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Lamar photographed Dec. 30, 2015, in downtown Los Angeles. GRAMMYPREVIEW2016 KENDRICK’S February 13, 2016 SWEET | billboard.com REVENGE No, Lamar doesn’t care about those past snubs. Because the Compton rapper with 11 nominations knows this is his best work ever: ‘I want to win them all’ ‘IT’S STILL TOO WHITE, TOO MALE AND TOO OLD’ Grammy voters speak out! ‘THE SECRET IS… TALENT’ How Chris Stapleton conquered country WE PROUDLY CONGRATULATE OUR GRAMMY® THE RECORDING ACADEMY® SONG OF THE YEAR BEST DANCE/ELECTRONIC ALBUM LIFETIME ACHIEVEMENT AWARD ED SHEERAN CARIBOU HERBIE HANCOCK “THINKING OUT LOUD” OUR LOVE RECORD OF THE YEAR BEST NEW ARTIST BEST DANCE/ELECTRONIC ALBUM ED SHEERAN COURTNEY BARNETT DISCLOSURE “THINKING OUT LOUD” CARACAL BEST POP SOLO PERFORMANCE RECORD OF THE YEAR ED SHEERAN BEST DANCE/ELECTRONIC ALBUM MARK RONSON* “THINKING OUT LOUD” SKRILLEX & DIPLO “UPTOWN FUNK” SKRILLEX AND DIPLO PRESENT JACK Ü BEST POP SOLO PERFORMANCE ALBUM OF THE YEAR ELLIE GOULDING* BEST DANCE/ELECTRONIC ALBUM ED SHEERAN “LOVE ME LIKE YOU DO” JAMIE XX BEAUTY BEHIND THE MADNESS IN COLOUR BY THE WEEKND BEST POP DUO/GROUP PERFORMANCE (featured artist) MARK RONSON* BEST ROCK PERFORMANCE ALBUM OF THE YEAR “UPTOWN FUNK” ELLE KING “EX’S & OH’S” FLYING LOTUS BEST POP VOCAL ALBUM TO PIMP A BUTTERFLY MARK RONSON* BEST ROCK PERFORMANCE BY KENDRICK LAMAR UPTOWN SPECIAL WOLF ALICE (producer) “MOANING LISA SMILE” BEST DANCE RECORDING ALBUM OF THE YEAR BEST ROCK SONG JACK ANTONOFF ABOVE & BEYOND “WE’RE ALL WE NEED” ELLE KING (OF FUN. AND BLEACHERS) “EX’S & OH’S” 1989 BY TAYLOR SWIFT BEST DANCE RECORDING (producer + engineer) ANDREW BAYER BEST ALTERNATIVE MUSIC ALBUM ALBUM OF THE YEAR “WE’RE ALL WE NEED” TAME IMPALA LABRINTH (producer) CURRENTS BEAUTY BEHIND THE MADNESS BEST DANCE RECORDING BEST RAP PERFORMANCE BY THE WEEKND (featured artist + producer) FLYING LOTUS ALLAN KINGDOM* “NEVER CATCH ME” “ALL DAY” ALBUM OF THE YEAR (featured artist) THUNDERCAT BEST DANCE RECORDING TO PIMP A BUTTERFLY SKRILLEX & DIPLO BY KENDRICK LAMAR “WHERE ARE Ü NOW” (featured artist + producer) AWA R D N O M I N E ES BEST RAP/SUNG COLLABORATION BEST AMERICAN ROOTS SONG BEST MUSICAL THEATER ALBUM ROMAN GIANARTHUR PUNCH BROTHERS SYDNEY LUCAS “CLASSIC MAN” BY JIDENNA “JULEP” FUN HOME (principal soloist) BEST RAP/SUNG COLLABORATION BEST AMERICANA ALBUM BEST SCORE SOUNDTRACK THUNDERCAT BRANDI CARLILE FOR VISUAL MEDIA “THESE WALLS” BY KENDRICK LAMAR THE FIREWATCHER’S DAUGHTER JÓHANN JÓHANNSSON BEST RAP SONG BEST AMERICANA ALBUM THE THEORY OF EVERYTHING * ALLAN KINGDOM THE MAVERICKS BEST SONG WRITTEN MONO “ALL DAY” FOR VISUAL MEDIA (co-writer) BEST AMERICANA ALBUM TOVE LO BEST IMPROVISED JAZZ SOLO PUNCH BROTHERS “LOVE ME LIKE YOU DO” (co-writer) CHRISTIAN MCBRIDE THE PHOSPHORESCENT BLUES “CHEROKEE” BEST ALBUM NOTES BEST MUSICAL THEATER ALBUM BEST AMERICAN ROOTS PERFORMANCE CHRISTOPHER JACKSON JONI MITCHELL LOVE HAS MANY FACES: A QUARTET, THE MILK CARTON KIDS HAMILTON A BALLET, WAITING TO BE DANCED “CITY OF OUR LADY” (principal soloist) BEST AMERICAN ROOTS PERFORMANCE BEST MUSICAL THEATER ALBUM PRODUCER OF THE YEAR, PUNCH BROTHERS LEANNE COPE NON-CLASSICAL “JULEP” AN AMERICAN IN PARIS DIPLO (principal soloist) BEST AMERICAN ROOTS SONG BEST MUSIC VIDEO RAUL MALO BEST MUSICAL THEATER ALBUM JOSEPH KAHN (OF THE MAVERICKS) ROB FISHER “BAD BLOOD” BY TAYLOR SWIFT “ALL NIGHT LONG” AN AMERICAN IN PARIS (director) (songwriter) (producer) * Coda Client Only Bieber is just the 12th act to replace himself at No. 1 on Back-To-Back Bieber: the Hot 100. ‘Love Yourself ’ GABRIEL OLSEN/GETTY IMAGES Dethrones ‘Sorry’ USTIN BIEBER RULES ATOP THE BILLBOARD HOT 100 FOR another week, but with a twist: The pop superstar earns the rare distinction of replacing himself at the top as his single J “Love Yourself” rises 2-1 (on the chart dated Feb. 13), ending the three-week reign of “Sorry,” which falls to No. 2. Bieber is just the 12th act in the Hot 100’s 57-year history to succeed himself at No. 1 (an honor roll initiated by The Beatles in 1964). “Love Yourself” is Bieber’s third Hot 100 No. 1, with all three from his 2015 album Purpose; “What Do You Mean?” was his irst leader (on the Sept. 19, 2015, chart). He’s the irst artist to score three Hot 100 No. 1s from an album since Taylor Swift (three from 1989, in 2014 and 2015). He’s also the irst solo male to achieve the feat in nearly a decade: Justin Timberlake scored a trio from FutureSex/LoveSounds in 2006 and 2007. Congratulations are also in order for “Love Yourself” co-writer Ed Sheeran, who earns his irst No. 1 on the Hot 100 in any role. Meanwhile, Rihanna rockets onto the Hot 100 at No. 9 with “Work” (featuring Drake) from her album Anti, after the song and LP each arrived just before the end of the charts’ tracking periods. “Work” debuts atop Digital Songs (126,000 sold, according to Nielsen Music), where it is Rihanna’s record-extending 14th No. 1 (see pages 59 and 68 for more on Anti and “Work”). —GARY TRUST Title CERTIFICATION Artist 2 Weeks Ago Last Week This Week PRODUCER (SONGWRITER) IMPRINT/PROMOTION LABEL Peak Position Weeks On Chart #1 1 AG 2 3 2 1 1 WK Love Yourself Justin Bieber 111 BENNY BLANCO (E.C.SHEERAN,B.LEVIN,J.BIEBER) SCHOOLBOY/RAYMOND BRAUN/DEF JAM sic, sales data as compiled by Nielsen Music and streaming activity data by online music sources tracked by Nielsen Music. tracked sic, activity data by online music sources sales data as compiled by Nielsen Music and streaming 114 4 the first time. See Charts Legend on billboard.com/biz for complete rules and explanations. © 2016, Prometheus Global Media, LLC and Nielsen Music, Inc. Global Media, LLC All rights reserved. © 2016, Prometheus for complete rules and explanations. the first time. See Charts on billboard.com/biz Legend 112 Sorry Justin Bieber BLOOD,SKRILLEX (J.BIEBER,J.MICHAELS,J.TRANTER,M.TUCKER,S.MOORE) SCHOOLBOY/RAYMOND BRAUN/DEF JAM 4 4 3 Stressed Out ¡ twenty one pilots 319 M.ELIZONDO (T.JOSEPH) FUELED BY RAMEN/RRP 234 Hello 6 Adele 114 G.KURSTIN (A.ADKINS,G.KURSTIN) XL/COLUMBIA 23 12 5 My House Flo Rida 512 J.CARLSSON (T.DILLARD,J.CARLSSON,R.GOLAN,M.D,BORRERO,R.HAMMOND) POE BOY/ATLANTIC ed by radio airplay audience impressions as measured by Nielsen Mu as measured audience impressions airplay ed by radio 11 8 6 Roses ¡ The Chainsmokers Feat. ROZES 615 THE CHAINSMOKERS (A.TAGGART,E.MENCEL) DISRUPTOR/COLUMBIA DG SG 37 21 7 Hands To Myself Selena Gomez 78 MATTMAN & ROBIN (J.TRANTER,J.MICHAELS, R.FREDRIKSSON,M.LARSSON,MAX MARTIN) INTERSCOPE 5 7 8 Same Old Love Selena Gomez 520 STARGATE,BENNY BLANCO (T.E.HERMANSEN, M.S.ERIKSEN,B.LEVIN,C.AITCHISON,R.GOLAN) INTERSCOPE Songs are defined as current if they are newly-released titles, or songs receiving widespread airplay and/or sales activity for and/or airplay widespread songs receiving titles, or newly-released if they are defined as current Songs are The week’s most popular current songs across all genres, rank all genres, songs across most popular current The week’s HOT SHOT 9 Work Rihanna Feat. Drake 91 DEBUT BOI-1DA (J.BRATHAITE,M.SAMUELS,A.RITTER, R.THOMAS, JR.,A.GRAHAM,R.FENTY,M.MOIR) WESTBURY ROAD/ROC NATION Here 2 Alessia Cara 6 5 10 526 POP,OAKWUD,S.KOLE (A.CARACCIOLO,A.WANSEL,W.FELDER, C.TILLMAN,I.HAYES,S.T.GERONGCO,R.T.GERONGCO,T.LAM) EP/DEF JAM SALES, AIRPLAY & STREAMING & STREAMING SALES, AIRPLAY BY COMPILED DATA FEBRUARY 13, 2016 | WWW.BILLBOARD.COM 3 Billboard Hot 100 Title CERTIFICATION Artist 2 Weeks Ago Last Week This Week PRODUCER (SONGWRITER) IMPRINT/PROMOTION LABEL Peak Position Weeks On Chart 59 7 The Weeknd 14 18 21 The Hills 136 MANO,ILLANGELO (A.TESFAYE,A.BALSHE,E.NICKERSON,ILANGELO) XO/REPUBLIC 34 26 One Call Away Charlie Puth 22 9 22 DJ FRANK E,M.PRIME (J.FRANKS,S.CARTER, M. A.MCDONALD,B.S.ISAAC,C.PUTH,M.PRIME) ARTIST PARTNERS GROUP/ATLANTIC MIKE ¡ POSNER 17 19 Antidote Travi$ Scott 16 21 23 WONDAGURL,EESTBOUND (J.WEBSTER,E.OSHUNRINDE,B.VAN MIERLO, I Took a Pill T.BRENNECK,D.GUY,L.MICHELS,N.MOVSHON,H.STEINWEISS) GRAND HUSTLE/EPIC in Ibiza 0 31 30 24 Hide Away Daya 24 19 NOISECASTLE III (G.BARLETTA,B.MCLAUGHLIN,B.NEWBILL) ARTBEATZ POSNER: DON LE STUDIO. GOMEZ: GEORGE PIMENTEL/GETTY IMAGES. FLO RIDA: THADDAEUS MCADAMS/WIREIMAGE. ADELE: SASCHA STEINBACH/GETTY SASCHA ADELE: MCADAMS/WIREIMAGE. THADDAEUS RIDA: IMAGES. GRAHAM: JENS KALAENE/AP IMAGES. IMAGES. KALAENE/AP GRAHAM: IMAGES. JENS 20 24 I Know What You Did Last Summer Shawn Mendes & Camila Cabello 20 11 25 N.ZANCANELLA,IDOVSTHEWORLD (S.MENDES,C.CABELLO, I.ZMISHLANY,N.ZANCANELLA,W.WITHERS, JR.) ISLAND/REPUBLIC ¡ 24 25 26 Die A Happy Man Thomas Rhett 21 19 D.HUFF,J.FRASURE (THOMAS RHETT,S.M.DOUGLAS,JOE LONDON) VALORY/REPUBLIC 26 23 Say It Tory Lanez 23 15 27 POP,TORO (D.PETERSON,A.WANSEL,A.WHITFIELD, D.HALL,N.GILBERT,G.CHAMBERS) MAD LOVE/INTERSCOPE The 27-year- 18 20 28 679 Fetty Wap Feat. Remy Boyz 431 PEOPLES (W.J.MAXWELL,A.COSME JR.,J.POPE,B.GARCIA) RGF/300 old returns to the Hot 100 with a new 41 35 29 When We Were Young Adele 22 10 A.RECHTSCHAID (A.ADKINS,T.JESSO, JR.) XL/COLUMBIA stripped-down sound (and an ¡ Sam Hunt EDM remix). 33 33 30 Break Up In A Small Town 29 17 Z.CROWELL,S.MCANALLY (S.HUNT,Z.CROWELL,S.MCANALLY) MCA NASHVILLE ¡ So did you really take a pill in Ibiza? gave me a quote for the press junket.
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    Images of the Past: Nostalgias in Modern Tunisia Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By David M. Bond, M.A. Graduate Program in Near Eastern Languages and Cultures The Ohio State University 2017 Dissertation Committee: Sabra J. Webber, Advisor Johanna Sellman Philip Armstrong Copyrighted by David Bond 2017 Abstract The construction of stories about identity, origins, history and community is central in the process of national identity formation: to mould a national identity – a sense of unity with others belonging to the same nation – it is necessary to have an understanding of oneself as located in a temporally extended narrative which can be remembered and recalled. Amid the “memory boom” of recent decades, “memory” is used to cover a variety of social practices, sometimes at the expense of the nuance and texture of history and politics. The result can be an elision of the ways in which memories are constructed through acts of manipulation and the play of power. This dissertation examines practices and practitioners of nostalgia in a particular context, that of Tunisia and the Mediterranean region during the twentieth and early twenty-first centuries. Using a variety of historical and ethnographical sources I show how multifaceted nostalgia was a feature of the colonial situation in Tunisia notably in the period after the First World War. In the postcolonial period I explore continuities with the colonial period and the uses of nostalgia as a means of contestation when other possibilities are limited.
  • From Jay-Z to Dead Prez: Examining Representations of Black

    From Jay-Z to Dead Prez: Examining Representations of Black

    JBSXXX10.1177/0021934714528953Journal of Black StudiesBelle 528953research-article2014 Article Journal of Black Studies 2014, Vol. 45(4) 287 –300 From Jay-Z to Dead © The Author(s) 2014 Reprints and permissions: Prez: Examining sagepub.com/journalsPermissions.nav DOI: 10.1177/0021934714528953 Representations of jbs.sagepub.com Black Masculinity in Mainstream Versus Underground Hip-Hop Music Crystal Belle1 Abstract The evolution of hip-hop music and culture has impacted the visibility of Black men and the Black male body. As hip-hop continues to become commercially viable, performances of Black masculinities can be easily found on magazine covers, television shows, and popular websites. How do these representations affect the collective consciousness of Black men, while helping to construct a particular brand of masculinity that plays into the White imagination? This theoretical article explores how representations of Black masculinity vary in underground versus mainstream hip-hop, stemming directly from White patriarchal ideals of manhood. Conceptual and theoretical analyses of songs from the likes of Jay-Z and Dead Prez and Imani Perry’s Prophets of the Hood help provide an understanding of the parallels between hip-hop performances/identities and Black masculinities. Keywords Black masculinity, hip-hop, patriarchy, manhood 1Columbia University, New York, NY, USA Corresponding Author: Crystal Belle, PhD Candidate, English Education, Teachers College, Columbia University, 525 West 120th Street, New York, NY 10027, USA. Email: [email protected] Downloaded from jbs.sagepub.com at Mina Rees Library/CUNY Graduate Center on January 7, 2015 288 Journal of Black Studies 45(4) Introduction to and Musings on Black Masculinity in Hip-Hop What began as a lyrical movement in the South Bronx is now an international phenomenon.
  • Idioms-And-Expressions.Pdf

    Idioms-And-Expressions.Pdf

    Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context.