The Kalamazoo Normal Record Vol. 5 No. 8 Western State Normal School
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Pakistan Floods: After the Deluge & the Future of Migration?
Winter 2010 Pakistan Floods: After the Deluge & The Future of Migration? Winter 2010 ISSN 1813-2855 Editor-In-Chief 3 Editorial Jean-Philippe Chauzy 4 Editors Jemini Pandya 4 Pakistan – After the Deluge Chris Lom Niurka Piñeiro Jared Bloch 8 Mass Communications 8 Layout Programme Talks and Listens to Valerie Hagger Joseph Rafanan Pakistan’s Flood Victims Cover Photo Asim Hafeez/OnAsia 11 Giving Voice to Haiti’s © IOM 2010 - MPK0304 11 Earthquake Victims Migration is published twice a year in English, French and Spanish. All correspondence 14 In Search of Normal: Thoughts and inquiries concerning this publication should be sent to: about Haiti after the Earthquake 14 International Organization for Migration (IOM) PO Box 71 17 Helping the Lost Youth CH Geneva 19 Switzerland of Tanzania Tel.: +41 22 717 91 11 Fax: +41 22 798 61 50 17 E-mail: [email protected] The Silent Plight of Migrant Migration is available online 23 on the IOM website: Farm Workers in South Africa http://www.iom.int IOM is committed to the 25 Tehnology, Vigilance and Sound 25 principle that humane and Judgement – Managing the Dominican orderly migration benefits migrants and society. As Republic’s Borders an intergovernmental organization, IOM acts 28 with its partners in the 28 Biometric Passport and Indentification international community Card: Armenia Enters the Digital Age to: assist in meeting the operational challenges of migration; advance understanding of migration 30 Shedding Light on South-South issues; encourage social Migration to Aid Development and economic development 30 through migration; and uphold the human dignity and well-being of migrants. -
100 Years: a Century of Song 1970S
100 Years: A Century of Song 1970s Page 130 | 100 Years: A Century of song 1970 25 Or 6 To 4 Everything Is Beautiful Lady D’Arbanville Chicago Ray Stevens Cat Stevens Abraham, Martin And John Farewell Is A Lonely Sound Leavin’ On A Jet Plane Marvin Gaye Jimmy Ruffin Peter Paul & Mary Ain’t No Mountain Gimme Dat Ding Let It Be High Enough The Pipkins The Beatles Diana Ross Give Me Just A Let’s Work Together All I Have To Do Is Dream Little More Time Canned Heat Bobbie Gentry Chairmen Of The Board Lola & Glen Campbell Goodbye Sam Hello The Kinks All Kinds Of Everything Samantha Love Grows (Where Dana Cliff Richard My Rosemary Grows) All Right Now Groovin’ With Mr Bloe Edison Lighthouse Free Mr Bloe Love Is Life Back Home Honey Come Back Hot Chocolate England World Cup Squad Glen Campbell Love Like A Man Ball Of Confusion House Of The Rising Sun Ten Years After (That’s What The Frijid Pink Love Of The World Is Today) I Don’t Believe In If Anymore Common People The Temptations Roger Whittaker Nicky Thomas Band Of Gold I Hear You Knocking Make It With You Freda Payne Dave Edmunds Bread Big Yellow Taxi I Want You Back Mama Told Me Joni Mitchell The Jackson Five (Not To Come) Black Night Three Dog Night I’ll Say Forever My Love Deep Purple Jimmy Ruffin Me And My Life Bridge Over Troubled Water The Tremeloes In The Summertime Simon & Garfunkel Mungo Jerry Melting Pot Can’t Help Falling In Love Blue Mink Indian Reservation Andy Williams Don Fardon Montego Bay Close To You Bobby Bloom Instant Karma The Carpenters John Lennon & Yoko Ono With My -
Sean Mcculloch – Lead Vocals Daniel Gailey – Guitar, Backing Vocals Bryce Kelly – Bass, Backing Vocals Lee Humarian – Drums
Sean McCulloch – Lead Vocals Daniel Gailey – Guitar, Backing Vocals Bryce Kelly – Bass, Backing Vocals Lee Humarian – Drums Utter and complete reinvention isn’t the only way to destroy boundaries. Oftentimes, the most invigorating renewal in any particular community comes not from a generation’s desperate search for some sort of unrealized frontier, but from a reverence for the strength of its foundation. The steadfast metal fury of PHINEHAS is focused, deliberate, and unashamed. Across three albums and two EPs, the Southern California quartet has proven to be both herald of the genre’s future and keeper of its glorious past. The New Wave Of American Metal defined by the likes of As I Lay Dying, Shadows Fall, Unearth, All That Remains, Bleeding Through, and likeminded bands on the Ozzfest stage and on the covers of heavy metal publications has found a new heir in PHINEHAS. Even as the NWOAM owed a sizeable debt to Europe’s At The Gates and In Flames and North America’s Integrity and Coalesce, PHINEHAS grab the torch from the generation just before them. The four men of mayhem find themselves increasingly celebrated by fans, critics, and contemporaries, due to their pulse-pounding brutality. Make no mistake: PHINEHAS is not a simple throwback. PHINEHAS is a distillation of everything that has made the genre great since bands first discovered the brilliant results of combining heavy metal’s technical skill with hardcore punk’s impassioned fury. SEAN MCCULLOCH has poured his heart out through his throat with decisive power, honest reflections on faith and doubt, and down-to-earth charm since 2007. -
Shadows in the Field Second Edition This Page Intentionally Left Blank Shadows in the Field
Shadows in the Field Second Edition This page intentionally left blank Shadows in the Field New Perspectives for Fieldwork in Ethnomusicology Second Edition Edited by Gregory Barz & Timothy J. Cooley 1 2008 1 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright # 2008 by Oxford University Press Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press 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 Oxford University Press. Library of Congress Cataloging-in-Publication Data Shadows in the field : new perspectives for fieldwork in ethnomusicology / edited by Gregory Barz & Timothy J. Cooley. — 2nd ed. p. cm. Includes bibliographical references and index. ISBN 978-0-19-532495-2; 978-0-19-532496-9 (pbk.) 1. Ethnomusicology—Fieldwork. I. Barz, Gregory F., 1960– II. Cooley, Timothy J., 1962– ML3799.S5 2008 780.89—dc22 2008023530 135798642 Printed in the United States of America on acid-free paper bruno nettl Foreword Fieldworker’s Progress Shadows in the Field, in its first edition a varied collection of interesting, insightful essays about fieldwork, has now been significantly expanded and revised, becoming the first comprehensive book about fieldwork in ethnomusicology. -
Stillborn Records to Re-Issue DEFILER's Debut Album 'Pangaea
For Immediate Release November 23rd, 2011 Stillborn Records to Re-Issue DEFILER's Debut Album ‘Pangaea’ on CD -- Special CD/T-Shirt Bundle Available Now For a Limited Time DEFILER Currently in the Studio Working On New Album – Set to Announce New Label Home Shortly -- Details Forthcoming In October 2010, after a few months living in the studio working on demos and recording, Castro Valley, CA’s DEFILER released their own debut album, PANGAEA, as a digital album only. Soon after, scraping together enough money from digital sales of PANGAEA, the band shot their first ever music video for ‘Cryomancer’. Once ‘Cryomancer’ went viral it spread like wildfire, garnering thousands of views within the first few weeks of its release and accumulating over 1.25 million YouTube views to date. The viral success of the ‘Cryomancer’ video immediately caught the attention of Jamey Jasta (Hatebreed, Jasta, Kingdom of Sorrow) and Stillborn Records. Shortly thereafter, DEFILER vocalist Jake Pelzl and Jasta started working together on re-issuing PANGAEA as a physical CD for the first time ever. Due to popular demand, Stillborn Records is now fast tracking the re-issue of PANGAEA and making it available for a limited time as a CD/T-shirt bundle. The re-issue PANGAEA was remixed/re-masterd by Zeuss (Hatebreed, Shadows Fall, Emmure, Chimaira) also includes ‘Wild Wasteland’, a never before released bonus studio track. The PANGAEA re-issue will also include new artwork designed by Mike D from Darkicon Design (Killswitch Engage). DEFILER recently signed a new record deal (with a new label home) with additional details are set to be announced shortly. -
RFL063 the Red Chord
CLIENTS DELUXE GATEFOLD LP “The unsettling touch of a gnarled chapped hand tugs at my wrist. A shiver of uneasiness surges through my body that is almost enough to mask the nauseating aroma that surrounds him. “Hey Mister. Got a cigarette?” I quickly pull my arm away as small black insect crawls from his sleeve and falls to ground. My imagination is flying. What happened here? How did it come to be this way? And there are millions just like him. We are all just like him. We are all clients.” Taken from a passage in “Clients” THE RED CHORD has been cited as one of the most influential crossover bands of the hardcore, grind and metal genres. They have been referenced, featured or interviewed in the majority of pertinent heavy music periodicals including Revolver, AP, Metal Hammer, Terrorizer, Unrestrained, Decibel and Brave Words and Bloody Knuckles. This year looks to be the bands biggest year yet, with their new record and some huge tour plans to follow including The New England Hardcore & Metal Fest as well as a co-headlining tour with Bury Your Dead. ARTIST: The Red Chord TITLE: Clients So what should fans of THE RED CHORD’s previous work expect? “It’s a very different album than Fused FORMAT: Deluxe Gatefold LP Together in Revolving Doors. I personally think it’s a lot heavier and angrier, but we’ll let you judge for yourself,” states vocalist Guy Kozowyk. To say Clients is thought provoking is a mere understatement as it HOMETOWN AREA: forces you look at society’s unfortunates and wonder how they became the way they did. -
El Grito Del Bronx 1
EL GRITO DEL BRONX 1 EL GRITO DEL BRONX (formerly known as CRY OF THE BRONX) Cast Of Characters 1977: JESÚS COLÓN—14, a boy nurtured by rage MAGDALENA COLÓN—12, his sister, tense & nervous. She walks with a cast on her right leg. MARIA COLÓN—40, their mother, very tired. JOSÉ COLÓN—45, their father, very hungry. Voice of a MALE TV NEWSCASTER Voice of a FEMALE TV NEWSCASTER Voice of a PUERTO RICAN MAN on TV 1991: PAPO—28, an inmate on death row. He is gaunt and pale. The adult JESÚS. LULU—26, a poet; the adult MAGDALENA. She has a slight limp when she walks. The GUY NEXT DOOR—PAPO’s neighbor on death row; a shadowy figure. All we see of him is his hands which change from scene to scene, sometimes black sometimes white, sometimes old, etc. MARIA— PAPO & LULU's MOTHER—54, in mourning. *FIRST GAS STATION ATTENDANT—a white man in his 20s. *LAST GAS STATION ATTENDANT—a white man in his 20s. *AND ALL OTHER GAS STATION ATTENDANTS—white men in their 20s. *All played by the same actor, his voice sometimes amplified and altered. ELIZABETH the LAST GAS STATION ATTENDANT’S MOTHER—a white woman from rural Kentucky, in her 40s in mourning. ED—28, a journalist. Jewish-american. SARAH, ELECTROCUTED BOY's MOTHER—a woman in mourning, African-american, 30s. TIME: On LULU's October wedding day in 1991, with some moments from the past also revisted between the years 1977 & 1991. PLACE: The Bronx, New York—in a 1st floor apartment in a five-story walk-up, and in a rubble-filled alley behind the building; Death Row in an Ohio Federal Prison—PAPO’s cell; Darien, CT—in ED & LULU’s studio apartment, and a park; and Lorain, Ohio—in a SOHIO gas station store, and a hospital room. -
Thematic Patterns in Millennial Heavy Metal: a Lyrical Analysis
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2012 Thematic Patterns In Millennial Heavy Metal: A Lyrical Analysis Evan Chabot 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 Chabot, Evan, "Thematic Patterns In Millennial Heavy Metal: A Lyrical Analysis" (2012). Electronic Theses and Dissertations, 2004-2019. 2277. https://stars.library.ucf.edu/etd/2277 THEMATIC PATTERNS IN MILLENNIAL HEAVY METAL: A LYRICAL ANALYSIS by EVAN CHABOT B.A. University of Florida, 2011 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 Fall Term 2012 ABSTRACT Research on heavy metal music has traditionally been framed by deviant characterizations, effects on audiences, and the validity of criticism. More recently, studies have neglected content analysis due to perceived homogeneity in themes, despite evidence that the modern genre is distinct from its past. As lyrical patterns are strong markers of genre, this study attempts to characterize heavy metal in the 21st century by analyzing lyrics for specific themes and perspectives. Citing evidence that the “Millennial” generation confers significant developments to popular culture, the contemporary genre is termed “Millennial heavy metal” throughout, and the study is framed accordingly. -
EYE EMPIRE Announces Extensive Fall Touring Plans with NONPOINT, SEETHER, and More
For Immediate Release August 13, 2012 EYE EMPIRE Announces Extensive Fall Touring Plans with NONPOINT, SEETHER, and More New Album ‘Impact’ – In Stores Now! American hard rockers EYE EMPIRE recently joined up with Nonpoint on a tour of several Eastern states that will travel through the end of August. The band will then continue on with a headline tour of several Southern states across the U.S., ultimately linking up with Seether from October 5th through the latter part of the month. See below for all current tour dates. Corey Lowery (Dark New Day, Stereomud, Stuck Mojo) and B.C. Kochmit (Dark New Day, Switched) formed EYE EMPIRE in 2007 with a rotating line-up of drummers—a spot now permanently filled by Ryan Bennett, formerly of Texas Hippie Coalition. In 2009, Donald Carpenter (formerly of Submersed) joined the band as the vocalist. Their latest release, a double album entitled Impact, was released in June 2012 and contains several tracks from the band’s self-released 2011 album, Moment of Impact, plus unreleased, acoustic, and live versions of songs. Several songs on Impact were recorded with Sevendust drummer Morgan Rose, and the track ‘Victim (Of The System)’ features guest vocals from Lajon Witherspoon, also of Sevendust. EYE EMPIRE has posted a video for the track ‘I Pray’ on their official YouTube page consisting of band-filmed footage, as well as an official album trailer. Head to this location to get a good taste of the band’s sound and subscribe to the page to receive EETV video updates and more! Catch EYE EMPIRE on tour now! -
Guitar Magazine Master Spreadsheet
Master 10 Years Through the Iris G1 09/06 10 years Wasteland GW 4/06 311 Love Song GW 7/04 AC/DC Back in Black + lesson GW 12/05 AC/DC Dirty Deeds Done Dirt Cheap G1 1/04 AC/DC For Those About to Rock GW 5/07 AC/DC Girls Got Rhythm G1 3/07 AC/DC Have a Drink On Me GW 12/05 ac/dc hell's bells G1 9/2004 AC/DC hell's Bells G 3/91 AC/DC Hells Bells GW 1/09 AC/DC Let There Be Rock GW 11/06 AC/DC money talks GW 5/91 ac/DC shoot to thrill GW 4/10 AC/DC T.N.T GW 12/07 AC/DC Thunderstruck 1/91 GS AC/DC Thunderstruck GW 7/09 AC/DC Who Made Who GW 1/09 AC/DC Whole Lotta Rosie G1 10/06 AC/DC You Shook Me All Night Long GW 9/07 Accept Balls to the Wall GW 11/07 Aerosmith Back in the Saddle GW 12/98 Aerosmith Dream On GW 3/92 Aerosmith Dream On G1 1/07 Aerosmith Love in an Elevator G 2/91 Aerosmith Train Kept a Rollin’ GW 11/08 AFI Miss Murder GW 9/06 AFI Silver and Cold GW 6/04 Al DiMeola Egyptian Danza G 6/96 Alice Cooper No More Mr. Nice Guy G 9/96 Alice Cooper School's Out G 2/90 alice cooper school’s out for summer GW hol 08 alice in chains Dam That River GW 11/06 Alice in Chains dam that river G1 4/03 Alice In Chains Man in the Box GW 12/09 alice in chains them bones GW 10/04 All That Remains Two Weeks GW 1/09 All-American Rejects Dirty Little Secret GW 6/06 Allman Bros Midnight Rider GW 12/06 Allman Bros Statesboro Blues GW 6/04 Allman Bros Trouble no More (live) GW 4/07 Allman Bros. -
Shining Light on the Response to Child Sexual Abuse and Exploitation
A report from The Economist Intelligence Unit OUT OF THE SHADOWS: SHINING LIGHT ON THE RESPONSE TO CHILD SEXUAL ABUSE AND EXPLOITATION A 40-country benchmarking index Supported by: With additional support from: OUT OF THE SHADOWS: SHINING LIGHT ON THE RESPONSE TO CHILD SEXUAL ABUSE AND EXPLOITATION Contents About the research 3 Acknowledgements 4 Executive summary 5 Introduction 7 A global agenda priority 8 Socioeconomic impact 8 Defining sexual violence against children 9 Emerging from the shadows 10 Exploring the index 11 1. Environment 12 Risk factors 13 Protective factors 14 Societal norms and attitudes 14 2. Legal framework 15 Subnational law 16 Child marriage 16 Box 1: Overlooking boys 18 3. Government commitment and capacity 19 Box 2: Bridging knowledge gaps 20 Cross-border challenges, technology and innovation 21 Box 3: Innovative prevention strategies 22 4. Engaging industry, civil society and media 22 The private sector 23 The media 23 Conclusion 26 Appendix 28 Appendix 1: Definitions of CSA and CSE 28 Appendix 2: Index methodology 29 An Economist Intelligence Unit research programme supported by World Childhood Foundation and Oak Foundation. With additional support from Carlson Family Foundation. © The Economist Intelligence Unit Limited 2019 2 OUT OF THE SHADOWS: SHINING LIGHT ON THE RESPONSE TO CHILD SEXUAL ABUSE AND EXPLOITATION About the research Out of the shadows: Shining light on the response to child sexual abuse and exploitation is an Economist Intelligence Unit research programme supported by the World Childhood Foundation and the Oak Foundation with additional support from the Carlson Family Foundation. It is based largely on a country-level benchmarking index that evaluates how stakeholders are responding to the scourge of sexual violence against children in 40 selected countries. -
1 This Was the Year That the Shadows Appeared As Singers Before a Pan
1975 This was the year that The Shadows appeared as singers before a pan-European audience. The earlier 1973 initiative had not produced the desired outcome and by 1974 they were in the wilderness and did not exist as a viable group. They got together to perform at the Palladium on 27 October of that year as a personal tribute to and for the benefit of the widow of BBC producer Colin Charman. BBC boss Bill Cotton heard them and suggested that they might like to represent the UK at the Eurovision Song Contest the following year. They accepted, formed a working ensemble, and undertook a few local ‘practice’ gigs while preparing and practising the songs. The chosen song, [254] LET ME BE THE ONE, was one of six put forward for the UK’s entry in the Eurovision Contest of 1975, and was the last of the contenders performed over six successive weeks on Lulu’s BBC TV show at the start of the year. It was duly televised in Stockholm on 22 March but came in second to Dutch group Teach-In’s lyrically challenged ‘Dinge-Dong’ ~ English title ‘Ding-A-Dong’ (“Ding- A-Dong every hour,/ When you pick a flower …”), which impressed the British public sufficiently to enjoy a seven-week residence in the Singles charts (climbing to No.13). No such good fortune attended the release of The Shadows’ follow-up to their charting Eurovision Single, another piece from the same composer, the staggeringly inane, hopelessly unamusing [266] RUN BILLY RUN (“Closed my eyes, I tried countin’ sheep,/ Desp-rate Dan just looked like Bo-Peep,/ I can’t sleep”).