GETTING IT RIGHT: USING IMPLEMENTATION RESEARCH to IMPROVE OUTCOMES in EARLY CARE and EDUCATION Introduction: Implementation Research in Early Care and Education 3
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Songs by Title
Karaoke Song Book Songs by Title Title Artist Title Artist #1 Nelly 18 And Life Skid Row #1 Crush Garbage 18 'til I Die Adams, Bryan #Dream Lennon, John 18 Yellow Roses Darin, Bobby (doo Wop) That Thing Parody 19 2000 Gorillaz (I Hate) Everything About You Three Days Grace 19 2000 Gorrilaz (I Would Do) Anything For Love Meatloaf 19 Somethin' Mark Wills (If You're Not In It For Love) I'm Outta Here Twain, Shania 19 Somethin' Wills, Mark (I'm Not Your) Steppin' Stone Monkees, The 19 SOMETHING WILLS,MARK (Now & Then) There's A Fool Such As I Presley, Elvis 192000 Gorillaz (Our Love) Don't Throw It All Away Andy Gibb 1969 Stegall, Keith (Sitting On The) Dock Of The Bay Redding, Otis 1979 Smashing Pumpkins (Theme From) The Monkees Monkees, The 1982 Randy Travis (you Drive Me) Crazy Britney Spears 1982 Travis, Randy (Your Love Has Lifted Me) Higher And Higher Coolidge, Rita 1985 BOWLING FOR SOUP 03 Bonnie & Clyde Jay Z & Beyonce 1985 Bowling For Soup 03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 BOWLING FOR SOUP '03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 Bowling For Soup 03 Bonnie And Clyde Jay Z & Beyonce 1999 Prince 1 2 3 Estefan, Gloria 1999 Prince & Revolution 1 Thing Amerie 1999 Wilkinsons, The 1, 2, 3, 4, Sumpin' New Coolio 19Th Nervous Breakdown Rolling Stones, The 1,2 STEP CIARA & M. ELLIOTT 2 Become 1 Jewel 10 Days Late Third Eye Blind 2 Become 1 Spice Girls 10 Min Sorry We've Stopped Taking Requests 2 Become 1 Spice Girls, The 10 Min The Karaoke Show Is Over 2 Become One SPICE GIRLS 10 Min Welcome To Karaoke Show 2 Faced Louise 10 Out Of 10 Louchie Lou 2 Find U Jewel 10 Rounds With Jose Cuervo Byrd, Tracy 2 For The Show Trooper 10 Seconds Down Sugar Ray 2 Legit 2 Quit Hammer, M.C. -
Hip Hop Feminism Comes of Age.” I Am Grateful This Is the First 2020 Issue JHHS Is Publishing
Halliday and Payne: Twenty-First Century B.I.T.C.H. Frameworks: Hip Hop Feminism Come Published by VCU Scholars Compass, 2020 1 Journal of Hip Hop Studies, Vol. 7, Iss. 1 [2020], Art. 1 Editor in Chief: Travis Harris Managing Editor Shanté Paradigm Smalls, St. John’s University Associate Editors: Lakeyta Bonnette-Bailey, Georgia State University Cassandra Chaney, Louisiana State University Willie "Pops" Hudson, Azusa Pacific University Javon Johnson, University of Nevada, Las Vegas Elliot Powell, University of Minnesota Books and Media Editor Marcus J. Smalls, Brooklyn Academy of Music (BAM) Conference and Academic Hip Hop Editor Ashley N. Payne, Missouri State University Poetry Editor Jeffrey Coleman, St. Mary's College of Maryland Global Editor Sameena Eidoo, Independent Scholar Copy Editor: Sabine Kim, The University of Mainz Reviewer Board: Edmund Adjapong, Seton Hall University Janee Burkhalter, Saint Joseph's University Rosalyn Davis, Indiana University Kokomo Piper Carter, Arts and Culture Organizer and Hip Hop Activist Todd Craig, Medgar Evers College Aisha Durham, University of South Florida Regina Duthely, University of Puget Sound Leah Gaines, San Jose State University Journal of Hip Hop Studies 2 https://scholarscompass.vcu.edu/jhhs/vol7/iss1/1 2 Halliday and Payne: Twenty-First Century B.I.T.C.H. Frameworks: Hip Hop Feminism Come Elizabeth Gillman, Florida State University Kyra Guant, University at Albany Tasha Iglesias, University of California, Riverside Andre Johnson, University of Memphis David J. Leonard, Washington State University Heidi R. Lewis, Colorado College Kyle Mays, University of California, Los Angeles Anthony Nocella II, Salt Lake Community College Mich Nyawalo, Shawnee State University RaShelle R. -
Top Songs of the 2010S
Top Songs of the 2010s FIREWORK Katy Perry Chart Run: Top 40: Top 10: #1: 40, 27, 20, 12, 9, 8, 7, 5, 3, 2, 1, 1, 1, 3, 4, 5, 6, 6, 6, 8, 11, 15, 21, 24 SOMEONE LIKE YOU Adele Chart Run: Top 40: Top 10: #1: 35, 30, 19, 14, 11, 10, 5, 2, 2, 1, 1, 1, 1, 4, 5, 5, 8, 10, 12, 12, 14, 16, 26, 32 STRONGER (WHAT DOESN ’T KILL YOU ) Kelly Clarkson Chart Run: Top 40: Top 10: #1: 27, 15, 13, 8, 5, 3, 2, 2, 1, 1, 1, 1, 3, 5, 8, 10, 13, 15, 17, 21, 39 SHAKE IT OFF Taylor Swift Chart Run: Top 40: Top 10: #1: 17, 8, 6, 4, 2, 2, 2, 1, 1, 1, 3, 4, 3, 4, 8, 10, 14, 16, 20, 21, 37 BLANK SPACE Taylor Swift Chart Run: Top 40: Top 10: #1: 31, 16, 11, 5, 3, 1, 1, 1, 1, 1, 1, 1, 2, 4, 5, 8, 9, 10, 12, 15, 30 THINKING OUT LOUD Ed Sheeran Chart Run: Top 40: Top 10: #1: 33, 21, 15, 13, 9, 8, 7, 3, 2, 1, 1, 1, 1, 2, 2, 4, 5, 13, 16, 23, 30 LOVE YOURSELF Justin Bieber Chart Run: Top 40: Top 10: #1: 33, 23, 16, 13, 11, 7, 4, 2, 1, 1, 2, 2, 2, 2, 3, 6, 8, 13, 14, 17, 22, 25, 26, 26, 32, 36 CAN ’T STOP THE FEELING Justin Timberlake Chart Run: Top 40: Top 10: #1: 20, 9, 6, 3, 1, 1, 1, 2, 3, 3, 4, 5, 10, 13, 15, 17, 19, 21, 24, 28 FEEL IT STILL Portugal. -
Terrorist Healthdog and Other Stories
San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research 2008 Terrorist healthdog and other stories Carlos A. Solis San Jose State University Follow this and additional works at: https://scholarworks.sjsu.edu/etd_theses Recommended Citation Solis, Carlos A., "Terrorist healthdog and other stories" (2008). Master's Theses. 3605. DOI: https://doi.org/10.31979/etd.qz32-uw27 https://scholarworks.sjsu.edu/etd_theses/3605 This Thesis is brought to you for free and open access by the Master's Theses and Graduate Research at SJSU ScholarWorks. It has been accepted for inclusion in Master's Theses by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. TERRORIST HEALTHDOG AMD OTHER STORIES A Thesis Presented to The Faculty of the Department of English San Jose State University In Partial Fulfillment of the Requirements for the Degree Master of Fine Arts by Carlos A. Solis December 2008 UMI Number: 1463385 Copyright 2008 by Solis, Carlos A. All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 1463385 Copyright 2009 by ProQuest LLC. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. -
Number Title 60536 1,2 Step 8263 18 and Life 61076 1979 61437 2
Number Title 60536 1,2 Step 8263 18 And Life 61076 1979 61437 2 Become 1 60923 21 Guns 60748 21 Questions (Feat.Nate Dogg) 61325 25 Minutes 8001 25 OR 6 TO 4 63313 3 60977 4 Minutes(Feat.Justin Timberlake,Timbaland) 60367 5 Colours In Her Hair 60754 500 Miles 61422 6,8,12 63145 7 Things 61438 7days 61519 8 Mile 61659 911 (Feat. Mary J.Blige) 61353 99 Red Balloons 8002 A Hard Day's Night 8003 A Hazy Shade Of Winter 60959 A Kink Of Magic 5684 A LOVE UNTIL THE END OF TIME 5123 A Lover's Concerto 61881 A Moment Like This 8758 A New Day Has Come 8004 A Place In The Sun 62027 A Song For Mama 8264 A Tale That Wasn't Right 61136 A Thousand Miles 2558 A Time For Us 1092 A WHITER SHADE OF PALE 8016 A Whole New World 8005 A World Without Love 8118 About A Girl 84841 Abracadabra 61197 Abracadabra 61424 Accidentally In Love 61965 Addicted 61625 Adia 1051 ADORO 8006 AFRICA 8999 Against All Odds 8304 Ain't No Mountain High Enough 8305 Ain't No Sunshine 84955 Airplanes(Feat.Hayley Williams Of Paramore) 84987 Alejandro 84909 Alice 61485 All About Lovin' You 84929 All About You 8308 All Apologies 60479 All By Myself 2403 All By Myself 8007 All For Love 1052 All for the love of a girl 61596 All I Ask Of You 61037 All I Have To Give 8008 All I Want For Christmas Is You 60392 All In Love Is Fair 8009 All My Loving 8010 All Night Long 8011 All Of Me 8012 All Right Now 61597 All Rise 60008 All Star 2466 All That She Wants 60886 All The Man That I Need 61134 All The Things She Said 62012 All You Need Is Love 2377 Alone 3060 ALWAYS 61598 Always Be My Baby 2463 -
Intimacy, Authenticity and 'Worlding' in Beyoncé's Star Project
8 Intimacy, Authenticity and ‘Worlding’ in Beyoncé’s Star Project Phoebe Macrossan At the 2014 MTV Video Music Awards, African-American pop star Beyoncé Knowles-Carter (known professionally as Beyoncé) performed a 12-song medley from her self-titled visual album, Beyoncé (2013), recreating its imagery across moving stages, treadmills, giant screens and a large troupe of dancers. To open this typically large-scale performance, she said, ‘MTV, welcome to my world’. This choice of words is interesting because, as a dominant figure in the popular music scene, Beyoncé hardly need introduce herself. What this moment captures, however, is the increasing personal intimacy of Beyoncé’s stardom, and her transition to the active creation and ownership of an identifiable, holistic ‘world’. This chapter argues that Beyoncé’s stardom extends beyond constructing a star image through media texts (Dyer, 1998, p. 10). I argue that her star project, her ongoing construction and maintenance of her stardom is creating an intimate, identifiable, holistic world: ‘Beyoncé World’. I use the term ‘star project’ because there is no beginning, middle and end as suggested by a term like ‘star narrative’, and because worlding is more encompassing and widespread than the term ‘star image’ put forward by Richard Dyer (1998, p. 10), although it is a continuation of it. 137 POPULAR MUSIC, STARS AND STARDOM Beyoncé World is created and maintained primarily through Beyoncé’s music videos and visual albums, but also across her concerts, performances and public appearances, and her social media accounts and website. Therefore, Beyoncé World is primarily created through media images, but, importantly, it also includes public appearances, actions and performances outside these visual images. -
The Symbolic Rape of Representation: a Rhetorical Analysis of Black Musical Expression on Billboard's Hot 100 Charts
THE SYMBOLIC RAPE OF REPRESENTATION: A RHETORICAL ANALYSIS OF BLACK MUSICAL EXPRESSION ON BILLBOARD'S HOT 100 CHARTS Richard Sheldon Koonce A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2006 Committee: John Makay, Advisor William Coggin Graduate Faculty Representative Lynda Dee Dixon Radhika Gajjala ii ABSTRACT John J. Makay, Advisor The purpose of this study is to use rhetorical criticism as a means of examining how Blacks are depicted in the lyrics of popular songs, particularly hip-hop music. This study provides a rhetorical analysis of 40 popular songs on Billboard’s Hot 100 Singles Charts from 1999 to 2006. The songs were selected from the Billboard charts, which were accessible to me as a paid subscriber of Napster. The rhetorical analysis of these songs will be bolstered through the use of Black feminist/critical theories. This study will extend previous research regarding the rhetoric of song. It also will identify some of the shared themes in music produced by Blacks, particularly the genre commonly referred to as hip-hop music. This analysis builds upon the idea that the majority of hip-hop music produced and performed by Black recording artists reinforces racial stereotypes, and thus, hegemony. The study supports the concept of which bell hooks (1981) frequently refers to as white supremacist capitalist patriarchy and what Hill-Collins (2000) refers to as the hegemonic domain. The analysis also provides a framework for analyzing the themes of popular songs across genres. The genres ultimately are viewed through the gaze of race and gender because Black male recording artists perform the majority of hip-hop songs. -
Explicit Content: Hip Hop, Feminism, and the Black Woman Brittney Nicole Davis Governors State University
Governors State University OPUS Open Portal to University Scholarship All Student Theses Student Theses Spring 7-13-2017 Explicit Content: Hip Hop, Feminism, and the Black Woman Brittney Nicole Davis Governors State University Follow this and additional works at: http://opus.govst.edu/theses Part of the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Davis, Brittney icN ole, "Explicit Content: Hip Hop, Feminism, and the Black Woman" (2017). All Student Theses. 93. http://opus.govst.edu/theses/93 For more information about the academic degree, extended learning, and certificate programs of Governors State University, go to http://www.govst.edu/Academics/Degree_Programs_and_Certifications/ Visit the Governors State Communication and Training Department This Thesis is brought to you for free and open access by the Student Theses at OPUS Open Portal to University Scholarship. It has been accepted for inclusion in All Student Theses by an authorized administrator of OPUS Open Portal to University Scholarship. For more information, please contact [email protected]. Running Head: EXPLICIT CONTENT Explicit Content: Hip Hop, Feminism, and the Black Woman By Brittney Nicole Davis B.A., Southern Illinois University Carbondale, 2011 THESIS Submitted in partial fulfillment of the requirements For the Degree of Master of Art With a Major in Communication Studies Governors State University University Park, IL 60484 2017 i EXPLICIT CONTENT ACKNOWLEDGEMENTS I would like to thank God for renewing my heart and mental strength in every step of this process when all I wanted to do was sleep. Thank you to Dr. Jason Zingsheim for going on this journey with me and seeing my vision before I could put it into words. -
Beyonce´, Southern Booty, and Black Femininities in Music Video
“CHECK ON IT” Beyonce´, Southern booty, and Black femininities in music video Aisha Durham Beyonce´ Knowles is a hip hop icon. She is known more for her voluptuous body than her body of work that crisscrosses multiple culture industries. Unlike her hip hop contemporaries, Beyonce´ successfully performs a range of Black femininities, speaking at once to Black working and middle class sensibilities while fulfilling her dynamic roles as both a hip hop belle and a US exotic other globally. The music video emerges as the celebrity-making medium by which the form and function of the spectacular Black female body is rearticulated. It is the medium that thrusts Beyonce´ from a girl group member to a supreme solo Diana Ross-like diva. By interrogating her performances of Black femininity that operate in her Hype Williams directed and MTV award winning video, Check On It, this essay explores the ways her Southern hip hop booty shapes how her iconic body is understood in contemporary popular culture. KEYWORDS Beyonce´ Knowles; music video; femininity; hip hop; gender stereotypes; iconicity Introduction Beyonce´ is a hip hop icon. From her signature booty dance (Shane Watson 2004, p. 22), the Single Ladies (2009) sensation that spawned television spoofs and viral videos, to her May–December romance with rapper Jay-Z, entertainment news concerning the diva proliferates the cultural circuit. She is dynamic. During one show, Beyonce´ as Sasha Fierce can don a dominatrix costume complete with thigh-high patent-leather boots and matching black briefs to recreate the almost X-rated Sharon Stone leg-crossing interrogation scene from Basic Instinct (Paul Verhoeven 1992), and a commercial break later accept an MTV music video award wearing a white evening gown without pause or a stain to her wholesome image as the Southern belle of hip hop culture. -
Fierce, Fabulous, and In/Famous: Beyoncé As Black Diva
UvA-DARE (Digital Academic Repository) Fierce, Fabulous, and In/Famous: Beyoncé as Black Diva Kooijman, J. DOI 10.1080/03007766.2019.1555888 Publication date 2019 Document Version Final published version Published in Popular music and society License CC BY-NC-ND Link to publication Citation for published version (APA): Kooijman, J. (2019). Fierce, Fabulous, and In/Famous: Beyoncé as Black Diva. Popular music and society, 42(1), 6-21. https://doi.org/10.1080/03007766.2019.1555888 General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:30 Sep 2021 Popular Music and Society ISSN: 0300-7766 (Print) 1740-1712 (Online) Journal homepage: https://www.tandfonline.com/loi/rpms20 Fierce, Fabulous, and In/Famous: Beyoncé as Black Diva Jaap Kooijman To cite this article: Jaap Kooijman (2019) Fierce, Fabulous, and In/Famous: Beyoncé as Black Diva, Popular Music and Society, 42:1, 6-21, DOI: 10.1080/03007766.2019.1555888 To link to this article: https://doi.org/10.1080/03007766.2019.1555888 © 2018 The Author(s). -
Used by Teachers and Administrators of Indian Students from The
DO CUMF NT R F S OMR ED 024 477 RC 000 288 Basic Goals for Elementary Children: Volume I. Beginners Level and Level One; Volume II, LevelsTwo and Three; Volume III, Levels Four, Five and Six; Volume IV, Levels Seven and Eight. Bureau of Indian Affairs (Dept. of Interior), Washington, D.C. Pub Date 66 Note-752p. Available from-Publications Service, Haskell Institute, Lawrence, Kansas66044(no charge) EDRS Price MF-$3.00HC-$37.40 Descriptors-*Activities, *American Indians, Art Activities, *Curriculum Guides, *Elementary Grades,English (Second Langua9e). Guidance Objectives,Guidelines,HealthActivities, Language Arts,ListeningSkills, Literature, Music Activities, Number Concepts, Physical Activities, Reading, ScienceActivities, c.:ocial Studies, Speaking Activities, g(Teaching Techniques, Writing Skills These curriculum guides were developed by the Bureau of IndianAffairs to be used by teachers and administrators of Indian studentsfrom the beginning level through the eighth. The four volumes lorovide a structuring and selquencingof themes and concepts designed to prepare Indian children to competefavorably with their peers in other school situations.Explanations and activities are provided for each level in the areas of guidance, social studies, music, listening,speaking reading, writing literature, art, health and physical fitness, science, andnumber concepts. For each area at each level an extensive bibliography of relatedmaterials is provided. (DK) C)R -ELQIviNTARYeAsIC COALS C1-11LIN BEGINNINGDEPARTMENTBUREAU LEVEL OF INDIANOF TIiEAND INTERIORAFFAIRS LEVEL ONE DEPARTMENTStewartUNITED L.OF Udall, STATESTHE Secretary INTERIOR RobertBUREAU L. Bennett, OF INDIAN Commissioner AFFAIRS AssistantDIVISIONCarl L. OFCommissionerMarburger EDUCATION PublicationsHaskellLawrence,Order Institute fromKansas Service U.S. DEPARTMENTOFF:CE OF HEALTH, OF EDUCATION EDUCATION& WELFARE THIS DOCLMENT HAS BEEN REPRODUCEDEXACTLY AS RECEIVED FROM THE POSITIONSTATEDPERSON DO OR OR NOT ORGANIZATION POLICY. -
FRANK GATSON Jr
FRANK GATSON Jr. - Resume Director/Artist Visual Developer Creative Director/Choreographer VIDEO DIRECTOR -Luke James “Make Love To Me’ -Kelly Rowland “Down For Whatever” -Kelly Rowland “Lay it On Me” 2011 -Kelly Rowland “What a Feeling” 2011 -Beyonce 2009 I AM.. Tour – London O2 Concert DVD -Esmee “Outta Here” -Beyonce “Ego” -Beyonce featuring Kanye “Ego Remix” -Beyonce ‘I Am… Sasha Fierce’ Video Tour Elements -Beyonce 2007 “The Beyonce Experience” Video Tour Elements -Destiny’s Child 2005 “Destiny Fulfilled Tour” Video Tour Elements -Destiny’s Child 2005 Video Tour Elements -R. Kelly “Down Low Top Secret Tour Elements” -R. Kelly “Get Up On A Room Tour Elements” -R. Kelly “Trade In My Life” -R. Kelly “The Big C” (a Cartoon) -R. Kelly T.P-2 Tour Elements” -Smooth “Summertime” -Trisha Covington “Slow Down” -Maliek Brit “I’m The Only Player” -Se Deuce “Don’t Waste My Time” -Cherise Arrington “Down With This” -Kenneth Mangram “What’s Yo Name” TELEVISION / FILM / CHOREOGRAPHY -2015 Soul Train Awards – R. Kelly – “Backyard Party” -2015 Teen Choice Awards - Jussie Smollett – “Empire” ft. Bryshere Yazz Gray -2015 BET Awards - Jussie Smollett – “Empire” ft. Bryshere Yazz Gray -2015 Skin Wars – Guest Judge – Rupaul and Rebecca Romijn -2015 Spirit Awards- Destiny’s Child -2015 Grammy Awards – Jessie J Performance -2014 American Music Awards- Jennifer Lopez -2014 Fashion Rocks- Jennifer Lopez -2014 ACM Awards- The Band Perry -2014 Grammy’s Beyonce and Jay Z - -2013 Billboard Awards- The Band Perry -2013 ACM Awards- The Band Perry -2013 Super Bowl - Beyonce - 2013 -2013 Beyonce Mrs Carter World Tour -2013 Luke James - Mrs Carter Tour , Europe + USA -2012 A.