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Bovine Benefactories: an Examination of the Role of Religion in Cow Sanctuaries Across the United States
BOVINE BENEFACTORIES: AN EXAMINATION OF THE ROLE OF RELIGION IN COW SANCTUARIES ACROSS THE UNITED STATES _______________________________________________________________ A Dissertation Submitted to the Temple University Graduate Board _______________________________________________________________ In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ________________________________________________________________ by Thomas Hellmuth Berendt August, 2018 Examing Committee Members: Sydney White, Advisory Chair, TU Department of Religion Terry Rey, TU Department of Religion Laura Levitt, TU Department of Religion Tom Waidzunas, External Member, TU Deparment of Sociology ABSTRACT This study examines the growing phenomenon to protect the bovine in the United States and will question to what extent religion plays a role in the formation of bovine sanctuaries. My research has unearthed that there are approximately 454 animal sanctuaries in the United States, of which 146 are dedicated to farm animals. However, of this 166 only 4 are dedicated to pigs, while 17 are specifically dedicated to the bovine. Furthermore, another 50, though not specifically dedicated to cows, do use the cow as the main symbol for their logo. Therefore the bovine is seemingly more represented and protected than any other farm animal in sanctuaries across the United States. The question is why the bovine, and how much has religion played a role in elevating this particular animal above all others. Furthermore, what constitutes a sanctuary? Does -
Rock Music's Crusade of Authenticity
ROCK MUSIC’S CRUSADE OF AUTHENTICITY by DANIEL BROMFIELD A THESIS Presented to the Department of Journalism and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2016 An Abstract of the Thesis of Daniel Bromfield for the degree of Bachelor of Arts in the School of Journalism and Communications to be taken June 2016 Title: Rock Music's Crusade Of Authenticity Prof. Thomas Wheeler This thesis attempts to define rock music's standards of authenticity and explore their origins. Included are comparison of rock's standards of authenticity to those of other genres and an exploration of how authenticity has been perceived throughout the history of rock music. This study argues that rock's standards of authenticity are unusual among pop music genres in that they entail artists both writing their own songs and playing their own instruments. This is in contrast to genres like hip hop, contemporary pop, and R&B, which have their own quite different standards of authenticity. Quotes from rock fans, critics, and musicians are used to provide insight into rock's standards of authenticity and how they developed over time. ii Acknowledgements I would like to first and foremost thank my father for introducing me to music. If not for his decision to turn me on to the Beatles one sunny day in June 2006, I would surely be pursuing a far more boring career – and thesis topic. And I would like to thank my mother for giving me a great life and being endlessly supportive. -
Being John Lennon V4.Indd V 16/08/2018 08:13 First Published in Great Britain in 2018 by Weidenfeld & Nicolson 1 3 5 7 9 10 8 6 4 2
BEING JOHN LENNON A RESTLESS LIFE RAY CONNOLLY Being John Lennon V4.indd v 16/08/2018 08:13 First published in Great Britain in 2018 by Weidenfeld & Nicolson 1 3 5 7 9 10 8 6 4 2 © Ray Connolly 2018 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of both the copyright owner and the above publisher. The right of Ray Connolly to be identifi ed as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. A CIP catalogue record for this book is available from the British Library. HB ISBN 9781474606806 TPB ISBN 9781474606813 Typeset by Input Data Services Ltd, Somerset Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY Weidenfeld & Nicolson The Orion Publishing Group Ltd Carmelite House 50 Victoria Embankment London, EC4Y 0DZ An Hachette UK Company www.orionbooks.co.uk Being John Lennon V4.indd vi 16/08/2018 08:14 AUTHOR’S NOTE On the afternoon of Monday, 8 December 1980, I got a call in London from Yoko Ono, wanting to know why I wasn’t in New York. ‘We thought you were coming over,’ she said. ‘The BBC has been here this weekend.’ My reply was that when, a few weeks earlier, I’d suggest ed going to interview her and John – although, in truth, I’d mainly wanted to talk to John – she’d put me off by saying, ‘The time isn’t right.’ I didn’t know whether that meant that her readings of the numbers weren’t good, because I knew that Yoko was into Numerolo gy, or that there was some other reason. -
Fire Fire Desire
FIRE FIRE DESIRE A FILM BY STEFF GRUBER KINO.NET presents GEOFFREY GIULIANO, AWITA RUEANGCHAN HERMES LIBERTY, NATACHA ORACHA VANN KONG KIA, JESSICA TERAKUPT DIETER BALKE, RUSSELL LEIB, DAN KIZER LAKHENA NIL, JAMES KELLY, DAVID NEWBOULT FRANK MCGONIGAL, LARRY HAMMELL a.o. Directed and Produced by STEFF GRUBER Executive Producer CHRISTOPHER JARVIS Executive Co Producer Thailand RENE APPENZELLER Assistant Producer Cambodia JOE BRYAN BAKER Photography by STEFF GRUBER Edited by DIANA BÄRMANN Re Recording Mixer JÜRG VON ALLMEN C.A.S. Casting by NOIY PASIRI PANA Still Photography LOUIS DEL AMO Music SORN SOLINKA, JANE SAIJAI, KAOTIP TIDADIN, DENGUE FEVER Produced by KINO.NET AG with ALIVE MEDIA AG RAINFIRE.ASIA INC. and DROPOUT FILMS 1 FIRE FIRE DESIRE A FILM BY STEFF GRUBER KINO.NET FIREFIREDESIRE.COM © 2015 Copyright by KINO.NET AG, Zurich Switzerland. All Rights Reserved. ISAN 0000-0003-D088-0000-1-0000-0000-Y CONTENT 4 Synopsis 5 Filmmaker‘s Commentary 7 Steff Gruber Biography 8 Steff Gruber Filmography 9 Geoffrey Giuliano Biography Geoffrey Giuliano Filmography 10 KINO.NET AG Production Company 11 Cast 12 Credits 13 Contacts 3 FIRE FIRE DESIRE A FILM BY STEFF GRUBER FIRE FIRE DESIRE A LOVE ODYSSEY IN SOUTHEAST ASIA „It is a subversive act, not to accept aging, but to do something, to return to a better time.“ Martin Suter SYNOPSIS Swiss filmmaker Steff Gruber finds a video guide for sex tourists on the internet. He believes he recognizes his Thai ex-girlfriend Malee in the video. He finds himself obsessed with wondering what became of her. Finally, after 25 years, he travels back to Southeast Asia to look for Malee. -
Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities
Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities Matthew Robinson A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education, University of the West of England, Bristol June 2016 90,792 words Contents Abstract 2 Chapter One: Introduction 3 Chapter Two: Critical Review 24 Chapter Three: Producing the British Biopic 1900-2014 63 Chapter Four: The Reception of the British Biopic 121 Chapter Five: Conventions and Themes of the British 154 Biopic Chapter Six: This is His Story: ‘Wounded’ Men and 200 Homosocial Bonds Chapter Seven: The Contemporary British Biopic 1: 219 Wounded Men Chapter Eight: The Contemporary British Biopic 2: 263 Homosocial Recoveries Chapter Nine: Conclusion 310 Bibliography 323 General Filmography 355 Appendix One: Timeline of the British Biopic 1900-2014 360 Appendix Two: Distribution of Gender and Professional 390 Field in the British Biopic 1900-2014 Appendix Three: Column and Pie Charts of Gender and 391 Profession Distribution in British Biopics Appendix Four: Biopic Production as Proportion of Total 394 UK Film Production Previously Published Material 395 1 Abstract This thesis offers a revaluation of the British biopic, which has often been subsumed into the broader ‘historical film’ category, identifying a critical neglect despite its successful presence throughout the history of the British film industry. It argues that the biopic is a necessary category because producers, reviewers and cinemagoers have significant investments in biographical subjects, and because biopics construct a ‘public history’ for a broad audience. -
Dark Horse: the Life and Art of George Harrison Geoffrey Giuliano
(PDF) Dark Horse: The Life And Art Of George Harrison Geoffrey Giuliano - download pdf Read Online Dark Horse: The Life And Art Of George Harrison E-Books, Free Download Dark Horse: The Life And Art Of George Harrison Full Version Geoffrey Giuliano, Read Online Dark Horse: The Life And Art Of George Harrison Ebook Popular, Dark Horse: The Life And Art Of George Harrison Free Read Online, free online Dark Horse: The Life And Art Of George Harrison, online free Dark Horse: The Life And Art Of George Harrison, Download Free Dark Horse: The Life And Art Of George Harrison Book, Download PDF Dark Horse: The Life And Art Of George Harrison, Dark Horse: The Life And Art Of George Harrison Geoffrey Giuliano pdf, pdf Geoffrey Giuliano Dark Horse: The Life And Art Of George Harrison, Download Dark Horse: The Life And Art Of George Harrison E-Books, Download Online Dark Horse: The Life And Art Of George Harrison Book, Read Best Book Dark Horse: The Life And Art Of George Harrison Online, Read Dark Horse: The Life And Art Of George Harrison Books Online Free, Read Dark Horse: The Life And Art Of George Harrison Full Collection, Dark Horse: The Life And Art Of George Harrison Ebooks, Dark Horse: The Life And Art Of George Harrison Ebooks Free, Dark Horse: The Life And Art Of George Harrison Popular Download, Dark Horse: The Life And Art Of George Harrison Read Download, Dark Horse: The Life And Art Of George Harrison Full Download, CLICK FOR DOWNLOAD ' mind is a vampire and writer long grocery leg furious. -
University of New Haven M.K. Peterson Library New Materials Added Feb
University of New Haven M.K. Peterson Library New Materials Added Feb. - March 2010 CALL_NO TITLE PUBLISHER DATE B187.H3 H2 Happiness [videorecording] : how to find it, understand it and achieve it / ABC 2008 DVD News. ABC News, c2008. This emotional life [videorecording] : in search of ourselves-- and happiness / BF531 .T45 a co-production of the NOVA/WGBH Science Unit and Vulcan Productions, 2010 DVD Inc. ; a film by Kunhardt McGee Productions. Disks 1-3 [Distributed by] PBS, c2010. BF637.I48 P33 Power of positive confrontation : the skills you need to know to handle conflict Marlowe and Co. ; Distributed by Publishers 2000 at work, home, and in life / Barbara Pachter with Susan Magee. Group West, c2000. BF637.P74 S65 2008 Understanding privacy / Daniel J. Solove. Harvard University Press, 2008. BF697.5.S426 Fooling ourselves : self-deception in politics, religion, and terrorism / Harry C. T75 2009 Triandis. Praeger Publishers, 2009. BF723.A35 You did that on purpose : understanding and changing children's aggression / H83 2008 Cynthia Hudley. Yale University Press, c2008. BF723.I646 Understanding peer influence in children and adolescents / edited by Mitchell U53 2008 J. Prinstein, Kenneth A. Dodge. Guilford Press, c2008. BX4705.G419 Grove Press : Distributed by Publishers G653 2007 Art of political murder : who killed the Bishop? / Francisco Goldman. Group West, c2007. CD70 Missae breves [sound recording] : BWV 233-236 / J.S. Bach. Musica Omnia, p2006. CD71 Cantatas BWV 62, 45, 192 & 140 [sound recording] / Johann Sebastian Bach. Musica Omnia, p2007. CD72 Aural Borealis [sound recording] Sonabilis, c2002. DP164 .K36 2003 Empire : how Spain became a world power, 1492-1763 / Henry Kamen. -
Genre and Parody in the Music of the Beatles
GENRE AND PARODY IN THE MUSIC OF THE BEATLES by Michael Connolly B. Mus., The University of Toronto, 2013 A THESIS SUBMIITED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate and Postdoctoral Studies (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2015 © Michael Connolly, 2015 Abstract From the earliest outbreak of “Beatlemania” in 1963 to the announcement of their breakup in 1970, The Beatles fulfilled, exceeded, and reformed our conceptions of popular music. They have enjoyed an enduring popularity with critics and audiences and have cemented their position as one of the most celebrated acts in popular culture. Although it would be difficult to attribute their success to a single factor, it could be argued that their eclectic sound ensured their mass appeal. As their careers progressed, The Beatles effortlessly combined and moved between different genres. Many of these genres were atypical for popular music of the 1960s and can be regarded as parody. This thesis approaches parody as an important stylistic trait of The Beatles’ music. Parody is a broad concept that can be found in a number of forms of art and entertainment. By drawing from literary criticism and musicological discourse, this study develops a broader understanding of parody in which popular musicians evoke the music of another genre through borrowing and create a critical distance between their work and the preexisting one. Further investigation reveals how The Beatles applied parody to their music and how it was used by the band to connect with their listeners. In such songs as “Back In The U.S.S.R.” and “Happiness Is A Warm Gun,” The Beatles parody different musical genres in order to evoke social commentary. -
Eric Clapton 1 Eric Clapton
Eric Clapton 1 Eric Clapton Eric Clapton Clapton on stage, Munich, Germany on 5 June 2010 Background information Birth name Eric Patrick Clapton Also known as Slowhand Born 30 March 1945 Ripley, Surrey, England Genres Rock, blues-rock, blues, psychedelic rock, hard rock Occupations Musician, songwriter, producer, artist Instruments Vocals, guitar Years active 1962–present [1] Labels Warner Bros., Reprise, Polydor, RSO, Atco, Apple, Deram Associated acts The Yardbirds, John Mayall & the Bluesbreakers, Powerhouse, Cream, Free Creek, The Dirty Mac, Blind Faith, J.J. Cale, The Plastic Ono Band, Delaney, Bonnie & Friends, Derek and the Dominos, The Beatles, Phil Collins, The Rolling Stones, Luciano Pavarotti, The Band, Freddie King, B.B. King, Mark Knopfler [2] Website Official website Notable instruments See: Guitars section "Blackie": Fender Stratocaster "Brownie": Fender Stratocaster Gibson SG Gibson ES-335 Gibson Les Paul Eric Patrick Clapton, CBE (born 30 March 1945) is an English guitarist, vocalist, and songwriter. Clapton is the only three-time inductee to the Rock and Roll Hall of Fame: once as a solo artist, and separately as a member of The Yardbirds and Cream. Clapton has been referred to as one of the most important and influential guitarists of all time.[3] Clapton ranked fourth in Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time"[4] and fourth in Gibson's Top 50 Guitarists of All Time.[5] In the mid sixties, Clapton left the Yardbirds to play blues with John Mayall & the Bluesbreakers. In his one-year stay with Mayall, Clapton gained the nickname "Slowhand", and graffiti in London declared "Clapton is God." Immediately after leaving Mayall, Clapton formed with drummer Ginger Baker and bassist Jack Bruce, the power trio, Cream, in which Clapton played sustained blues improvisations and "arty, blues-based psychedelic pop." For most of the seventies, Clapton's output bore the influence of the mellow style of J.J. -
The Beatles in Hamburg
AN UNDERSTANDING OF PERFORMANCE: THE BEATLES IN HAMBURG Ian Inglis Becoming a musician is something that has to be learned. I refer here not only to mastery of the requisite technical skills, but to the demands, obliga- tions and conventions that govern professional behaviour. And what lies at the heart of an occupational musician's life is performance. The idea of serving an apprenticeship, of learning to be a performer, of gradually coming to understand the craft of performance, has always been central to the act of music-making. And I want to use the example of the Beatles in Hamburg to illustrate how this might take place, indeed, how it did take place for them. In fact, the significance of performance in assessments of popular music has been consistently noted by academics and musicians alike. Avron White has argued that »although the musical product yields its greatest source of income in re- corded and written form, its authenticity, or validity, is very much dependent upon the music's being on view in the live performance. In this context, the musical product is produced and consumed in the same moment: there is an inextricable association between the musician and his music« (White 1987: 187). And guitarist Jeff Beck explains: »Most people have never heard me get the best out of a guitar. Recording puts a barrier between the artist and the audience. Records never have, never will, show my true potential. I only get the feeling I'm putting my true self across when performing live« (Beck in Martin 1983: 143). -
George Harrison in San Francisco: a Love-Haight Relationship
George Harrison in San Francisco: A Love-Haight Relationship When George Harrison died on December 1, 2001, the phone started ringing – it was those damned media outlets again – before I had time to sort out my thoughts about him. I’d covered a tour of his for a Rolling Stone cover story in 1974. That may have explained the volume of calls. But when one of the callers turned out to be the San Francisco Chronicle, looking for a set of recollections, I had to untangle my various feelings about “Beatle George”—from admiration for his musical accomplishments -- especially in the shadow of John and Paul -- to a lingering uneasiness about the article I wrote about him way back when. That piece, along with a report on the furious reactions to it from some Harrison fans, is in Not Fade Away. I was witness to the beginning of that tour, and it was a rough start. I reported what I saw and heard, and still stand by my article, which included an interview with a defensive, defiant Harrison. But now, with Harrison gone at age 58, and knowing that he’d had a difficult few last years, including the news that he’d been felled by throat cancer in 1998 and by a knife attack by an intruder at his home the following year – I wanted to offer an appreciation. A balanced one but an appreciation nonetheless. It would be a stretch to say that George Harrison ever left his heart in San Francisco. But the last time he was in the Bay Area, on a tour I covered for Rolling Stone magazine, he left a lot of much-needed money and single-handedly kept a major part of the Haight-Ashbury Free Clinic afloat. -
John Cage, the Avant Garde, and the Counterculture, 1940-1975
University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 2016 From soprano to barking dog : John Cage, the avant garde, and the counterculture, 1940-1975 Heather M. McAlpine University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2016 Heather M. McAlpine Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Cultural History Commons Recommended Citation McAlpine, Heather M., "From soprano to barking dog : John Cage, the avant garde, and the counterculture, 1940-1975" (2016). Dissertations and Theses @ UNI. 306. https://scholarworks.uni.edu/etd/306 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. FROM SOPRANO TO BARKING DOG: JOHN CAGE, THE AVANT GARDE, AND THE COUNTERCULTURE, 1940-1975 An Abstract of a Thesis Submitted in Partial Fulfillment of the Requirements for the Degree Master of Arts Heather M. McAlpine University of Northern Iowa July 2016 ABSTRACT John Cage’s compositions, representative of second generation avant-garde music, are an integral part of any discussion of the sixties, and his work complicates parts of the counterculture historiography. While the political ideology that drives Cage’s compositions fit many of the counterculture’s aims, it has not been included in the historiography in its own right. The evidence suggests instead that his ideas, and those of the new avant-garde of which he was a part, were actually a piece of a consistent tradition that extended into the counterculture.