Mr. Helts Haircut by Emma Stevens
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Ncaa Bracket
Captain Hook Emperor Palpatine Evil Hannibal Lecter Brenda Walsh Hannibal Lecter Brenda Walsh Megatron Hannibal Lecter Brenda Walsh Boris Red Skull Boris Red Skull Milo Minderbinder Snidely Whiplash Warden Norton EAST WEST Iago George Lucas Snidely Whiplash George Lucas King Ghidorah Darth Vader Warden Norton Warden Norton Iago Cy-Kill Warden Norton Iago Bowser Iago Baron Silas Greenback Hans Beckert Nurse Ratched Iago Pinhead Gargamel Pinhead Gargamel Cobra Commander Pinhead Gargamel Shredder Natasha Shredder Natasha Baba Yaga Sideshow Bob Nurse Ratched Sauron Sauron Sideshow Bob Sauron Jason Vorhees Tommy Lasorda Leatherface Nurse Ratched Nurse Ratched Sauron Dr. Claw Nurse Ratched Dr. Claw Hal 9000 Gozar the Gozarian Montgomery Burns Bill Sikes Montgomery Burns Tommy Lasorda Bill Sikes Duke Fame Don Logan T-1000 Montgomery Burns Bill Sikes Gannondorf Lex Luthor Mr. Wapensky Lex Luthor Mr. Wapensky (7th-grade teacher) Iago Cruella De Vil Noah Cross Professor Moriarty Mr. Blonde Noah Cross Cobra Kai sensai Noah Cross Cobra Kai sensai Francis Buxton Noah Cross Professor Moriarty Professor Moriarty Francis Buxton Professor Moriarty Voldemort The Noid Ming the Merciless Anton Chigurh Mumm-Ra Tommy Lasorda Dog from Duck Hunt Anton Chigurh Mumm-Ra General Zod Hans Gruber Mumm-Ra Anton Chigurh Jack the Ripper Hans Gruber Jack the Ripper Sammy Hagar J.J. Hunsecker Freddy Krueger Tommy Lasorda MIDWEST SOUTH Dog from Duck Hunt Dog from Duck Hunt Tommy Lasorda Dog from Duck Hunt Tommy Lasorda Gordon Gekko The Predator Tommy Lasorda Dog from Duck Hunt Grendel The Predator Grendel Pizza the Hutt Miles Mayhem. -
The Song of the Lark I
HE ONG OF THE ARK T S L BY WILLA CATHER © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor This PDF eBook was produced in the year 2010 by Tantor Media, Incorporated, which holds the copyright thereto. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. © 2010 Tantor Media, Inc. -
ALLA Press Release May 26 2015 FINAL
! ! ! A$AP ROCKY’S NEW ALBUM AT.LONG.LAST.A$AP AVAILABLE NOW ON A$AP WORLDWIDE/POLO GROUNDS MUSIC/RCA RECORDS TRENDING NO. 1 ON ITUNES IN THE US, UK, CANADA, AUSTRALIA, FRANCE, GERMANY AND MORE SOPHOMORE ALBUM FEATURES APPEARANCES BY KANYE WEST, LIL WAYNE, ScHOOLBOY Q, MIGUEL, ROD STEWART, MARK RONSON, MOS DEF, JUICY J, JOE FOX AND OTHERS [New York, NY – May 26, 2015] A$AP Rocky released his highly anticipated new album, At.Long.Last.A$AP, today (5/26) due to the album leaking a week prior to its scheduled June 2nd release date. The album is currently No. 1 at iTunes in the US, UK, Canada, Australia, France, Germany, Denmark, Finland, New Zealand, Poland, Switzerland, Russia and more. The follow-up to the charismatic Harlem MC’s 2013 release, Long.Live.A$AP, A$AP Rocky’s sophomore album, features a stellar line up of guest appearances by Rod Stewart, Miguel and Mark Ronson on “Everyday,” ScHoolboy Q on “Electric Body,” Lil Wayne on a new version of the previously released “M’$,” Kanye West and Joe Fox on “Jukebox Joints,” plus Mos Def, Juicy J, UGK and more on other standout tracks. Producers Danger Mouse, Jim Jonsin, Juicy J and Mark Ronson among others, contributes to the album’s trippy new sound. Executive Producers include Danger Mouse, A$AP Yams and A$AP Rocky with Co-Executive Producers Hector Delgado, Juicy J, Chace Johnson, Bryan Leach and AWGE. In 2013, A$AP Rocky announced his global arrival in a major way with his chart- topping debut album LONG.LIVE.A$AP. -
Recognizing Female Desire and Subjectivity in the Oedipus Complex
Jenna Davis 1 Beyond Castration: Recognizing Female Desire and Subjectivity in the Oedipus Complex Je=aDavis Critical Theory Swathmore College December 2011 Jenna Davis 2 CHAPTER 1 Argument and Methodology Psychoanalysis was developed by Austrian physician Sigmund Freud in the late nineteenth and early twentieth centuries. One of Freud's most celebrated theories was that of the Oedipus complex, which explores the psychic structures that underlie sexual development. In the following chapters I will be examining the Oedipal and preoedipal stages of psychosexual development, drawing out their implicit gendered assumptions with the help of modern feminist theorists and psychoanalysts. I am pursuing a Lacanian reading of Freud, in which the biological roles of mother and father are given structural importance, so that whomever actually occupies these roles is less important than their positional significance. After giving a brief history of the evolution of psychoanalytic theory in the first chapter, I move on in the second chapter to explicate Freud's conception of the Oedipus complex (including the preoedipal stage) and the role of the Oedipal myth, making use of theorist Teresa de Lauretis. In the third chapter, I look at several of Freud's texts on femininity and female sexuality. I will employ Simone de Beauvoir, Kaja Silverman and de Lauretis to discuss male and female investments in femininity and the identities that are open to women. After this, Jessica Benjamin takes the focus away from individuals and incorporates the other in her theory of intersubjectivity. I end chapter three with Helene Cixous, Julia Kristeva and Luce Irigaray, who all attest to the necessity of symbolic female representation--Cixous proposes a specifically female manner of writing called ecriture feminine, Kristeva introduces the semiotic realm to contend with Lacan's symbolic realm, and Irigaray believes in the need for corporeal Jenna Davis 3 representation for women within a female economy. -
Talented ASAP Rocky Stuck in a Rut
"ALLA" Album Review: Talented ASAP Rocky Stuck In A Rut Author : gwgras Coming out of Harlem, New York is Asap Rocky. His road to hip hop stardom isn’t anything new: from a poor family, dealt drugs, saw death at an early age–began rapping–things happened. That’s not to belittle his journey – at all, but one wouldn’t get that “defeated while coming up” tone if they listened to Rocky’s music. Some would call him more of a modern-day hippie–much like Wiz Khalifa and others. He struck a $3 million dollar deal because of his mixtape success and has capitalized releasing hits like “F’n Problems” and “Wild For the Night” from his first album “Long. Live. ASAP.” His follow up album “ALLA (At Long Last ASAP)” comes with the pressure of capitalizing off his commercial success. The album starts off perfectly with “Holy Ghost.” In terms of delivery and tone, Rocky sounds more like T.I. than anything else, but delivers some insightful lines: “Satan giving out deals, finna own these rappers / the game is full of slaves and they mostly rappers / you sold your soul first, then your homies after / Let’s show these stupid field n*****s they can own they masters.” Rocky is a young business mind and finds it weird how some who have been in the game longer than him still get screwed over with music industry politics. The laid back “Excuse Me” shows Rocky delivering a laid back flow in which he rattles off a perfect rhyme scheme. -
How Female Musicians Are Treated Differently in Music
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2006 10x The Talent = 1/3 Of The Credit: How Female Musicians Are Treated Differently In Music Meggan Jordan University of Central Florida Part of the Sociology Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Jordan, Meggan, "10x The Talent = 1/3 Of The Credit: How Female Musicians Are Treated Differently In Music" (2006). Electronic Theses and Dissertations, 2004-2019. 946. https://stars.library.ucf.edu/etd/946 10X THE TALENT = 1/3 OF THE CREDIT HOW FEMALE MUSICIANS ARE TREATED DIFFERENTLY IN MUSIC by MEGGAN M. JORDAN B.A. University of Central Florida, 2004 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Sociology in the College of Sciences at the University of Central Florida Orlando, Florida Summer Term 2006 © 2006 Meggan M. Jordan ii ABSTRACT This is an exploratory, qualitative study of female musicians and their experiences with discrimination in the music industry. Using semi-structured interviews, I analyze the experiences of nine women, ages 21 to 56, who are working as professional musicians, or who have worked professionally in the past. I ask them how they are treated differently based on their gender. -
She Tried to Ru - in the Day!
Df=^"1rt 3? (LIGHTS UP. The cast dances in a conga line across the stage.) Conga, Latin feel j=rsz to our pup - py 8o lvord for fun-nv ry). Such Dal-matian 27-28 o ee Meet our par-ents Pon-go and Per - di Meet their pets called Rog - er ta. ::15-36 o Life with them could not an-y swect , Swing lt! game tempo) Mean Cruel-la! She tried to take us way!- Mean Cru-el-la! She tried to ru - in the day! @ Disnev 101 Dslnntians (IDS * Student Book I fi 3? * She real-ly gives us chill! Brrrrl - Wait right there, we should - n't get 57 ANITA: They don't un der - stand thing r,t,e've 59 ALL: Let's not tell; let's act it out in stead no\v. lVe'll all have You'll count when you're done hun - dred and one... tians! I 101 Dalmatians.KIDS - Student Book (Four CANINE NARRATORS enter.) I NARRATOR 1 Once upon a time, in a humble yet loving home beside Regents Park in London, there lived a Dalmatian family... NARRATOR 2 ... who had two lovely pets, Roger and Anita. NARRATOR 3 s Every day, Roger wrote wonderful songs and Anita painted wonderful pictures. Meanwhile, Nanny kept the house in order. (VANNY sings and dusts wildly about, even dusting the PUPPIES as they watch television.) NANNY LA LA LA LA LA LA LA... NARRATOR 4 Every night, as Anita and Roger would work and Nanny prepared dinner, the puppies gathered in front of the television to watch there favorite celebrity, Thunderbolt, the Wonderdogl (Gunfire sounds are heard from the TV.) 101 Dalmatiarts ICDS - Student Book 6 mur (Both parts are supplemented by, adLtlt t,ocals ott the track.) )=rze GROUP 2: GROUP 1: Hound-ing hood-lums u,ith a howl, bad no- (howling) Thunder - bolt! goodriks hear his grou,l. -
Conceptually Androgynous
Umeå Center for Gender Studies Conceptually androgynous The production and commodification of gender in Korean pop music Petter Almqvist-Ingersoll Master Thesis in Gender Studies Spring 2019 Thesis supervisor: Johanna Overud, Ph. D. ABSTRACT Stemming from a recent surge in articles related to Korean masculinities, and based in a feminist and queer Marxist theoretical framework, this paper asks how gender, with a specific focus on what is referred to as soft masculinity, is constructed through K-pop performances, as well as what power structures are in play. By reading studies on pan-Asian masculinities and gender performativity - taking into account such factors as talnori and kkonminam, and investigating conceptual terms flower boy, aegyo, and girl crush - it forms a baseline for a qualitative research project. By conducting qualitative interviews with Swedish K-pop fans and performing semiotic analysis of K-pop music videos, the thesis finds that although K-pop masculinities are perceived as feminine to a foreign audience, they are still heavily rooted in a heteronormative framework. Furthermore, in investigating the production of gender performativity in K-pop, it finds that neoliberal commercialism holds an assertive grip over these productions and are thus able to dictate ‘conceptualizations’ of gender and project identities that are specifically tailored to attract certain audiences. Lastly, the study shows that these practices are sold under an umbrella of ‘loyalty’ in which fans are incentivized to consume in order to show support for their idols – in which the concept of desire plays a significant role. Keywords: Gender, masculinity, commercialism, queer, Marxism Contents Acknowledgments ................................................................................................................................... 1 INTRODUCTION ................................................................................................................................. -
Statistical Text Analysis for Social Science
Statistical Text Analysis for Social Science Brendan T. O’Connor August 2014 CMU-ML-14-101 Statistical Text Analysis for Social Science Brendan T. O’Connor August 2014 CMU-ML-14-101 Machine Learning Department School of Computer Science Carnegie Mellon University Pittsburgh, PA, USA Thesis Committee: Noah A. Smith, chair Tom Mitchell Cosma Shalizi Gary King, Harvard University Submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy This work was supported by NSF CAREER IIS0644225, NSF CAREER IIS1054319, NSF grant IIS1211277, NSF grant IIS1251131, DARPA grant N10AP20042, IARPA contract D12PC00347, an Alfred P. Sloan grant, Mi- crosoft’s support for Machine Learning graduate students, Google’s support of the Worldly Knowledge project at Carnegie Mellon University, the Berkman Faculty Development Fund at Carnegie Mellon University, the Center for Applied Research in Technology at the Tepper School of Business, computing resources from the Open Source Data Cloud (Grossman et al. (2012), sponsored by the Open Cloud Consortium, the Gordon and Betty Moore Foundation, the NSF, and the University of Chicago) and computing resources from the Pittsburgh Supercomputing Center. Keywords: computational social science, natural language processing, text mining, quantitative text analysis, machine learning, probabilistic graphical models, Bayesian statistics, exploratory data analysis, social media, opinion polling, sociolinguistics, event data, international relations. 2 Abstract What can text corpora tell us about society? How can automatic text analysis algorithms efficiently and reliably analyze the social processes revealed in language production? This work develops statistical text analyses of dynamic social and news media datasets to ex- tract indicators of underlying social phenomena, and to reveal how social factors guide linguistic production. -
Of Grim Witches and Showy Lady-Devils: Wealthy Women in Literature and Film
Text Matters: A Journal of Literature, Theory and Culture Number 9 Roguery & (Sub)Versions Article 3 12-30-2019 Of Grim Witches and Showy Lady-Devils: Wealthy Women in Literature and Film Veronika Schuchter University of Oxford Follow this and additional works at: https://digijournals.uni.lodz.pl/textmatters Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons Recommended Citation Schuchter, Veronika. "Of Grim Witches and Showy Lady-Devils: Wealthy Women in Literature and Film." Text Matters: A Journal of Literature, Theory and Culture, no.9, 2020, pp. 50-65, doi:10.18778/ 2083-2931.09.03 This Article is brought to you for free and open access by the Arts & Humanities Journals at University of Lodz Research Online. It has been accepted for inclusion in Text Matters: A Journal of Literature, Theory and Culture by an authorized editor of University of Lodz Research Online. For more information, please contact [email protected]. Text Matters, Number 9, 2019 http://dx.doi.org/10.18778/2083-2931.09.03 Veronika Schuchter University of Oxford Of Grim Witches and Showy Lady-Devils: Wealthy Women in Literature and Film A BSTR A CT Imagining super rich women in the real and fictional world has long been a struggle. Those few depictions that do exist are scattered across time periods and literary genres, reflecting the legal restrictions that, at different points in time, would not allow women to accumulate assets independent of the patriarchal forces in their lives. The scarcity of extremely wealthy women in literature and film is confirmed by Forbes magazine’s list of the fifteen richest fictional characters that features forty different fictional men and only nine women, with never more than two female characters nominated in a single year. -
HEAL Hosts Caltech's First Beaver 5K Run/Walk
The California Tech Volume CXViii number 29 Pasadena, California [email protected] June 1, 2015 HEAL hosts Caltech’s first Beaver 5K Run/Walk STEPHANIE HUARD with Caltech’s health educator, Contributing Writer Jenny Mahlum, to educate the community on matters pertaining It was a warm and exciting to overall health and Caltech- morning on Saturday, May 30, specific resources for maintaining when over 170 runners gathered a healthy lifestyle. Within HEAL, on Beckman Lawn for Caltech’s there are five subcommittees: first Beaver 5K Run/Walk. The Nutrition and Fitness, Mental participants, including members of Health Awareness, Stress and the faculty, staff, postdoc, graduate Sleep, Sexual Health and Healthy and undergraduate communities, Relationships, and Drugs and lined up at 10:30 a.m. near Broad Alcohol. The CCA is group of Center, and made their way twice community volunteers from the through a twisty-turny loop on Catalina Apartments that plan campus to reach 3.1 miles. events and act as representatives Over the course of the race, for the Catalina community. The volunteers were stationed CCA consists mostly of graduate around the course to provide students. encouragement to participants, HEAL and the CCA thank and to provide assistance in everyone who participated in the the event of injury or any other event for making it a success. Runners line up at the start by Broad Center. emergency. At the end of the race, the fastest woman and man in the undergraduate, graduate and faculty/staff/postdoc categories received a prize of a Jamba Juice gift card, and the fastest team and biggest team received trophies. -
Representations of Crime in Disney Films, A
Wesleyan University The Honors College Deviance in Disney Representations of Crime in Disney Films: A Qualitative Analysis by Rebecca Rabison Class of 2008 A thesis submitted to the faculty of Wesleyan University in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Departmental Honors in Psychology Middletown, Connecticut April, 2008 ACKNOWLEDGEMENTS I would like to thank my advisor, Professor Sarah Carney for all of the help and inspiration she has given me throughout the process of writing this paper. Sarah’s work in forensic psychology served as a springboard, and this project gave me the opportunity to explore a component of criminal justice ideology in depth. Sarah’s course at Wesleyan, Psychology and the Law, was also very helpful in providing a background of the literature that exists surrounding criminal justice ideology and its impact on culture. Sarah made this project not only possible, but also enjoyable, and I am incredibly grateful to her. I would also like to thank the students who work in Sarah Carney’s research lab for their help in watching some of the films and giving me feedback on my coding and analyses. In terms of collecting all of my research materials, both literature and films, I owe many thanks to the Olin Librarians and those who work for Wesleyan’s Interlibrary Loan Program. I am also highly appreciative of my wonderful roommates for their countless hours of discussion and for all the support they have given me throughout this year. Lastly, I thank my family for their unconditional encouragement and love.