2015 - 2016 Chairman's Manual
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
What Shall We Do Now? Pdf Free Download
WHAT SHALL WE DO NOW? PDF, EPUB, EBOOK Dorothy Canfield Fisher | 304 pages | 02 Sep 2017 | Createspace Independent Publishing Platform | 9781975854263 | English | none What Shall We Do Now? PDF Book Contributed by T. What shall we do for wives for those who are left, since we have sworn by the LORD that we will not give them any of our daughters for wives? David Gagne. Shall we get into fights? Related 0. From the election to the pandemic, all atop systemic injustice continuing to manifest itself in many areas of our society. Message calling all believers to action; to move forward in servitude and stop delaying. It's not something that we need to take it without we taking likely you may have lost your finances. Don't Leave Me Now 6. Sixteenth, A man of God said, do not be afraid and that is what I'm coming to share with us this afternoon. The World's Greatest Pi…. That's a great promise. Vera SmartHumanism: it's all about making sure your tense matches what you are trying to say. Leave a Reply Want to join the discussion? We shall never still any of your glory will give them completely back to you for you deserve them all in the name of Jesus Christ, our Lord, Amen and Amen and Amen. Fathers Against Irrational Reasoning. Yes No. Hey You Two flowers — one phallic, the other yonic — timidly dance around each other before copulating for lack of a more discrete word , morphing from humanistic figures to animalistic creatures. Speak out, speak louder. -
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960S and 1970S by Kathryn B. C
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960s and 1970s by Kathryn B. Cox A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Musicology: History) in the University of Michigan 2018 Doctoral Committee: Professor Charles Hiroshi Garrett, Chair Professor James M. Borders Professor Walter T. Everett Professor Jane Fair Fulcher Associate Professor Kali A. K. Israel Kathryn B. Cox [email protected] ORCID iD: 0000-0002-6359-1835 © Kathryn B. Cox 2018 DEDICATION For Charles and Bené S. Cox, whose unwavering faith in me has always shone through, even in the hardest times. The world is a better place because you both are in it. And for Laura Ingram Ellis: as much as I wanted this dissertation to spring forth from my head fully formed, like Athena from Zeus’s forehead, it did not happen that way. It happened one sentence at a time, some more excruciatingly wrought than others, and you were there for every single sentence. So these sentences I have written especially for you, Laura, with my deepest and most profound gratitude. ii ACKNOWLEDGMENTS Although it sometimes felt like a solitary process, I wrote this dissertation with the help and support of several different people, all of whom I deeply appreciate. First and foremost on this list is Prof. Charles Hiroshi Garrett, whom I learned so much from and whose patience and wisdom helped shape this project. I am very grateful to committee members Prof. James Borders, Prof. Walter Everett, Prof. -
Scarfe the Wall Live Tour Group.Pages
THE ART OF FROM PINK FLOYD THE WALL PRESENTED BY ROGER WATERS THE WALL LIVE TOUR ARTWORK CATALOGUE THE ART OF GERALD SCARFE - FROM PINK FLOYD THE WALL SAN FRANCISCO ART EXCHANGE LLC Image © Gerald Scarfe Image © Gerald Scarfe Roger Waters, c.2010 The Mother, c.2010 Pen, Ink & Watercolour on Paper Pen, Ink & Watercolour on Paper 33” x 23 ¼” sheet size 32” x 22 ¾” sheet size This illustration of Roger Waters on his The Wall Live A recent concept design, done for Roger Water’s tour (2010-2013) appeared on the front cover of The Wall Live tour (2010-2013) that was based on a Billboard Magazine 24 July, 2012. similar scene in the flm shown during the song The Trial where The Mother morphs into a giant protective wall surrounding a baby Pink. 458 GEARY STREET • SAN FRANCISCO CA 94102 • sfae.com • 415.441.8840 main THE ART OF GERALD SCARFE - FROM PINK FLOYD THE WALL SAN FRANCISCO ART EXCHANGE LLC Image © Gerald Scarfe Crazy Toys in the Attic, c.2010 Watercolor, Pen & Ink Collage on Paper 23 ¼” x 33” sheet size Image © Gerald Scarfe Go On Judge, Shit on Him! c.2010 This drawing is based on a segment of the animated scene of The Trial in The Wall flm. As the line “Crazy…Toys in the Pen, Ink & Watercolour on Paper Attic, I am crazy” is sung, the viewer sees a terrifed Pink 32 ½” x 22 ½” sheet size fade to grey as the camera zooms in on his eye until the scene fades into the next animation sequence. -
ATINER's Conference Paper Series HUM2015-1404
ATINER CONFERENCE PAPER SERIES No: LNG2014-1333 Athens Institute for Education and Research ATINER ATINER's Conference Paper Series HUM2015-1404 The Change in the Political Message of Pink Floyd’s / Roger Waters’ The Wall from the Album to the Film to the Live Shows in the Dawn of the 80’s via the Wall in Berlin in 1990 to the Live Shows of 2010-2013 Vesa-Matti Sarenius Lecturer University of Oulu Finland 1 ATINER CONFERENCE PAPER SERIES No: HUM2015-1404 An Introduction to ATINER's Conference Paper Series ATINER started to publish this conference papers series in 2012. It includes only the papers submitted for publication after they were presented at one of the conferences organized by our Institute every year. This paper has been peer reviewed by at least two academic members of ATINER. Dr. Gregory T. Papanikos President Athens Institute for Education and Research This paper should be cited as follows: Sarenius, V.-M., (2015) "The Change in the Political Message of Pink Floy’s/Roger Waters’ The Wall from the Album to the Film to the Live Shows in the Dawn of the 80’s via The Wall in Berlin in 1990 to the Live Shows of 2010-2013”, Athens: ATINER'S Conference Paper Series, No: HUM2015-1404. Athens Institute for Education and Research 8 Valaoritou Street, Kolonaki, 10671 Athens, Greece Tel: + 30 210 3634210 Fax: + 30 210 3634209 Email: [email protected] URL: www.atiner.gr URL Conference Papers Series: www.atiner.gr/papers.htm Printed in Athens, Greece by the Athens Institute for Education and Research. -
Finals Round
FINALS ROUND 2015 National History Bee National Championships Varsity and JV Finals Round Questions 1. This man hoped to be remembered as "the acutest, astutest, and archest enemy of southern slavery." This man died after collapsing while shouting "No!" about a bill to honor Mexican- American War veterans. This Congressman convinced colleagues to use the funds from James Smithson's trust to create a scientific institution. James Madison appointed this man the first ever U.S. Minister to Russia. He was the first President to serve in Congress after his term of office ended and assumed his highest office thanks to a "corrupt bargain" with Henry Clay. For the point, name this son of a former President who became President in 1825. ANSWER: John Quincy Adams [prompt on Adams; do not accept or prompt on “John Adams”] <MC> {III} 2. The crime of smuggling this commodity out of the country was called "owling." The Duke of Sutherland ordered some "clearances" to expand production of this good. The Cockayne Project attempted to ban the export of this commodity, which was traded by the Merchants of the Staple. This commodity was soaked in stale urine by fullers. The seat of the Speaker of the House of Lords is a sack filled with this good, which was frequently exported to Flanders. For the point, name this commodity which is treated with carding and obtained from sheep. ANSWER: wool [or tweed; prompt on "sheep"; prompt on "cloth" or similar answers] <JB> {III} 3. Because of this event, the height of flimsy structures called insulae was restricted. -
Pink Floyd in Oblikovanje Kolektivnega Spomina
UNIVERZA V LJUBLJANI FAKULTETA ZA DRUŽBENE VEDE VERONIKA ŽABOT Mentorica: doc. dr. MARUŠA PUŠNIK Somentor: asist. dr. GREGOR BULC GLASBENE IN FILMSKE PODOBE 2. SVETOVNE VOJNE: PINK FLOYD IN OBLIKOVANJE KOLEKTIVNEGA SPOMINA DIPLOMSKO DELO LJUBLJANA 2008 Glasbene in filmske podobe 2. svetovne vojne: Pink Floyd in oblikovanje kolektivnega spomina V sodobnem svetu, nasičenem z informacijami, podobami in pomeni, je popularna kultura postala eden od pomembnih medijev, ki soustvarjajo kolektivne predstave o preteklosti. V nalogi so opredeljeni načini ustvarjanja kolektivnih spominov, predvsem na travmatične zgodovinske dogodke ter procesi, preko katerih se popularnokulturni teksti vključujejo vanj. Pri tem imajo pomembno vlogo ideologije, ki s pomočjo za popularno kulturo značilnega subjektivnega diskurza govorijo resnice o bolečih preteklih dogodkih iz izrazite pozicije, izhajajoče iz konteksta sedanjosti. S tem pa preteklost nujno prikazujejo pristransko in zagovarjajo interese določene družbene skupine. Prav zaradi možnosti in prožnih meja, da govorijo določeni popularnokulturni teksti zgodbe in resnice o preteklosti, ki jih je preko drugih kanalov težko ali celo nemogoče povedati, pa omogočajo marginaliziranim skupinam vključevanje novih spominov in resnic v kolektivne okvire. V nalogi je obravnavan eden od tovrstnih tekstov, in sicer projekt The Wall skupine Pink Floyd, ki je skozi glasbo, besedila, film in koncertno turnejo na specifičen način soustvarjal kolektivni spomin na drugo svetovno vojno. Ključne besede: kolektivni spomin, popularna kultura, travma, ideologija, Pink Floyd. Musical and film images of Second World War: Pink Floyd and shaping collective memory In contemporary world full of information, images and meanings popular culture has become one of the important media for re-creating collective notions of the past. In this paper different ways of shaping collective memories of traumatic historical events and processes through which texts defined as popular culture are incorporated in it are presented. -
Pink Floyd, Co Wiesz Pytania O Pink Floyd Trochę Z Praktyki Słuchania, Trochę Z Różnych Mniej Lub Bardziej Udokumentowanych Faktów
Pink Floyd, co wiesz Pytania o Pink Floyd trochę z praktyki słuchania, trochę z różnych mniej lub bardziej udokumentowanych faktów Poziom trudności: Trudny 1. Jak miał na imię Barrett, jeden z założycieli zespołu Pink Floyd? A - Robert B - Roger C - Syd D - Sidney 2. Którą z poniższych piosenek zaśpiewał jako główny wokalista Nick Mason? A - See Saw B - Scream Thy Last Scream C - Vegetable Man D - Ibiza Bar 3. Ile piosenek Ricka Wrighta trafiło na pierwszych 5 singli wydanych przez zespół w latach 1967 - 1968, które się również ukazały na płycie "The Early Singels"? A - 1 B - 2 C - 3 D - 4 4. Na jakim instrumencie jest grane solo/partia prowadząca we wstępie piosenki "Embryo", wersji studyjnej, oficjalnie nigdy nieopublikowanej? A - Mellotron B - Minimoog C - Gitara elekryczna D - Gitara akustyczna 5. Kto zaśpiewał piosenke "Burning Bridges" z płyty "Obscured By Clouds"? A - Gilmour B - Wates C - Gilmour i Wright D - Gilmour i Waters Copyright © 1995-2021 Wirtualna Polska 6. Czy w roku 1973 zespół podczas występów na żywo wykonywał piosenkę "Childhood's End"? A - Tak B - Nie 7. Jak się nazywała robocza wersja utworu "Atom Heart Mother", grana bez orkiestry i chóru? A - Nothing pts 1-24 B - The Amazing Pudding C - Reaction In G D - Raving And Drooling 8. Na której płycie zespołu całą piosenkę zaśpiewał wokalista spoza Pink Floyd"? A - The Division Bell B - More C - The Dark Side Of The Moon D - Wish You Were Here 9. Po ile utworów zawierały na albumie "Ummagumma" odpowiednio płyta koncertowa i płyta studyjna? A - 4 i 4 B - 4 i 5 C - 4 i 7 D - 4 i 12 10. -
Track List: All Songs Written by Syd Barrett, Except Where Noted. ”UK Release” Side One 1
Track List: All songs written by Syd Barrett, except where noted. ”UK release” Side one 1. "Astronomy Domine" – 4:12 2. "Lucifer Sam" – 3:07 3. "Matilda Mother" – 3:08 4. "Flaming" – 2:46 5. "Pow R. Toc H." (Syd Barrett, Roger Waters, Rick Wright, Nick Mason) – 4:26 6. "Take Up Thy Stethoscope and Walk" (Roger Waters) – 3:05 Side two 1. "Interstellar Overdrive" (Syd Barrett, Roger Waters, Rick Wright, Nick Mason) – 9:41 2. "The Gnome" – 2:13 The Piper at the Gates of Dawn – August 5, 1967 3. "Chapter 24" – 3:42 Syd Barrett – guitar, lead vocals, back cover design 4. "The Scarecrow" – 2:11 5. "Bike" – 3:21 Roger Waters – bass guitar, vocals Rick Wright – Farfisa Compact Duo, Hammond organ, Certifications: piano, vocals TBR Nick Mason – drums, percussion "Astronomy Domine" Lime and limpid green, a second scene A fight between the blue you once knew. Floating down, the sound resounds Around the icy waters underground. Jupiter and Saturn, Oberon, Miranda and Titania. Neptune, Titan, Stars can frighten. Lime and limpid green, a second scene A fight between the blue you once knew. Floating down, the sound resounds Around the icy waters underground. Jupiter and Saturn, Oberon, Miranda and Titania. Neptune, Titan, Stars can frighten. Blinding signs flap, Flicker, flicker, flicker blam. Pow, pow. Stairway scare, Dan Dare, who's there? Lime and limpid green, the sounds around The icy waters under Lime and limpid green, the sounds around The icy waters underground. "Lucifer Sam" Lucifer Sam, siam cat. Always sitting by your side Always by your side. -
The Wall Immersion Box Set / Experience Edition / 2Lp Vinyl: Full Track Listings
Media Information im Auftrag: medienAgentur Stefan Michel T 040-5149 1467 [email protected] THE WALL IMMERSION BOX SET / EXPERIENCE EDITION / 2LP VINYL: FULL TRACK LISTINGS PINK FLOYD THE WALL IMMERSION BOXSET TRACKLIST DISCS 1&2 (CDs ) The Wall digitally remastered by James Guthrie, 2011 Disc 1 1. In The Flesh? 2. The Thin Ice 3. Another Brick In The Wall, Part 1 4. The Happiest Days Of Our Lives 5. Another Brick In The Wall, Part 2 6. Mother 7. Goodbye Blue Sky 8. Empty Spaces 9. Young Lust 10. One Of My Turns 11. Don’t Leave Me Now 12. Another Brick In The Wall, Part 3 13. Goodbye Cruel World Disc 2 1. Hey You 2. Is There Anybody Out There? 3. Nobody Home 4. Vera 5. Bring The Boys Back Home 6. Comfortably Numb 7. The Show Must Go On 8. In The Flesh 9. Run Like Hell 10. Waiting For The Worms 11. Stop 12. The Trial 13. Outside The Wall DISCS 3&4 (CDs) Is There Anybody Out There: The Wall Live 1980-81 - digitally remastered in 2011 by James Guthrie Disc 3 Is There Anybody Out There? - The Wall Live 1980-81 Part 1 MC: ATMOS 2. In The Flesh? 3. The Thin Ice 4. Another Brick In The Wall, Part 1 5. The Happiest Days Of Our Lives 6. Another Brick In The Wall, Part 2 7. Mother 8. Goodbye Blue Sky 9. Empty Spaces 10. What Shall We Do Now? 11. Young Lust 12. One Of My Turns 13. -
Long-Form Analytical Techniques and the Music of Pink Floyd Christopher Everett Onesj
Graduate Theses, Dissertations, and Problem Reports 2017 Tear Down the Wall: Long-Form Analytical Techniques and the Music of Pink Floyd Christopher Everett onesJ Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Jones, Christopher Everett, "Tear Down the Wall: Long-Form Analytical Techniques and the Music of Pink Floyd" (2017). Graduate Theses, Dissertations, and Problem Reports. 7098. https://researchrepository.wvu.edu/etd/7098 This Dissertation is brought to you for free and open access by The Research Repository @ WVU. It has been accepted for inclusion in Graduate Theses, Dissertations, and Problem Reports by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Tear Down the Wall: Long-Form Analytical Techniques and the Music of Pink Floyd Christopher Everett Jones Thesis submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts David Taddie, Ph.D., Chair Evan MacCarthy, Ph.D. Matthew Heap, Ph.D. Andrea Houde, M.M. Beth Royall, M.L.I.S., M.M. School of Music Morgantown, West Virginia 2017 Keywords: Music, Pink Floyd, Analysis, Rock music, Progressive Rock, Progressive Rock Analysis Copyright 2017 Abstract Tear Down the Wall: Long-Form Analytical Techniques and the Music of Pink Floyd Christopher Everett Jones This document examines the harmonic and melodic content of four albums by English Progressive Rock band Pink Floyd: Meddle (1971), The Dark Side of the Moon (1973), Wish You Were Here (1975), and The Wall (1979). Each of these albums presents a coherent discourse that is typical of the art music tradition. -
How Soon Can I Go Home?” Hugo Ernst, General President of Covered in the Rosenberg Case
Last Ditch Clemency Fight in Rosenberg Case World Protest Rises in Effort To Save Couple By Harry Frankel With their execution scheduled for their wedding anniversary, June 18, repeated batterings against the walls of “justice” have thus far failed to secure a stay of execu Vol. XVII - No. 24 NEW YORK, N. Y., MONDAY, JUNE 15, 1953 PRICE: 10 CENTS tion for the Rosenberg couple.®' Ethel and Julius Rosenberg are sion for a few days. The Supreme in the Sing Sing death house Court, if it rules again in the after a hysterical 19511 trial which case, will have to do so by June featured flimsy “evidence” of 15, on which date the Court’s espionage and a vindictive death present sitting w ill end. verdict motivated by political NEW EVIDENCE hatreds. (In an important new develop Demands for a new trial are ment of the clemency campaign, based upon new evidence un “How Soon Can I Go Home?” Hugo Ernst, general president of covered in the Rosenberg case. the AFL Hotel and Restaurant A handwritten document by David Employees and Bartenders Inter Greenglass, central prosecution national Union, one of the largest witness upon whose testimony the ih the AFL with its 400,000 mem government case rested, shows bers, came out for clemency by that an early version of his story signing a Rosenberg petition. was quite different from the later Also, on June 1 the Uruguayan version which, under coaching Every Gl in Korea Is Asking Chamber of Deputies passed a from the FBI, he produced in resolution calling for clemency court. -
[Note: the Songs Appearing in Brackets Were Played on the Radio at This Point in the Interview.]
[Note: the songs appearing in brackets were played on the radio at this point in the interview.] (TV=Tommy Vance / RW=Roger Waters) TV: Where did the idea come from? RW: Well, the idea for 'The Wall' came from ten years of touring, rock shows, I think, particularly the last few years in '75 and in '77 we were playing to very large audiences, some of whom were our old audience who'd come to see us play, but most of whom were only there for the beer, in big stadiums, and, er, consequently it became rather an alienating experience doing the shows. I became very conscious of a wall between us and our audience and so this record started out as being an expression of those feelings. TV: But it goes I think a little deeper than that, because the record actually seems to start at the beginning of the character's life. RW: The story has been developed considerably since then, this was two years ago [1977], I started to write it, and now it's partly about a live show situation--in fact the album starts off in a live show, and then it flashes back and traces a story of a character, if you like, of Pink himself, whoever he may be. But initially it just stemmed from shows being horrible. TV: When you say "horrible" do you mean that really you didn't want to be there? RW: Yeah, it's all, er, particularly because the people who you're most aware of at a rock show on stage are the front 20 or 30 rows of bodies.