION OF PUBLIC SPACE: MEXICO 1968-2008-2012 ROBIN ADÈLE GREELEY Peña Nieto: the TV is yours; Mexico is ours! #YoSoy132 banner, June 2012 In May 2012, just weeks before the recent presidential elections in Mexico, a group of students at the Universidad Iberoamericana challenged the presidential candidate for the Institutional Revolutionary Party (PRI), Enrique Peña Nieto, during his cam- paign stop at the university.1 Peremptorily dismissed as being mob infiltrators hired by Peña Nieto’s political opponents, 131 Ibero students posted a video on YouTube displaying their university IDs and reiterating their outrage at the PRI’s persistent autocratic spurning of everyday citizens.2 The video sparked a spontaneous new grassroots political movement, “#YoSoy132” (“I am 132,” following up on the origi- nal 131 students) that rejected the PRI’s authoritarian neoliberalist platform and, in particular, its long history of collusion with powerful news media corporations.3 In the following weeks, hundreds of thousands of #YoSoy132 protestors repeatedly took to the streets across the country, to demand the democratization of the news media and the liberalization of the political system in Mexico. #YoSoy132 has regularly been compared to Mexico’s 1968 student movement which, as many have argued, “undermined forever the foundations of authoritarian- ism in Mexico.”4 Like their 1968 counterparts, #YoSoy132 has mounted a powerful anti-systemic call for a renewed politics “from below” to counteract the longstand- ing autocratic cronyism and corruption of the nation’s political leadership. Yet the comparison of #YoSoy132 with 1968 raises profound questions concerning the development of the public sphere in Mexico and its ability to foment a functional de- mocracy. -
Jamming As a Curriculum of Resistance: Popular Music, Shared Intuitive Headspaces, and Rocking in the "Free" World
Georgia Southern University Digital Commons@Georgia Southern Electronic Theses and Dissertations Graduate Studies, Jack N. Averitt College of Spring 2015 Jamming as a Curriculum of Resistance: Popular Music, Shared Intuitive Headspaces, and Rocking in the "Free" World Mike Czech Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/etd Part of the Art Education Commons, and the Curriculum and Instruction Commons Recommended Citation Czech, Mike, "Jamming as a Curriculum of Resistance: Popular Music, Shared Intuitive Headspaces, and Rocking in the "Free" World" (2015). Electronic Theses and Dissertations. 1270. https://digitalcommons.georgiasouthern.edu/etd/1270 This dissertation (open access) is brought to you for free and open access by the Graduate Studies, Jack N. Averitt College of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. JAMMING AS A CURRICULUM OF RESISTANCE: POPULAR MUSIC, SHARED INTUITIVE HEADSPACES, AND ROCKING IN THE “FREE” WORLD by MICHAEL R. CZECH (Under the Direction of John Weaver) ABSTRACT This project opens space for looking at the world in a musical way where “jamming” with music through playing and listening to it helps one resist a more standardized and dualistic way of seeing the world. Instead of having a traditional dissertation, this project is organized like a record album where each chapter is a Track that contains an original song that parallels and plays off the subject matter being discussed to make a more encompassing, multidimensional, holistic, improvisational, and critical statement as the songs and riffs move along together to tell why an arts-based musical way of being can be a choice and alternative in our lives.