DOCSLIB.ORG

Table of Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Table of Contents TABLE OF CONTENTS Inside Cover .......................................................................................... i Inside Title ............................................................................................ ii Declaration page .................................................................................... iii Motto ...................................................................................................... iv Dedication page ..................................................................................... v Thesis Advisor’s Approval .................................................................. vi Thesis Examiner’s Approval ............................................................... vii Acknowledgements ............................................................................... viii Table of Contents ................................................................................ x List of Appendices ................................................................................. xiv Abstract .................................................................................................. xv Intisari .................................................................................................... xvi CHAPTER 1 INTRODUCTION 1.1 Background of the Study ................................................................... 1 1.2 Statement of the Problems ............................................................... 7 1.3 Objective of the Study ...................................................................... 7 1.4 Significance of theStudy .................................................................. 7 1.5 Scope and Limitation ....................................................................... 8 1.6 Definition of Key Terms .................................................................. 8 CHAPTER II REVIEW OF RELATED LITERATURE 2.1 Semantic ............................................................................................. 10 2.2 Figurative Language............................... ............................................. 11 digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id 2.3 Types of Figurative Language ......................................................... 15 a. Simile ..................................................................................... 15 b. Metaphor ................................................................................ 16 c. Personification ......................................................................... 17 d. Apostrophe ............................................................................. 18 e. Synecdoche ............................................................................. 19 f. Metonymy ................................................................................ 19 g. Symbol .................................................................................... 20 h. Allegory .................................................................................. 21 i. Paradox .................................................................................. 21 j. Hyperbole ................................................................................ 22 k. Understatement ....................................................................... 23 l. Verbal Irony ............................................................................. 24 2.4 Definition of message ...................................................................... 24 2.5 Definition of song ........................................................................... 27 2.6 Jay Z ................................................................................................. 28 2.7 The Black Album ............................................................................. 29 2.8 Review of related studies ................................................................. 30 CHAPTER III RESEARCH METHODOLOGY 3.1 Research Design ............................................................................... 34 3.2 Research Instrument ......................................................................... 35 3.3 Data and Source of the Data.............................................................. 35 3.3 Technique of Data Collection ................................ ........................... 36 digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id 3.4 Technique of Data Analysis .................................................................... 37 CHAPTER IV FINDING AND DISCUSSION 4.1 The Findings............................................................................................ 40 4.1.1 Types of figurative language ............................................................... 41 4.1.1.1 Simile ................................................................................................ 44 4.1.1.2 Metaphor ........................................................................................... 47 4.1.1.3 Personification .................................................................................. 50 4.1.1.4 Synecdoche ....................................................................................... 52 4.1.1.5 Hyperbole .......................................................................................... 54 4.1.1.6 Apostrophe ........................................................................................ 57 4.1.1.7 Metonymy ......................................................................................... 58 4.1.1.8 Allegory ............................................................................................ 60 4.1.1.9 Paradox ............................................................................................. 61 4.1.1.10 Verbal Irony .................................................................................... 62 4.1.1.11 Symbol ............................................................................................ 62 4.1.2 The Messages of Songs in Jay Z’s Song .............................................. 63 4.1.2.1. Interlude ........................................................................................... 63 4.1.2.2 December 4th ................................................................................... 64 4.1.2.3 What More Can I Say ....................................................................... 64 4.1.2.4 Encore ............................................................................................... 65 4.1.2.5 Change Clothes ................................................................................. 65 4.1.2.6 Dirt Off Your Shoulder ..................................................................... 66 digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id 4.1.2.7 Threat ................................................................................................ 67 4.1.2.8 Moment Of Clarity ............................................................................ 67 4.1.2.9 99 Problems ...................................................................................... 68 4.1.2.10 Public Service Announcement ........................................................ 69 4.1.2.11 Justify My Thug .............................................................................. 69 4.1.2.12 Lucifer ............................................................................................. 70 4.1.2.13 Allure .............................................................................................. 70 4.1.2.14 My 1st Song .................................................................................... 71 4.2 Discussion ............................................................................................... 72 CHAPTER V CONCLUSION AND SUGGESION 5.1 Conclusion .............................................................................................. 75 5.2 Suggestion .............................................................................................. 76 REFFERENCE .......................................................................................... 78 APPENDIX digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id digilib.uinsby.ac.id .
Load more

Recommended publications
  • Jay-Z: in Tha’ Mix
    ASC 1138--JAY-Z: IN THA’ MIX JAY-Z: IN THA’ MIX CREDIT HOURS Leta Hendricks [email protected] Tel: 614-688-7478 Classroom – Room 150A Thompson Library Class Meeting – Fridays – 1:30 – 2:18 p.m. January 11 – April 19, 2013 Office Hours – Tuesday – 9:00 – 11:00 a.m. and by appointment WEB Site – Twitter – Second Life- Hip Hop Underground http://slurl.com/secondlife/Cybrary%20City%20II/77/198/8 SYLLABUS COURSE DESCRIPTION JAY-Z is an entrepreneurial phenomenon of the last the twenty years. This seminar examines JAY-Z from different perspectives as an artist and as a businessman. The seminar will discuss perspectives and beliefs about rap music and popular culture. JAY-Z is currently one of the most influential iconic figures of Global Pop Culture. His music embodies the quintessentially “African American” genre of music, we will study his musical roots, trace the development of his career and connect JAY-Z with his culture. An analysis of his business empire will include his drug-marked youth, musical achievements, and urban-informed business savvy. The Seminar will discuss his lyrics and their meanings which reveal JAY-Z’s art and life. JAY-Z heavily borrows from American musical and literary traditions through an examination of select recordings, autobiography, film, essays and criticism, this Seminar will provide students the opportunity to discover the significance of JAY-Z’s contributions to lyric writing, popular music, and beyond. The following resources will facilitate students learning development by using multiple content formats. DJ Hero will engage students through gameplay, simulating DJ turntablism (mixing styles and techniques) connecting gaming activities to assignments, discussions, and projects on JAY-Z and current Rap artists.
    [Show full text]
  • 9 Lost and Found Westing Games Chapter
    9 ♦ Lost and Found Early the next morning a typed index card was tacked to the elevator’s back wall: LOST: Important business papers of no value to anyone but the owner. Please return to Sydelle Pulaski, 3C. No questions asked. The shorthand notebook was not returned, but the idea of a bulletin board was an instant success. By late afternoon the elevator was papered with notices and filled with tenants facing sideways and backwards, reading as they rode up and down. Lost: Silver cross on filigree chain, topaz pin and earrings, gold-filled cuff links. Return to Grace Windsor Wexler, 3D. REWARD! All players willing to discuss sharing their clues come to the coffee shop tomorrow 10 A.M. WHOEVER STOLE MY MICKEY MOUSE CLOCK BETTER GIVE IT BACK. JUST LEAVE IT IN THE HALL IN FRONT OF APARTMENT 3D WHEN NO ONE’S LOOKING. TURTLE WEXLER ORDER DOWN, NOT UP! Or come on up to the fifth floor and dine in elegance at SHIN HOO’S RESTAURANT Specializing in exquisite Chinese cuisine. LOST: STRING OF PEARLS. SENTIMENTAL VALUE. IF FOUND, PLEASE BRING THEM TO APARTMENT 2C. THANK YOU, FLORA BAUMBACH (DRESSMAKING AND ALTERATIONS, REASONABLY PRICED) FOUND: SIX CLUES The following clues, printed on squares of Westing Toilet Tissue, were found in the third floor hallway: BRAIDED KICKING TORTOISE ’SI A BRAT I am having an informal party this evening from eight o’clock on. You are all invited. Please come. J. J. Ford, apartment 4D Turtle, wherever you are— Be home at seven-thirty SHARP!!! Your loving mother “Mom, I’m home.” No one else was.
    [Show full text]
  • COURT of APPEAL, FOURTH APPELLATE DISTRICT DIVISION ONE STATE of CALIFORNIA the PEOPLE, Plaintiff and Respondent, V. VICTOR WARE
    Filed 7/29/20 (mod.); Certified for partial publication 7/31/20 (order follows unmodified opinion) ; THE SUPREME COURT OF CALIFORNIA HAS GRANTED REVIEW COURT OF APPEAL, FOURTH APPELLATE DISTRICT DIVISION ONE STATE OF CALIFORNIA THE PEOPLE, D072515 Plaintiff and Respondent, (Super. Ct. No. SCD255884) v. ORDER MODIFYING OPINION VICTOR WARE et al., NO CHANGE IN JUDGMENT Defendants and Appellants. THE COURT: It is ordered that the opinion filed on July 21, 2020, be modified as follows: 1. Delete the first sentence on page 5, first full paragraph, and replace with the following sentence: "We reverse Simpson's and Hoskins's gang conspiracy convictions, but reject appellants' remaining arguments regarding their convictions." There is no change in the judgment. BENKE, Acting P. J. Copies to: All Parties Filed 7/21/20 P. v. Ware CA4/1 (unmodified opinion) COURT OF APPEAL, FOURTH APPELLATE DISTRICT DIVISION ONE STATE OF CALIFORNIA THE PEOPLE, D072515 Plaintiff and Respondent, (Super. Ct. No. SCD255884) v. VICTOR WARE et al., Defendants and Appellants. APPEALS from judgments of the Superior Court of San Diego County, Leo Valentine, Jr., Judge. Affirmed in part, reversed in part, and remanded for resentencing. Lynda A. Romero, under appointment by the Court of Appeal, for Defendant and Appellant Dionte Simpson. David L. Polsky, under appointment by the Court of Appeal, for Defendant and Appellant Victor Ware. Nancy E. Olsen, under appointment by the Court of Appeal, for Defendant and Appellant Nicholas Hoskins. Xavier Becerra, Attorney General, Gerald A. Engler, Chief Assistant Attorney General, Julie L. Garland, Assistant Attorney General, A. Natasha Cortina and Christine Levingston Bergman, Deputy Attorneys General, for Plaintiff and Respondent.
    [Show full text]
  • Whiskey River (Take My Mind)  I 
    whiskey river (take my mind) i introduction 00 Bush rev pg proofs 000i-xxiv i i 12/11/06 9:58:38 AM THIS PAGE INTENTIONALLY LEFT BLANK whiskey river (take my mind) iii The True Story of Texas Honky-Tonk by johnny bush with rick mitchell foreword by willie nelson University of Texas Press, Austin introduction 00 Bush rev pg proofs 000i-xxiv iii iii 12/11/06 9:58:39 AM iv copyright © 2007 by the university of texas press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Bush, Johnny. Whiskey river (take my mind) : the true story of Texas honky-tonk / by Johnny Bush with Rick Mitchell ; foreword by Willie Nelson. — 1st ed. p. cm. Includes discography (p. ), bibliographical references (p. ), and index. isbn-13: 978-0-292-71490-8 (cl. : alk. paper) isbn-10: 0-292-71490-4 1. Bush, Johnny. 2. Country musicians—Texas—Biography. 3. Spasmodic dysphonia—Patients—Texas—Biography. 4. Honky-tonk music—Texas— History and criticism. I. Mitchell, Rick, 1952– II. Title. ml420.b8967a3 2007 782.421642092—dc22 [B] 2006033039 whiskey river (take my mind) 00 Bush rev pg proofs 000i-xxiv iv iv 12/11/06 9:58:39 AM Dedicated to v John Bush Shinn, Jr., my dad, who encouraged me to follow my dreams.
    [Show full text]
  • 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.
    [Show full text]
  • Flashback, Flash Forward: Re-Covering the Body and Id-Endtity in the Hip-Hop Experience
    FLASHBACK, FLASH FORWARD: RE-COVERING THE BODY AND ID-ENDTITY IN THE HIP-HOP EXPERIENCE Submitted By Danicia R. Williams As part of a Tutorial in Cultural Studies and Communications May 04,2004 Chatham College Pittsburgh, Pennsylvania Tutor: Dr. Prajna Parasher Reader: Ms. Sandy Sterner Reader: Dr. Robert Cooley ACKNOWLEDGEMENTS I would like to thank Dr. Prajna Paramita Parasher, my tutor for her faith, patience and encouragement. Thank you for your friendship. Ms. Sandy Sterner for keeping me on my toes with her wit and humor, and Dr. Cooley for agreeing to serve on my board. Kathy Perrone for encouraging me always, seeing things in me I can only hope to fulfill and helping me to develop my writing. Dr. Anissa Wardi, you and Prajna have changed my life every time I attend your classes. My parent s for giving me life and being so encouraging and trusting in me even though they weren't sure what I was up to. My Godparents, Jerry and Sharon for assisting in the opportunity for me to come to Chatham. All of the tutorial students that came before me and all that will follow. I would like to give thanks for Hip-Hop and Sean Carter/Jay-Z, especially for The Black Album. With each revolution of the CD my motivation to complete this project was renewed. Whitney Brady, for your excitement and brainstorming sessions with me. Peace to Divine Culture for his electricity and Nabri Savior. Thank you both for always being around to talk about and live in Hip-Hop. Thanks to my friends, roommates and coworkers that were generally supportive.
    [Show full text]
  • Troubled Ethnicities in American Popular Music from Elvis Presley to Eminem
    TROUBLED ETHNICITIES IN AMERICAN POPULAR MUSIC FROM ELVIS PRESLEY TO EMINEM Stefan L. Brandt (University of Siegen, Germany / Harvard University) With the commodification of African American culture, Blackness has become an accessory that can be put on like burnt cork and hog fat: baggy pants, overpriced athletic shoes, corn rows or dread locks, gaudy jewelry, swiveling necks, snapping fingers, absent consonants.1 Introduction: Blackface, White Negritude, and Ethnic Identity On July 18, 1953, an 18-year old trucker named Elvis Presley decided to go to the Sun Record Company in Memphis and paid $3.98 to record a demo – a procedure that he repeated in January of 1954. It took another four months until Sun Records founder Sam Phillips, eager to capitalize upon the popularity of African American songs, accidentally discovered one of the tapes and took Presley under contract. Presley’s music, a combination of Rhythm & Blues, hillbilly, gospel, and boogie-woogie, dominated by an uptempo, backbeat-driven rhythm, was an instant success. Some forty years later, American popular music saw another successful ‘hybrid’ artist in the shape of Missouri-born white rapper Marshall Bruce Mathers III, better known as “Eminem” or “Slim Shady.” Like Elvis before him, Eminem cleverly took advantage of the appeal of a ‘black’ music style, in his case HipHop, integrating it into a mass-compatible crossover product. Eminem’s video clips are masterstrokes of ethnic marketing, deploying elements of ‘white trash’ imagery as well as of ‘black’ language and art. My essay is interested in those strategies of representation within American popular music that are designed to market what Harry J.
    [Show full text]
  • Never Change 2.1
    Never Change 2.1: A Look at Jay-Z’s Lyrical Evolution kashema h. www.kashema.com Never Change 2.1: A look Jay-Z’s Lyrical Evolution By kashema h. “Intro” Jay-Z’s classic album Reasonable Doubt (1996) turned 20 years old this summer but it has been two years since he has released another album. He released “Spiritual” after the extrajudicial killings of Alton Sterling and Philando Castile. Jay is featured on the remix of “All the Way Up” and teamed up with DJ Khaled and Future to create “I Got the Keys.” Back in April, Mr. Carter made a cameo on his wife’s Beyoncé’s visual album, Lemonade as a family man. The last time we saw the lyricist in full rap mode (e.g. album, singles and tour) was for Magna Carta Holy Grail in 2013. The promotional On The Run trailer for the married couple’s tour stars Jay-Z and Beyoncé as bank robbers à la Bonnie and Clyde, and features all kinds of guns, ski masks, shady figures, cop chases and a line-up. In 2014, I started to think about Jay’s past criminal life as a drug dealer, and his references to it on his records. I let the thing between my eyes analyze Jay’s skills, then put it down—type Braille...you feel me? Last month, the rapper narrated the New York Times Op-Ed: “The War on Drugs Is an Epic Fail.” I went back to my study of Jay-Z and his lyrics with a more critical eye.
    [Show full text]
  • 13 Biibd: Music HOTR&Bfrfipap , YTM
    DECEMBER 13 BiIbd: Music HOTR&BfrFIPAP , YTM u w W w + TITLE = TITLE S _ TITLE Temptations, the Whispers and r g ARTIST (IMPRINT/PROMOTION LABEL) F , ARTIST (IMPRINT/PROMOTION LABEL) 1- g ARTIST (IMPRINT /PROMOTION LABEL) Y- NUMBER 1 Lakeside will be among the hon- 1 y2 1 Step In The Name Of Love wuallo.I 26 21 Clap Back ® 55 Quick To Back Down Rhythm R. KELLY IJIVEI ", JA RULE (MURDER INCJDEFJAM/IOJMG) orees at the second annual Black BRAVEHEARTS(ILL WIWCOLUMBINSUMI Q 5 You Don't Know My Name ® 41 Not Today 53 The Set Up Music Awards. The Dec. 14 ALICIA KEYS (JA1MG) MARY J. BLIGE FEAT. EVE ¡GEFFEN) OBIE TRICE FEAT. NATE DOGG ISHADY /INTERSCOPB soirée -presented by the Los 3 3 Walked Outta Heaven m 30 Gigolo 53 Touched A Dream & Blues JAGGED EDGE ICOLUMBINSUMI NICK CANNON FEAT. R. KELLY (NICK/JIVE) R. KELLY IJIVEI Angeles Black Music Assn. -will 4 4 The Way You Move 29 25 Thoia Thoing 66 Pop That Booty Conti'ued from page 32 be held at Los Angeles' Wilshire OUTKAST FEAT. SLEEPY BROWN IARISTAI R. KELLY (JIVE) MARQUES HOUSTON ITU.GJELEKTRNEEGI 5 2 Stand Up Q 39 Salt Shaker 52 Suga Suga Ebell Theater. For more details, LUDACRIS (DISTURBING THA PEACE/DEF JAM SOUTMOJMGI HING YANG TWINS ICOWPARK/IVTI BABY BASH FEAT. FRANKIE J IUNIVERSAL/UMRGI visit lablackmusicawards.com. 6 6 Damn! @ 36 Through The Wire 60 Rubber Band Man VOUNGBL000Z FEAT. UL JON (SO SO DEF/ ARISTA) KANYE WEST )ROC- A- FELLADEFJAM/IDJMGI T I. IGRAND HUSTLE/ATLANTICI (Dec.
    [Show full text]
  • Artist Song Album Blue Collar Down to the Line Four Wheel Drive
    Artist Song Album (BTO) Bachman-Turner Overdrive Blue Collar Best Of BTO (BTO) Bachman-Turner Overdrive Down To The Line Best Of BTO (BTO) Bachman-Turner Overdrive Four Wheel Drive Best Of BTO (BTO) Bachman-Turner Overdrive Free Wheelin' Best Of BTO (BTO) Bachman-Turner Overdrive Gimme Your Money Please Best Of BTO (BTO) Bachman-Turner Overdrive Hey You Best Of BTO (BTO) Bachman-Turner Overdrive Let It Ride Best Of BTO (BTO) Bachman-Turner Overdrive Lookin' Out For #1 Best Of BTO (BTO) Bachman-Turner Overdrive Roll On Down The Highway Best Of BTO (BTO) Bachman-Turner Overdrive Take It Like A Man Best Of BTO (BTO) Bachman-Turner Overdrive Takin' Care Of Business Best Of BTO (BTO) Bachman-Turner Overdrive You Ain't Seen Nothing Yet Best Of BTO (BTO) Bachman-Turner Overdrive Takin' Care Of Business Hits of 1974 (BTO) Bachman-Turner Overdrive You Ain't Seen Nothin' Yet Hits of 1974 (ELO) Electric Light Orchestra Can't Get It Out Of My Head Greatest Hits of ELO (ELO) Electric Light Orchestra Evil Woman Greatest Hits of ELO (ELO) Electric Light Orchestra Livin' Thing Greatest Hits of ELO (ELO) Electric Light Orchestra Ma-Ma-Ma Belle Greatest Hits of ELO (ELO) Electric Light Orchestra Mr. Blue Sky Greatest Hits of ELO (ELO) Electric Light Orchestra Rockaria Greatest Hits of ELO (ELO) Electric Light Orchestra Showdown Greatest Hits of ELO (ELO) Electric Light Orchestra Strange Magic Greatest Hits of ELO (ELO) Electric Light Orchestra Sweet Talkin' Woman Greatest Hits of ELO (ELO) Electric Light Orchestra Telephone Line Greatest Hits of ELO (ELO) Electric Light Orchestra Turn To Stone Greatest Hits of ELO (ELO) Electric Light Orchestra Can't Get It Out Of My Head Greatest Hits of ELO (ELO) Electric Light Orchestra Evil Woman Greatest Hits of ELO (ELO) Electric Light Orchestra Livin' Thing Greatest Hits of ELO (ELO) Electric Light Orchestra Ma-Ma-Ma Belle Greatest Hits of ELO (ELO) Electric Light Orchestra Mr.
    [Show full text]
  • Peck.Edward.Pdf
    The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project AMBASSADOR EDWARD L. PECK Interviewed by: Charles Stuart Kennedy Initial interview date: June 29, 1989 Copyright 2020 ADST TABLE OF CONTENTS Background 1929–1961 Son of Russian immigrants Army service B.A. UCLA (1956) Project India Decision to enter Foreign Service Foreign Service Officer training class Trainee at Bureau of Economic Affairs Göteborg, Sweden 1959–1961 Difficulty of making changes in bureaucracy Advantages of Consulate General at first assignment Impressions of post Tangier 1962–1964 Arab language training Dialect problems Tunis, Tunisia 1964–1966 Inadequacy of language training Economic officer Ambassador Francis Russell Problem of ‘clientitis’ Effort to report economic problems Problems with official documents AID program in Tunisia Oran, Morocco 1966–1969 Origin of assignment Algiers in 1966 American interests in Algeria Value of consulates Differing perspectives in capital cities 1 1967 Arab-Israeli War Arab perspectives on the Arab-Israeli conflict Washington 1968–1974 Deputy Director of Office of Intelligence Coordination Changes in vulnerable platform intelligence program State Department role in intelligence operations Impressions of intelligence community Special Assistant to Secretary Alexis Johnson Impressions of Secretary Johnson Johnson compared with Kissinger and William Porter Operation of executive secretariat 1972 India-Pakistan War Impressions of Joe Sisco Revision of telegram messages to embassies Revision of COM
    [Show full text]
  • News from Sun Assembly
    News from Sun Assembly Spring 2017 Like us on Facebook! Newsletter editor: Pat Petersen Spring DanceFest!! Welcoming the New Year DanceFest 2017 is upon us! It’s Saturday and Thanks to all the teachers, volunteers, refreshment Sunday, March 11-12. We are very fortunate to providers, musicians, and DANCERS who made have Gene Murrow from New York as our dance this past New Years Eve dance a great success! caller. Gene is in demand worldwide as a caller, musician, and organizer. Our dance venue at the Summer Dancing! Murphey School is a beautiful place to dance and Where will you be escaping the NC heat this we’ll have wonderful music. Check the Sun summer? CDSS offers camps at Pinewoods, Assembly website for details and schedule. Spring Ogontz, and now in Michigan. There are dance DanceFest has become a Sun Assembly tradition weeks to suit all tastes—check them out. A number because the past events have been so much fun. of camp scholarships are available for those in need. Don’t miss it. Many will travel far to attend, but it is in your own backyard! No partner necessary; we Pat Shaw Centennial mix it up a lot! You don’t need much experience; This year we celebrate the 100th anniversary of the basic knowledge of the calls and a general idea of birth of Pat Shaw (1917-1977), prolific and the forms will serve you well. No need for ball inventive choreographer, musician, singer, gowns and tuxes; just come wearing the clothes you collector, composer of tunes and rounds, and dance like to dance in.
    [Show full text]