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Randy Nataraj-Allen Piano and Voice
Randy Nataraj-Allen Piano and Voice Formal Education: Master’s Degree: curriculum & Instructional / Technology - Grand Canyon University – Phoenix, AZ Bachelor of Church Music: Samford University – Birmingham, AL Major: Voice, Minor: Piano Awards / Accolades: Voted “Educator of the Year 2002-2003” Experience / Performances: August 1995 – Present: Music Teacher, Pinellas County Schools – Largo, FL 2007 Elementary All county chorus conductor 2002-2003 Elementary Music Educator of the Year James B. Sanderlin PK-8 IB World School: grades K-5 and two classes Fairmount Park Elementary: K-5 Music Itinerate Northwest Elementary K-5 Music Itinerate Lakewood Elementary K-5 Music Itinerate Starkey Elementary: K-5 Music Itinerate Cypress Woods Elementary: K-5 two choruses and recorder South Ward Elementary: K-5 and two choruses Orange Grove Elementary: k-3, SLI and SLD (195-1996 only) January 1991-Present: Voice and Piano Instructor: Marcia P Hoffman School of the Arts William Cusick Piano, Vocal Instruction, Accompanist, Music Director for Stage productions Formal Education: Bachelor Degree in Music Education from State University of New York and Fredonia One semester abroad in Antwerp, Belgium studying music and art at the Royal Flemish Conservatory of Music Master Degree in Piano Performance from University of South Florida Awards / Accolades: Voted Favorite Musical Director six times by the Grapevine Theater Publication. Statement of philosophy: Even your smallest experiences can open doorways to greater learning. Experience / Performances: As a Music Director he has worked at Bartk’e Dinner Theatre in Tampa, the Show Boat Dinner Theatre in Clearwater, Hudson, community Theaters throughout Pinellas County, various high schools and instructs and accompanies for the Marcia P. -
Elvis Presley Music
Vogue Madonna Take on Me a-ha Africa Toto Sweet Dreams (Are Made of This) Eurythmics You Make My Dreams Daryl Hall and John Oates Taited Love Soft Cell Don't You (Forget About Me) Simple Minds Heaven Is a Place on Earth Belinda Carlisle I'm Still Standing Elton John Wake Me Up Before You Go-GoWham! Blue Monday New Order Superstition Stevie Wonder Move On Up Curtis Mayfield For Once In My Life Stevie Wonder Red Red Wine UB40 Send Me On My Way Rusted Root Hungry Eyes Eric Carmen Good Vibrations The Beach Boys MMMBop Hanson Boom, Boom, Boom!! Vengaboys Relight My Fire Take That, LuLu Picture Of You Boyzone Pray Take That Shoop Salt-N-Pepa Doo Wop (That Thing) Ms Lauryn Hill One Week Barenaked Ladies In the Summertime Shaggy, Payvon Bills, Bills, Bills Destiny's Child Miami Will Smith Gonna Make You Sweat (Everbody Dance Now) C & C Music Factory Return of the Mack Mark Morrison Proud Heather Small Ironic Alanis Morissette Don't You Want Me The Human League Just Cant Get Enough Depeche Mode The Safety Dance Men Without Hats Eye of the Tiger Survivor Like a Prayer Madonna Rocket Man Elton John My Generation The Who A Little Less Conversation Elvis Presley ABC The Jackson 5 Lessons In Love Level 42 In the Air Tonight Phil Collins September Earth, Wind & Fire In Your Eyes Kylie Minogue I Want You Back The Jackson 5 Jump (For My Love) The Pointer Sisters Rock the Boat Hues Corportation Jolene Dolly Parton Never Too Much Luther Vandross Kiss Prince Karma Chameleon Culture Club Blame It On the Boogie The Jacksons Everywhere Fleetwood Mac Beat It -
Glee: Give Us Something to Sing About Meenasarani Linde Murugan
Glee: Give Us Something to Sing About Meenasarani Linde Murugan Good Vibrations: Glee’s Pop Music Archive Glee occurs at the intersection of various genres: teen program, musical, and variety show. Though the copious amount of musical numbers makes it difficult to parse out the various ways music is integrated into the show, what is apparent is the show’s enacting of an archive of pop music. The show revives forgotten songs, puts them in dialogue with or at least puts them next to recent hits, reinvigorating them for viewers of a wide age range. In featuring young performers doing renditions of old songs, Glee is similar to American Idol. On Idol, a pop archive is presented to the audience and in some cases to the singers as well. On a Stevie Wonder-themed episode, beginning music buffs can learn his body of work, devotees can see their favorite songs reinterpreted, and a singer can learn that even though he’s a rocker, soul can too work for him. A similar moment of singer-song incompatibility happens when Mr. Schuester makes the boys sing Madonna’s “What It Feels Like For a Girl.” Here, a legendary artist’s pop song is taken off its pedestal, free from the assessment of judges, and into the realm of the relational and interior. Unlike Idol where young singers are trying to be deserving of the pop song they choose to sing, Glee presents a youth that is often best expressed with the songs of an earlier generation. This interest with songs of the past is not foreign to teenagers, on screen and off, but demonstrates how teen television uses music to add depth to their characters. -
Sue C. Jacobs, Ph.D. Education, Credentials, and Professional Experience
January SUE C. JACOBS, PH.D. Professor, School of Community Health Sciences, Counseling and Counseling Psychology Myron C. Ledbetter and Bob Lemon Endowed Counseling Psychology Diversity Professor Fellow, American Psychological Association (Division 17), Licensed Psychologist, ND 273 College of Education, Health and Aviation Oklahoma State University 424 Willard Stillwater, Oklahoma 74078-4024 Work: 405-744-9441 Cell: 405-269-4280 Fax: 405-744-6756 Email: [email protected] _______________________________________________________________________________ EDUCATION, CREDENTIALS, AND PROFESSIONAL EXPERIENCE Education 1989 Ph.D.: University of Southern Mississippi (Counseling Psychology-APA Accredited), Hattiesburg, MS 1987-88 Pre-doctoral Internship (APA Accredited): Psychology Internship and Interdisciplinary Team Training in Geriatrics Internship, Veteran’s Administration Medical Center, Palo Alto, CA 1984 M.A.: Vermont College/Norwich University (Counseling Psychology), Montpelier, VT 1968-71 ABD: Columbia University (Sociology and South Asian Studies), New York, NY University of Rochester (Hindi and South Asian Studies) summer, 1969, Rochester, NY 1968 B.A.: Antioch College (Sociology-Anthropology), Yellow Springs, OH University of Wisconsin, Madison, WI (South Asian Studies; Telugu) summer, 1965) Osmania University, Hyderabad, AP, India (Telugu, MA Political Science Studies; Field Work-Panchayati Raj, 1965-66) Postdoctoral Training 1988-90 Clinical and Research Fellowship, Division of Behavioral Medicine and Mind/Body Medical Institute, -
Hip-Hop & the Global Imprint of a Black Cultural Form
Hip-Hop & the Global Imprint of a Black Cultural Form Marcyliena Morgan & Dionne Bennett To me, hip-hop says, “Come as you are.” We are a family. Hip-hop is the voice of this generation. It has become a powerful force. Hip-hop binds all of these people, all of these nationalities, all over the world together. Hip-hop is a family so everybody has got to pitch in. East, west, north or south–we come MARCYLIENA MORGAN is from one coast and that coast was Africa. Professor of African and African –dj Kool Herc American Studies at Harvard Uni- versity. Her publications include Through hip-hop, we are trying to ½nd out who we Language, Discourse and Power in are, what we are. That’s what black people in Amer- African American Culture (2002), ica did. The Real Hiphop: Battling for Knowl- –mc Yan1 edge, Power, and Respect in the LA Underground (2009), and “Hip- hop and Race: Blackness, Lan- It is nearly impossible to travel the world without guage, and Creativity” (with encountering instances of hip-hop music and cul- Dawn-Elissa Fischer), in Doing Race: 21 Essays for the 21st Century ture. Hip-hop is the distinctive graf½ti lettering (ed. Hazel Rose Markus and styles that have materialized on walls worldwide. Paula M.L. Moya, 2010). It is the latest dance moves that young people per- form on streets and dirt roads. It is the bass beats DIONNE BENNETT is an Assis- mc tant Professor of African Ameri- and styles of dress at dance clubs. It is local s can Studies at Loyola Marymount on microphones with hands raised and moving to University. -
Lyndon Johnson and the American Dream Pdf Free
LYNDON JOHNSON AND THE AMERICAN DREAM PDF, EPUB, EBOOK Doris Kearns Goodwin | 448 pages | 31 Jul 1991 | St Martin's Press | 9780312060275 | English | New York, United States Lyndon Johnson and the American Dream PDF Book These assumptions result in greater attention on the part of the biographer to unconscious and subconscious phenomena—dreams, ego-defensive behavior—and to such aspects of early-childhood experience as relations with parents and siblings. The Psychosomatic Approach. Free Quiz. Calvinist ethic? In her analytic appendix Miss Kearns suggests not only that the qualities needed for the legislature and the Presidency differ, but that a career in the legislative process may inculcate modes of behavior or strengthen qualities inconsistent with the nature of the presidential institution. Martin Luther King Jr. After retiring, Johnson did not work in politics again. Seward, Salmon P. What Was the Civil Rights Act of ? Account Options Sign in. In , Johnson was elected as a representative. Get all the prep you need to ace the SAT with The Princeton Review, including 8 full-length practice tests, thorough topic reviews, and exclusive access to our online Premium Portal with tons of extra practice and resources. Prime members enjoy FREE Delivery on millions of eligible domestic and international items, in addition to exclusive access to movies, TV shows, and more. This book is a diary of an unusual relationship, a betrayal of that relationship. Hamlett was born on June 13, in Nashville, Tennessee. She earned two bachelor's degrees from the University of Texas in and , successively. Reading Faster and Understanding More. Johnson in civil rights —to show how they recognized leadership qualities within themselves and were recognized as leaders by others. -
The Sock Hop and the Loft: Jazz, Motown, and the Transformation of American Culture, 1959-1975
The Sock Hop and the Loft: Jazz, Motown, and the Transformation of American Culture, 1959-1975 The Commerce Group: Kat Breitbach, Laura Butterfield, Ashleigh Lalley, Charles Rosentel Steve Schwartz, Kelsey Snyder, Al Stith In the words of the prolific Peter Griffin, “It doesn’t matter if you’re black or white. The only color that really matters is green.” Notwithstanding the music industry’s rampant racism, the clearest view of how African Americans transformed popular music between 1959 and 1975 is through the lens of commerce. Scrutinizing the relationship between creators and consumers opens up a broad view of both visual and auditory arts. The sources we selected range from cover art and an Andy Warhol silkscreen to books on the industry’s backroom deals and the Billboard Hot 100 to a retrospective Boyz II Men album on Motown’s history and an NPR special on Jimi Hendrix for kids. Combining both sight and sound, we offer online videos, a documentary on jazz, and blaxploitation films. The unparalleled abilities of Motown’s music to transcend racial barriers and serve as a catalyst for social change through an ever-widening audience necessitates a study of Berry Gordy’s market sense and the legacy of his “family” in popular culture from the 1970s through today. First, the ubiquity of the Motown sound meant that a young, interracial audience enjoyed music that had been largely exclusive to black communities. The power of this “Sound of Young America” crossover was punctuated by Dr. Martin Luther King Jr.’s affirmation in his “Transforming a Neighborhood into a Brotherhood” address that radio’s capacity to bridge black and white youth through music and create “the language of soul” surpasses even Alexander the Great’s conquests. -
A View of the American Road from Bob Dylan's Rolling Thunder Revue, 1975
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1992 Gotta Travel On: A View of the American Road from Bob Dylan's Rolling Thunder Revue, 1975 Matthew David Shine College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, and the Music Commons Recommended Citation Shine, Matthew David, "Gotta Travel On: A View of the American Road from Bob Dylan's Rolling Thunder Revue, 1975" (1992). Dissertations, Theses, and Masters Projects. Paper 1539625713. https://dx.doi.org/doi:10.21220/s2-sf1j-bd95 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. GOTTA TRAVEL ON A View of the American Road from Bob Dylan’s Rolling Thunder Revue, 1975 A Thesis Presented to The Faculty of the Department of American Studies The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Matthew D. Shine 1992 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Matthew D. Shine Approved, May 1992 Dale Cockrell 1 7 Robert Gross Scott Donaldson TABLE OF CONTENTS page ACKNOWLEDGEMENTS......................................................................... iv ABSTRACT........................... v INTRODUCTION........................................................................................ 4 CHAPTER I. IN SEARCH OF THE REAL AMERICA IN THE 1930S........................................... 5 CHAPTER H. -
Representation of American Dreams in the Good Lie (2014) Film
REPRESENTATION OF AMERICAN DREAMS IN THE GOOD LIE (2014) FILM A Thesis Submitted to Faculty of Adab and Humanities In Partial Fulfillment of the Requirement for The Degree of Strata One (S1) LUTHFI FADLAN 1112026000106 ENGLISH LANGUAGE AND LITERATURE FACULTY OF ADAB AND HUMANITIES STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH JAKARTA 2017 ABSTRACT Luthfi Fadlan, Representation of America Dreams in The Good Lie Film. A Thesis: English Language and Literature, Faculty of Adab and Humanities, State Islamic University of Syarif Hidayatullah Jakarta, 2017 The Good Lie is a 2014 American drama film written by Margaret Nagle, and directed by Philippe Falardeau. This thesis aims to observe the manifest of American Dreams value through representation of each Sudanese and American character construction. Using the Descriptive analysis and qualitative method to reveal the findings thus, this research describes the character construction of each Sudanese and American Characters through Stuart Hall Representation concept with constructionist approach and using the result as reflection of American Dreams from James Truslow Adams. All the data collected from the dialogues and the pictures of the film. The findings of this research explains the construction of Sudanese immigrant and American characters is in line with the value of American Dreams concept. It is seen with the achievement of Sudanese and American characters by looking; the success of Sudanese characters in achieving freedom, the success of Sudanese characters in realizing their own dreams, as well as the success of Sudanese and American characters in solving their own problems. The writer also find that the depiction of Sudanese and American character with their attainment in America can be seen as a film that reflects America as a capable place of giving freedom, equality of opportunity, to every Sudanese immigrant, and portrays America as a place that can accommodate individual or collective motive. -
The Historical and Cultural Meanings of American Music Lyrics from the Vietnam War
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2013 The historical and cultural meanings of American music lyrics from the Vietnam War. Erin Ruth McCoy University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation McCoy, Erin Ruth, "The historical and cultural meanings of American music lyrics from the Vietnam War." (2013). Electronic Theses and Dissertations. Paper 940. https://doi.org/10.18297/etd/940 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE HISTORICAL AND CULTURAL MEANINGS OF AMERICAN MUSIC LYRICS FROM THE VIETNAM WAR By Erin Ruth McCoy B.A., Wingate University, 2003 M.A., Clemson University, 2007 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville In Partial Fulfillment of the Requirements For the degree of Doctor of Philosophy Department of Humanities University of Louisville Louisville, KY May 2013 Copyright 2013 by Erin R. McCoy All Rights Reserved THE HISTORICAL AND CULTURAL MEANINGS OF AMERICAN MUSIC LYRICS FROM THE VIENTAM WAR By Erin Ruth McCoy B.A., Wingate University, 2003 M.A., Clemson University, 2007 A Dissertation Approved on April 5, 2013 by the following Dissertation Committee: _______________________________________________________ Dr. -
Program Participant Bios
National Playwright Residency Program PROGRAM PARTICIPANT BIOS PLAYWRIGHTS Murielle Borst-Tarrant Murielle Borst-Tarrant (Kuna/Rappahannock Nations) is an author, playwright, director, producer, cultural artist, educator, and human rights activist. Murielle began working as an artist early in her life with Spiderwoman Theatre. After attending Long Island University, she began combining Native American myth and creation stories to help compose a subgenre of literature referred to as Indigenous Fantasy. She is the author of the book series The Star Medicine and short stories published by Miami University Press. She is the Artist Director of Safe Harbor Indigenous Collective. She has produced, wrote, and directed Don’t Feed the Indians- A Divine Comedy Pageant! which premiered at La MaMa in 2017. She works on the deconstructing the pedagogy of the arts within Native communities in the NYC education system. Nominated for the Rockefeller grant in 2001, she won a Native Heart Award. She served as the Special Assistant to the North American Regional representative to the United Nations Permanent Forum on Indigenous Issues. Global Indigenous Woman’s Caucus Chair (North America) in 2013 to May of 2014. She has spoken at the Indigenous Women’s Symposium at Trent University, at the International Conference at the Muthesius Academy of Art in Kiel Germany, and the Norwegian Theater Academy. J. Nicole Brooks J. Nicole Brooks (she/they) is an actor, author, director, gremlin, educator, and social justice warrior based in Chicago with roots in Los Angeles and Brooklyn. Brooks is an ensemble member at the Tony Award winning Lookingglass Theatre Company and serves as Associate Artistic Director for Collaboration Theatre. -
Generation Next Young Muslim Americans Narrating Self While
Generation Next Young Muslim Americans Narrating Self While Debating Faith, Community, and Country By Muna Ali A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Approved October 2013 by the Graduate Supervisory Committee: James Eder, Chair Sherman Jackson Hjorleifur Jonsson Takeyuki Tsuda ARIZONA STATE UNIVERSITY December 2013 ©2013 Muna Ali All Rights Reserved ABSTRACT “Culture talk” figures prominently in the discussions of and about Muslims, both locally and globally. Culture, in these discussions, is considered to be the underlying cause of gender and generational divides giving rise to an alleged “identity crisis.” Culture also presumably conceals and contaminates “pure/true Islam.” Culture serves as the scaffold on which all that divides Muslim American immigrants and converts is built; furthermore, the fear of a Muslim cultural takeover underpins the “Islamization of America” narrative. This dissertation engages these generational and “immigrant”- “indigenous” fissures and the current narratives that dominate Muslim and public spheres. It does so through the perspectives of the offspring of converts and immigrants. As the children and grandchildren of immigrants and converts come of age, and distant as they are from historical processes and experiences that shaped the parents’ generations while having shared a socialization process as both Muslim and American, what role do they play in the current chapter of Islam in post-9/11 America? Will the younger generation be able to cross the divides, mend the fissures, and play a pivotal role in an “American Muslim community”? Examining how younger generations of both backgrounds view each other and their respective roles in forging an American Muslim belonging, agenda and discourse is a timely and much needed inquiry.