Sonia De Los Santos School Show Study Guide
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Young Americans to Emotional Rescue: Selected Meetings
YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music. -
Sexuality Education for Mid and Later Life
Peggy Brick and Jan Lunquist New Expectations Sexuality Education for Mid and Later Life THE AUTHORS Peggy Brick, M.Ed., is a sexuality education consultant currently providing training workshops for professionals and classes for older adults on sexuality and aging. She has trained thousands of educators and health care professionals nationwide, is the author of over 40 articles on sexuality education, and was formerly chair of the Board of the Sexuality Information and Education Council of the United States (SIECUS). Jan Lunquist, M.A., is the vice president of education for Planned Parenthood Centers of West Michigan. She is certified as a sexuality educator by the American Association of Sex Educators, Counselors, and Therapists. She is also a certified family life educator and a Michigan licensed counselor. During the past 29 years, she has designed and delivered hundreds of learning experiences related to the life-affirming gift of sexuality. Cover design by Alan Barnett, Inc. Printing by McNaughton & Gunn Copyright 2003. Sexuality Information and Education Council of the United States (SIECUS), 130 West 42nd Street, New York, NY 10036-7802. Phone: 212/819-9770. Fax: 212/819-9776. E-mail: [email protected] Web site: http://www.siecus.org 2 New Expectations This manual is dedicated to the memory of Richard Cross, M.D. 1915-2003 “What is REAL?” asked the Rabbit one day, when they were lying side by side near the nursery fender before Nana came to tidy the room. “Does it mean having things that buzz inside you and a stick-out handle?” “Real isn’t how you are made,” said the Skin Horse. -
WHAT YOU NEED to KNOW ABOUT DATING VIOLENCE a TEEN’S HANDBOOK “I Think Dating Violence Is Starting at a Younger Age
WHAT YOU NEED TO KNOW ABOUT DATING VIOLENCE A TEEN’S HANDBOOK “I think dating violence is starting at a younger age. It happened to me when I was 14 and I didn’t know what to do. We were friends, and then we started becoming closer. One day, he tried to push himself onto me physically. I didn’t tell anyone for months. I was embarrassed. When I finally told people, the more I talked about it the better I felt. My friend said, ‘You have to remember that you don’t deserve people taking advantage of you.’ A lot of my friends said stuff to him, and it made him feel really stupid about what he had done. The more I talked about it, the more I heard that this stuff happens but it’s not your fault.” — A. R., age 17 table of contents 3 to our teenage friends 4 chapter one: summer’s over 7 chapter two: risky business 10 chapter three: no exit? 14 chapter four: a friend in need 20 chapter five: taking a stand 25 for more information “I’m sorry,” he says, taking her hand. “It’s just that I miss you when you’re not around. I’m sorry I lost my temper.” Excerpted from chapter two. to our teenage friends Your teen years are some of the most exciting and challenging times in your life. You’re meeting new people, forming special friendships and making lifelong decisions. Some of these decisions may involve dating. And while dating can be one of the best things about being a teenager, it brings a host of new feelings and experiences — not all of them good. -
Rhythm, Dance, and Resistance in the New Orleans Second Line
UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy. -
Bouncy Rhymes Giddyap, Giddyap Giddyap, Giddyap, Ride to Town Giddyap, Giddyap, up and Down
Bouncy Rhymes Giddyap, Giddyap Giddyap, giddyap, ride to town Giddyap, giddyap, up and down. 1,2,3 Baby’s On My Knee Giddyap fast 1,2,3 baby’s on my Knee Giddyap slow 1,2,3,4 WHOOPS! Giddyap, giddyap, giddyap, WHOA! Baby’s on the floor! Grandfather Clock Acka Backa The grandfather clock goes tick tock, tick tock, Acka backa soda cracker tick tock, tick tock ( rock side to side) Acaka backa boo The kitchen clock goes tick tock, tick tock, tick Acka backa soda cracker tock, tick tock (a little faster) Up goes you! But mommy’s little watch goes Tick-a, Tick-a, Acka backa soda cracker tick-a, tick-a, tick-a (bounce faster or give a Acka backa boo tickle) Acka backa soda cracker I love you! Granny and Momma Granny and Momma and a horse named May A Froggy Sat on a Log Crossed the River one fine day A froggy sat on a log Granny jumped off – SPLASH A-weeping for his daughter Momma jumped off – SPLASH His eyes were red And the horse named May just galloped away, His tears he shed away, away, away! And he fell right into the water. Grand Old Duke of York Boing, Boing Squeak The Grand Old Duke of York Boing, boing squeak He had ten thousand men Boing, boing squeak He marched them to the top of the hill A bouncy mouse was in the house And he marched them down again. She’s been here for a week When they were up they were up She bounces in the kitchen When they were down they were down She bounces in the den And when they were only half way up She bounces in the living room They were neither up nor down. -
Clapping Games General Descriptions Apple on a Stick
Clapping games The material in this document derives from two sources. Some of it is cited directly from the material supplied by school students in response to Section 7 of the original questionnaire. Some of it is material provided by students during school visits. This material varies considerably in the degree to which it is a direct citation of what was said, or a digest of the information provided. General Descriptions W12 A variety of rhymes accompanied by a combination of claps with yourself and a partner or round a circle. K25 – visit material Clapping games demonstrated, but words minimal. Apple on a Stick R4 In this clapping game you just have to repeat the actions over and over again. The rhyme goes like this: Apple on a stick Makes me sick My heart beat 2-4-6 Not because you’re dirty Not because you’re clean Not because you kiss the boys Behind the magazine. The boys boys having fun Here comes a lady with some blueberry buns She can wriggle She can rock She can even do the splitz But I bet ya 10 bucks She can’t do this Close your eyes and count to 10 If you make a mistake You’re a big fat hen. 1-2-3-4-5-6-7-8-9-10 You did/didn’t make a mistake So that’s the end And we are friends. V8-AK1 – visit material Apple on a stick Makes me sick ©Laurie and Winifred Bauer 2002 1 NZ Playground Language Clapping Games Makes my heart beat two four six, Not because it's dirty Not because it's clean, Just because I kissed a boy Behind a magazine. -
Bob Dylan Musician, Keith Negus. This File Contains the Pre-Proof
Bob Dylan Musician, Keith Negus. This file contains the pre-proof versions of Chapter One and Chapter Five from Bob Dylan, presented here in this format with the permission of Equinox Publishing. I have called this text Bob Dylan Musician because this was the original agreed title of the book right up to the moment just before publication when pressure from the US publisher resulted in the term ‘musician’ being reluctantly (from my perspective) expunged from the title. That word – musician – was there to concisely signal how my approach differs from most other books on Bob Dylan. I am interested in his work and practice as a musician, rather than his lyrics as poetry or the relationship between his biography and musical art. The book contains five chapters, so these two chapters introduce and conclude the study. If anyone would like electronic copies of additional chapters I am happy to provide these, as long as they are used only for research and teaching. Keith Negus June 2013 CHAPTER ONE Surroundings On 31 October 1964 Bob Dylan performed at the Philharmonic Hall in New York City, just two years after signing a recording contract and with four albums already released. Having quickly gained recognition as a folk ‘protest singer’ he was rapidly moving away from songs of social commentary and ‘finger pointing’. Dylan was beginning to use the popular song in a new and radical manner to explore more internal or subjective experiences, whilst experimenting with the sound, meaning and rhythm of words. Within three months, when recording his fifth album, no longer performing alone with acoustic guitar and harmonica, he was beginning to create an abrasive yet ethereal sonority, mixing the acoustic and electric textures of folk, electric blues, rock’n’roll, gospel, country and pop. -
Mother Goose on the Loose: Humpty Dumpty
Mother Goose on the LooseTM A Library Program for Babies and Caregivers Created by Betsy Diamant-Cohen ©2005 Betsy Diamant-Cohen. All rights reserved. Cover art by Celia Yitzhak Table of Contents Background ..................................................................................................................................... 3 What Makes Mother Goose on the Loose Unique? ........................................................................ 3 Supplies ........................................................................................................................................... 4 Set-up .............................................................................................................................................. 5 Structure, Structure, Structure! ....................................................................................................... 5 Repetition with Variety ................................................................................................................... 6 1. Welcoming Comments ....................................................................................................... 6 2. Opening Rhymes and Reads .............................................................................................. 7 3. Body rhymes ...................................................................................................................... 9 4. Rum Pum Pum Drum Sequence ...................................................................................... 10 5. Standing-Up -
Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy
Illinois State University ISU ReD: Research and eData Theses and Dissertations 3-2-2017 On My Grind: Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy Evan Nave Illinois State University, [email protected] Follow this and additional works at: https://ir.library.illinoisstate.edu/etd Part of the African American Studies Commons, Creative Writing Commons, Curriculum and Instruction Commons, and the Educational Methods Commons Recommended Citation Nave, Evan, "On My Grind: Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy" (2017). Theses and Dissertations. 697. https://ir.library.illinoisstate.edu/etd/697 This Dissertation is brought to you for free and open access by ISU ReD: Research and eData. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. ON MY GRIND: FREESTYLE RAP PRACTICES IN EXPERIMENTAL CREATIVE WRITING AND COMPOSITION PEDAGOGY Evan Nave 312 Pages My work is always necessarily two-headed. Double-voiced. Call-and-response at once. Paranoid self-talk as dichotomous monologue to move the crowd. Part of this has to do with the deep cuts and scratches in my mind. Recorded and remixed across DNA double helixes. Structurally split. Generationally divided. A style and family history built on breaking down. Evidence of how ill I am. And then there’s the matter of skin. The material concerns of cultural cross-fertilization. Itching to plant seeds where the grass is always greener. Color collaborations and appropriations. Writing white/out with black art ink. Distinctions dangerously hidden behind backbeats or shamelessly displayed front and center for familiar-feeling consumption. -
Good Afternoon Everyone and Welcome to the First National Webinar
good afternoon everyone and welcome to the first national webinar of the new aod disability employment ta center my name is serena lowe and i am a senior advisor to the new center and just to give you a little bit of background about the center our purpose is to provide evidence-based training and technical assistance to aod funded grantees across various programs so that means the federally funded sales the dd network and our tbi state partnership programs our intent with this ta and training is to build the capacity of the airg grantee network to effectuate increased employment and economic outcomes of individuals with disabilities at both an individual and systems level the focus of our ga will be on scalability and sustainability of evidence-based practices and our desired outcomes is to really be able to demonstrate improvements in employment and economic outcomes for individuals with an array of disabilities directly in connection with efforts by the aod grantees in terms of our today's presentation our tagline for the aodta center is focused on three key areas collaboration innovation and systems change so with that we thought it would be a great idea to start our seminal program with the power of partnerships and really give everybody a flavor of the breadth and depth of some absolute fantastic models that are across the aod network right now related to aod grantees who have reached out to various partners in both state government among each other and also with employers and external stakeholders in the self-advocacy and family -
Same-Sex Attraction and Halakhah
Same-Sex Attraction and Halakhah RABBI LEONARD LEVY This paper was approved by the CJLS on December 6, 2006 by a vote of six in favor, 8 opposed and 11 abstaining (6-8-11). Voting in favor: Rabbis Aaron Mackler, David Wise, Loel Weiss, Baruch Frydman-Kohl, Leonard Levy, Joel Roth. Voting in opposition: Rabbis Elliot Dorff, Robert Fine, Daniel Nevins, Alan Lucas, Myron Geller, Gordon Tucker, Avram Reisner, Susan Grossman. Abstaining: Rabbis Kassel Abelson, Joseph Prouser, Adam Kligfeld, Robert Harris, Myron Fenster, Philip Scheim, Mayer Rabinowitz, Paul Plotkin, Pamela Barmash, Vernon Kurtz, Jerome Epstein. How should rabbis and institutions in Conservative Judaism deal with people in :שאלה our communities who are sexually attracted to members of the same sex? In our society and in our communities, people who have been labeled homosexual :תשובה have suffered much pain and injustice. For much of the last half of the twentieth century, those who found themselves feeling sexual attraction toward members of the same sex were given the message that there was something very wrong with them. Many went into psychoanalysis or other forms of psychotherapy seeking a cure, but many did not find a cure, but rather further torment and pronounced feelings of self-loathing. Many have committed suicide. These people felt the need to hide their feelings of same-sex attraction (SSA) from their parents, other close family members and friends in fear that should those feelings be discovered (and even more so, if those feelings found expression in behavior which was discovered or disclosed), they would be rejected and disowned by those who were nearest and dearest to them. -
The History of the Turtles Featuring Flo & Eddie
THE HISTORY OF THE TURTLES FEATURING FLO & EDDIE Very few rock performers have remained as vital through the 1960s, ‘70s, ‘80s, ‘90s and the new millennium as have Howard Kaylan and Mark Volman... and as The Turtles, featuring Flo & Eddie, they continue to maintain a vigorous tour schedule. Two guys from Westchester. That's how Mark Volman and Howard Kaylan (aka Flo and Eddie) refer to themselves. Two slightly bewildered kids thrust into the fast lane of rock 'n' roll stardom - hits, fame, national tours, hanging out with the Beatles, joining the Mothers of Invention, acting in the 200 Motels movie, and on and on ... Two guys from Westchester. Howard Kaylan (changed in 1965 from Kaplan, because that's how it always looked when he wrote his name) was born June 22, 1947 in the Bronx, and spent his first eight years in Manhattan before his father took a job with General Electric in Utica, New York. After the family moved there for a year or so, they moved to the Los Angeles area, settling in Westchester. Mark Volman was born April 19, 1947. After a brief period living in Redondo Beach, his family moved nearby to Westchester. Little did they know it at the time, but both Mark's and Howard's musical direction was forged by a crusty, old Mr. Ferguson who gave clarinet lessons in a drafty cubicle above the Westchester Music Store. Mark went to Orville Wright Jr. High, while Howard went to Airport Jr. High. They didn't know each other, but they both pursed their lips around clarinet reeds for Mr.