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SOCIAL CLASS in AMERICA TRANSCRIPT – FULL Version
PEOPLE LIKE US: SOCIAL CLASS IN AMERICA TRANSCRIPT – FULL Version Photo of man on porch dressed in white tank top and plaid shorts MAN: He looks lower class, definitely. And if he’s not, then he’s certainly trying to look lower class. WOMAN: Um, blue collar, yeah, plaid shorts. MAN: Lower middle class, something about the screen door behind him. WOMAN ON RIGHT, BROWN HAIR: Pitiful! WOMAN ON LEFT, BLOND HAIR, SUNGLASSES: Lower class. BLACK WOMAN, STANDING WITH WHITE MAN IN MALL: I mean, look how high his pants are up–my god! Wait a minute–I’m sorry, no offense. Something he would do. Photo of slightly older couple. Man is dressed in crisp white shirt, woman in sleeveless navy turtle neck with pearl necklace. WOMAN: Upper class. MAN: Yeah, definitely. WOMAN: Oh yeah. WOMAN: He look like he the CEO of some business. OLD WOMAN: The country club set- picture of smugness. GUY ON STREET: The stereotypical “my family was rich, I got the money after they died, now we’re happily ever after.” They don’t really look that happy though. Montage of images: the living situations of different social classes Song: “When you wish upon a star, makes no difference who you are. Anything your heart desires will come to you. If your heart is in your dream, no request is too extreme.” People Like Us – Transcript - page 2 R. COURI HAY, society columnist: It’s basically against the American principle to belong to a class. So, naturally Americans have a really hard time talking about the class system, because they really don’t want to admit that the class system exists. -
'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Glasgow School of Art: RADAR 'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir) David Sweeney During the Britpop era of the 1990s, the name of Mike Leigh was invoked regularly both by musicians and the journalists who wrote about them. To compare a band or a record to Mike Leigh was to use a form of cultural shorthand that established a shared aesthetic between musician and filmmaker. Often this aesthetic similarity went undiscussed beyond a vague acknowledgement that both parties were interested in 'real life' rather than the escapist fantasies usually associated with popular entertainment. This focus on 'real life' involved exposing the ugly truth of British existence concealed behind drawing room curtains and beneath prim good manners, its 'secrets and lies' as Leigh would later title one of his films. I know this because I was there. Here's how I remember it all: Jarvis Cocker and Abigail's Party To achieve this exposure, both Leigh and the Britpop bands he influenced used a form of 'real world' observation that some critics found intrusive to the extent of voyeurism, particularly when their gaze was directed, as it so often was, at the working class. Jarvis Cocker, lead singer and lyricist of the band Pulp -exemplars, along with Suede and Blur, of Leigh-esque Britpop - described the band's biggest hit, and one of the definitive Britpop songs, 'Common People', as dealing with "a certain voyeurism on the part of the middle classes, a certain romanticism of working class culture and a desire to slum it a bit". -
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in Partial Fulfillment Of
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of The Ohio State University By Dana DeVlieger, B.A., M.A. Graduate Program in Music The Ohio State University 2016 Thesis Committee: Graeme M. Boone, Advisor Johanna Devaney Anna Gawboy Copyright by Dana Lauren DeVlieger 2016 Abstract “Whiskey in the Jar” is a traditional Irish song that is performed by musicians from many different musical genres. However, because there are influential recordings of the song performed in different styles, from folk to punk to metal, one begins to wonder what the role of the song’s Irish heritage is and whether or not it retains a sense of Irish identity in different iterations. The current project examines a corpus of 398 recordings of “Whiskey in the Jar” by artists from all over the world. By analyzing acoustic markers of Irishness, for example an Irish accent, as well as markers of other musical traditions, this study aims explores the different ways that the song has been performed and discusses the possible presence of an “Irish feel” on recordings that do not sound overtly Irish. ii Dedication Dedicated to my grandfather, Edward Blake, for instilling in our family a love of Irish music and a pride in our heritage iii Acknowledgments I would like to thank my advisor, Graeme Boone, for showing great and enthusiasm for this project and for offering advice and support throughout the process. I would also like to thank Johanna Devaney and Anna Gawboy for their valuable insight and ideas for future directions and ways to improve. -
Different Class Pulp Island; 1 995 Originally Published January 22, 2013 on Probably Just Hungry
Different Class Pulp Island; 1 995 originally published January 22, 2013 on Probably Just Hungry Despite a love for fish and chips and a nostalgic fondness for my punk and goth phases, I don’t claim to know much more than a little about the way class systems work in the United Kingdom. What I do understand is that it’s something that pervades the culture there, maybe a bit like race does in the U.S. — a topic with a long and complex history, further complicated by the tumult of the post-Industrial age. I mean, that would make sense looking back at the way counter culture movements seemed to flourish there. Punk, as an example, is an original concoction of the grimy underbelly of New York City, but it never really took off until it hit British shores, where it went global and remains, to this day, a defining characteristic of that generation. Of course, in 1 995, when Pulp’s Different Class was released, I knew nothing of the above, much less who Pulp was. In fact, I wouldn’t even discover the band/album until almost 1 0 years later. Even then, well into high school, I wasn’t aware of any of the topical undercurrents on the album. (Well, aside from the smarmy swagger of Jarvis Cocker, which reach near-predatory levels here.) But now, much later, it clicks. With a name like Different Class, a track titled ”Common People” and lyrics like, ”Mis-shapes, mistakes, misfits / raised on a diet of broken biscuits / We don’t look the same as you / We don’t do the things you do / but we live around here too,” there’s no question that this is an album about class. -
Questioning the Discourse Surrounding Popular Music Success, and Exploring Opportunities for Entrepreneurship in ‘The Long Tail’
KES Transactions on Innovation in Music: Vol 1 No 1 Special Edition - Innovation in Music 2013 : pp.247-262 : Paper im13bk-022 The slow burn: questioning the discourse surrounding popular music success, and exploring opportunities for entrepreneurship in ‘the long tail’ Marcus O’Dair Lecturer in Popular Music, Middlesex University School of Media & Performing Arts, Room TG54, Town Hall Annexe, Middlesex University, The Burroughs, Hendon, London, NW4 4BT m.o’[email protected] 1. Abstract If Chris Anderson is right that the 21st century entertainment industry is based on niches rather than hits [1], then the discourse surrounding popular music success seems decidedly outmoded, stuck in the era of the ‘overnight success’ and the ‘next big thing’. In this paper, I will explore the extent to which an alternative, slower, might be open path open to musicians: a path I will call ‘the slow burn’. I will ask whether there is money to be made even in what Chris Anderson calls ‘the long tail’, the infinite number of niche markets that, Anderson argues, the internet has made economically viable. And I will ask whether an entrepreneurial approach, even on a relatively limited scale, can provide the sustainability and autonomy that eludes some apparently more successful acts. In reaching my conclusions, I draw on my own practice as a musician, on brief case studies of artists I consider representative of the ‘slow burn’, and on a pilot survey of popular music students at Middlesex University, where I am a lecturer. 2. Introduction including aims The best part of a decade ago, I was a session musician with the band Passenger. -
Download It, Let’S Do Streaming” (Downloading and Streaming Statistics Determines a Song’S Chart Rank)
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Spectacular Cities, Speculative Storytelling: Korean TV Dramas and the Selling of Place Permalink https://escholarship.org/uc/item/6722g87r Author Oh, Youjeong Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Spectacular Cities, Speculative Storytelling: Korean TV Dramas and the Selling of Place By Youjeong Oh A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Geography in the Graduate Division of the University of California, Berkeley Committee in charge: Professor You-tien Hsing, Chair Professor Richard A. Walker Professor Barrie Thorne Professor Paul E. Groth Fall 2013 Abstract Spectacular Cities, Speculative Storytelling: Korean TV Dramas and the Selling of Place By Youjeong Oh Doctor of Philosophy in Geography University of California, Berkeley Professor You-tien Hsing, Chair This dissertation examines the relationships between popular culture, cities, and gendered social discourses, with a focus on contemporary Korean television dramas. Existing studies about Korean dramas have relied upon economic and cultural analysis to, in effect, celebrate their vibrant export to overseas markets and identify why they are popular in other East Asian countries. This study expands the scope into spatial and social realms by examining cities’ drama-sponsorship and drama-driven social activities. Deploying popular culture as an analytical category directly shaping and transforming material, urban and social conditions, I argue that the cultural industry of Korean television dramas not only functions as its own, dynamic economic sector, but also constitutes urban processes and social discourses of contemporary South Korea. -
Source Material Everywhere a Remix
Source Material Everywhere a remix PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Tue, 17 May 2011 20:36:34 UTC Contents Articles Source 1 Source 1 Material 4 Material 4 Everywhere 5 Everywhere 5 Road Trip Adventure 6 Glee (Bran Van 3000 album) 9 Everywhere (Michelle Branch song) 11 Everywhere (Tim McGraw song) 15 Everywhere I Go 16 Everywhere That I'm Not: A Retrospective 17 Everywhere You Go (World Cup song) 18 Everywhere and Nowhere 22 Everywhere and His Nasty Parlour Tricks 24 Everywhere but Home 26 The Inquirer 29 Everywhere (Fleetwood Mac song) 34 Everywhere (Roswell Rudd album) 36 Everywhere I Go (Amy Grant song) 38 List of villains in The Batman 39 Everywhere We Go 68 Full House 71 Everywhere, and Right Here 82 Nowhere continuous function 83 Miss South Carolina Teen USA 84 Dense set 87 Everywhere (Maaya Sakamoto album) 89 Everywhere (Tim McGraw album) 91 Swan Songs (Hollywood Undead album) 94 Everywhere That I'm Not 99 Everywhere You Go 100 Everywhere at Once 102 References Article Sources and Contributors 104 Image Sources, Licenses and Contributors 107 Article Licenses License 108 1 Source Source A source is the start, beginning, or origin of something. Source may refer to: Research • Source text, in research (especially in the humanities), a source of information referred to by citation • Primary source, firsthand written evidence of history made at the time of the event by someone who was present • Secondary source, written accounts of history based -
Florida Agriculture in the Classroom, Inc
SM ® Florida Agriculture in the Classroom, Inc. A comprehensive guide for Florida educators designed to integrate science, technology, engineering and math into a school garden. P.O. Box 110015 • Gainesville, FL 32611 • Phone (352) 846-1391 • Fax (352) 846-1390 • www.faitc.org Thank You to Our Partners for Their Support! Thank You to Our Affiliated Partners! Dade County Farm Bureau Florida Forestry Association Dairy Council of Florida Florida Industrial & Phosphate Research Institute Farm Credit of Florida Florida Nursery, Growers & Landscape Association Florida Aquaculture Association Florida Peanut Producers Association Florida Beef Council Florida State Fair Authority Florida Citrus Mutual Florida Strawberry Growers Association Florida Department of Agriculture and Consumer Services University of Florida Agricultural Education and Florida Farm Bureau Communication Florida Fertilizer & Agrichemical Association University of Florida/IFAS 4-H Youth Development Florida Fruit & Vegetable Association Wm. G. Roe & Sons, Inc. ISBN 978-0-692-92518-8 © 2017 Florida Agriculture in the Classroom, Inc. www.faitc.org Learn to Grow excerpts compliments of University of Florida Institute of Food and Agricultural Sciences. Lessons and activities developed by Florida Teachers: Kevin Gamble, Carrie Kahr, Erin Squires, Amy Guevara (Nutrients for Life Founda- tion), Judy Nova, Marcelle Farley, Kenny Coogan, Melissa Griffin (WeatherSTEM), Stephen Hughes and Monique Mitchell. Design and layout by Sean N. Sailor, Sailor Graphics: www.seansailor.com Table of Contents Table of Contents Chapter 1: Grow to Learn . .6 Chapter 2: Planting and Growing Tips Welcome to Your Region. 26 How to Plant a Pizza Garden. 27 How to Plant a Salsa and Soup Garden. 28 Edible Commodities in Florida: An Introduction. -
Is Rotation a Nuisance in Shape Recognition?
Is Rotation a Nuisance in Shape Recognition? Qiuhong Ke1;2 Yi Li2;3 1Beijing Forestry University, 2NICTA, 3ANU [email protected], [email protected] Abstract example, where a shape is uniformly sampled and repre- sented by a series of high dimensional feature vectors. Ro- Rotation in closed contour recognition is a puzzling nui- tation amounts to shifting these vectors in a circular order, sance in most algorithms. In this paper we address three which makes the comparison of two shifted series difficult, fundamental issues brought by rotation in shapes: 1) is because this mis-correspondence phenomenon is not han- alignment among shapes necessary? If the answer is “no”, dled inherently by nearest neighbor methods and classifiers. 2) how to exploit information in different rotations? and Documented solutions of rotation invariance include: 1) 3) how to use rotation unaware local features for rotation define domain specific global rotation angle (a.k.a. “major aware shape recognition? axis”), 2) adopt rotation invariant representation of local de- We argue that the origin of these issues is the use scriptors (e.g., histogram), and 3) brute force search. Global of hand crafted rotation-unfriendly features and measure- rotation angle may be useful for the limited domains, how- ments. Therefore our goal is to learn a set of hierarchi- ever it is also believed that the major axis is not reliable cal features that describe all rotated versions of a shape as [16]. Many solutions frame the shape matching problem as a class, with the capability of distinguishing different such a histogram comparison problem [12]. -
A Film About Life, Death & Supermarkets…
PULP A Film about Life, Death & Supermarkets… A FILM BY Florian Habicht STARRING Jarvis Cocker / Nick Banks / Candida Doyle / Steve Mackey / Mark Webber Running time: 90 mins. Certificate: TBC • LOGLINE Dylan said ‘Don’t look back’ - but what happens if you do? • SYNOPSIS PULP A film about life, death & supermarkets… Sheffield, 1988, ‘The Day That Never Happened’. Following a disastrous farewell show in their hometown, PULP move to London in search of success. They find fame on the world stage in the 1990’s with anthems including ‘Common People’ and ‘Disco 2000’. 25 years (and 10 million album sales) later, they return to Sheffield for their last UK concert: what could go wrong? Giving a career best performance exclusive to the film, the band share their thoughts on fame, love, mortality - & car maintenance. Director Florian Habicht (Love Story) weaves together the band’s personal offerings with dream-like specially-staged tableaux featuring ordinary people recruited on the streets of Sheffield. Unveiling the deep affection that the inhabitants of Sheffield have for PULP, and the formative effect the town has had on the band’s music (& front-man Jarvis Cocker’s lyrics in particular) PULP is a music-film like no other – by turns funny, moving, life- affirming & (occasionally) bewildering. • DIRECTOR’S STATEMENT When my film Love Story was invited to screen at the London Film Festival in 2012, my first though was who could I invite? I thought about all the people from the UK who had inspired me, and on an impulse started writing the following email: Hello Jarvis, Hope this finds you well. -
Analyzing Style and Meaning in the Music of Abbey Lincoln, Nina Simone and Cassandra Wilson
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2012 Learning How to Listen': Analyzing Style and Meaning in the Music of Abbey Lincoln, Nina Simone and Cassandra Wilson LaShonda Katrice Barnett College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, Music Commons, and the Women's Studies Commons Recommended Citation Barnett, LaShonda Katrice, "Learning How to Listen': Analyzing Style and Meaning in the Music of Abbey Lincoln, Nina Simone and Cassandra Wilson" (2012). Dissertations, Theses, and Masters Projects. Paper 1539623358. https://dx.doi.org/doi:10.21220/s2-fqh4-zq06 This Dissertation 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]. 'Learning How To Listen': Analyzing Style and Meaning in the Music of Abbey Lincoln, Nina Simone and Cassandra Wilson LaShonda Katrice Barnett Park Forest, Illinois, U.S.A. Master of Arts, Sarah Lawrence College, 1998 Bachelor of Arts, University of Missouri, 1995 A Dissertation presented to the Graduate Faculty of the College ofWilliam and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program The College ofWilliam and Mary August, 20 12 APPROVAL PAGE This Dissertation -
Where Is Jill Scott?: the Significance of Cultural Mulattoes on Disrupting Class Identity Archetypes by Chloe Scott
Where Is Jill Scott?: The Significance of Cultural Mulattoes on Disrupting Class Identity Archetypes By Chloe Scott Submitted to the graduate degree program in African & African American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dorthy Pennington ________________________________ Tammy Kernodle ________________________________ Clarence Lang ________________________________ Alesha Doan Date Defended: April 16, 2013 The Thesis Committee for Chloe Scott certifies that this is the approved version of the following thesis: Where Is Jill Scott?: The Significance of Cultural Mulattoes on Disrupting Class Identity Archetypes ________________________________ Chairperson Dorthy Pennington Date approved: April 16, 2013 ii Abstract The purpose of this work is to demonstrate the occurrence and fluidity of cross-cultural exchanges exhibited through cultural mulattoes. Jill Scott serves as a working example of cultural mulatto characteristics, a person who can be a black urban, working-class person with middle-class aspirations and who navigates between working-class and middle-class. The framework contextualizes a qualitative critical, interpretive word based approach to the music of Jill Scott’s first album, Who is Jill Scott? Words and Sounds, Vol. 1 as Scott navigates between classes. The position allows for further exploration on how a person obtains and executes social, political, and cultural capital—as in the case of cultural mulattoes—to increase a person’s probability of having privilege and earning potential in real social settings. iii Acknowledgments Most grateful thanks to the professors in African & African-American Studies, who have been great mentors and support and to the staff for helping me through this hectic process.