65Plus Provider Directory

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65Plus Provider Directory Health Tradition For 65Plus www.HealthTradition.com Health Tradition Health Plan has made every effort to ensure that this Provider Directory was accurate when issued. However, because healthcare facilities constantly add to and adjust their lists of providers, we cannot guarantee that a particular provider listed in this Directory will be participating at the time you seek care. In addition, some of the listed providers may occasionally close their practices to new patients. If you have questions regarding the availability of a particular provider, please contact Customer Service at the number on the back of your membership card. Health Tradition 45 Nob Hill Road Madison, WI 53713 Mayo Clinic Rochester, Rochester Methodist Hospital and Saint Mary’s Hospital are specialty referral centers for Health Tradition. You will need an approved written referral for services to be covered at these locations. Services that can be performed by your in-network practitioners likely will not be authorized at these specialty referral centers. For information regarding medical claims or coverage, or for information regarding this directory, please call Customer Service at the number on the back of your membership card. Health Tradition 65Plus Platinum www.HealthTradition.com Table of Contents Primary and Specialty Care Providers PCPs …………………………………………………………………………………………………………………. 1 Specialists………………………..……..……………………………………………………………………….14 Primary and Specialty Care Index………………………………………………….…………..…….52 Facilities Hospitals…………………..…………………………………………………………………………..………….. 1 Urgent Care……………………………………………………………………..……….……………..……..… 1 Ancillary Providers.……………………………………..……………………………………………..………2 Hospitals, Urgent Care and Ancillary Providers Index…..…………………………………….

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Master's Thesis
I Know I Am Someone: Michael Jackson, Thriller, and American Identity by Sara Tenenbaum B.A. in American Studies, May 2006, Brandeis University A Thesis submitted to The Faculty of the Columbian College of Arts and Sciences of George Washington University in partial fulfillment of the degree requirements for the degree of Master of Arts May 15, 2011 Thesis Directed by James A. Miller Professor of English and American Studies © Copyright 2011 by Sara Tenenbaum All rights reserved ii Abstract of Thesis "I Know I Am Someone: Michael Jackson, Thriller, and American Identity" This thesis addresses the cultural phenomenon surrounding Michael Jackson's 1982 album Thriller and uses it as a lens through which to view and analyze the development of a distinct American, primarily youth, identity in 1983 and 1984. It is structured using a three-prong approach that first analyzes the sonic work of the music of Thriller, second explores the characteristics of Michaelmania and the youth identity being constructed within the Michael Jackson pop explosion, and third analyzes the backlash from both the white and African American communities against Jackson in that time to illuminate his subversion and danger to the status quo. I argue that Jackson's act of profound crossover during the Thriller era triggered within the American youth an equally profound act of identity formation that transcended racial stratification in America's past and created a foundational part of our contemporary identity that moves slightly beyond America's troubled racial history. Using both the voices of his fans and his critics to tease out the work his person and his music did in the early 1980's, I advocate we keep Jackson and his work foregrounded in our study of popular culture in the late 20th and early 21st centuries, as his pop explosion fundamentally and permanently effected how Americans understand ourselves and our relations with each other.
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The Artist Alive: Explorations in Music, Art & Theology, by Christopher Pramuk (Winona, MN: Anselm Academic, 2019). Copyright © 2019 by Christopher Pramuk. All rights reserved. www.anselmacademic.org. Introduction Seeds of Awareness This book is inspired by an undergraduate course called “Music, Art, and Theology,” one of the most popular classes I teach and probably the course I’ve most enjoyed teaching. The reasons for this may be as straightforward as they are worthy of lament. In an era when study of the arts has become a practical afterthought, a “luxury” squeezed out of tight education budgets and shrinking liberal arts curricula, people intuitively yearn for spaces where they can explore together the landscape of the human heart opened up by music and, more generally, the arts. All kinds of people are attracted to the arts, but I have found that young adults especially, seeking something deeper and more worthy of their questions than what they find in highly quantitative and STEM-oriented curricula, are drawn into the horizon of the ineffable where the arts take us. Across some twenty-five years in the classroom, over and over again it has been my experience that young people of diverse religious, racial, and economic backgrounds, when given the opportunity, are eager to plumb the wellsprings of spirit where art commingles with the divine-human drama of faith. From my childhood to the present day, my own spirituality1 or way of being in the world has been profoundly shaped by music, not least its capacity to carry me beyond myself and into communion with the mysterious, transcendent dimension of reality.
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Beinecke Illuminated, No. 6, 2019–20 Annual Report
BEINECKE ILLUMINATED No. 6, 2019–20 Annual Report Front cover: Photograph of the scultpure garden by Iwan Baan. Back cover: Dr. Walter Evans, Melissa Barton, and Edwin C. Schroeder reviewing the Walter O. Evans Collection of Frederick Douglass and Douglass Family Papers. Contributors The Beinecke Rare Book & Manuscript Library acknowledges the following for their assistance in creating and compiling the content in this annual report. Articles written by, or adapted from, Michael Morand and Michael Cummings, with editorial assistance from David Baker, Bianca Ibarlucea, and Eva Knaggs. Statistics compiled by Ellen Doon, Moira Fitzgerald, Eric Friede, Michael Morand, Audrey Pearson, Allison Van Rhee, and the staff of Technical Services, Access Services, and Administration. Photographs of Beinecke Library events, exhibitions, and materials by Tubyez Cropper, Dante Haughton, and Michael Morand; Windham-Campbell Prize image from YaleNews; Georgia O’Keeffe manuscript images courtesy of Sotheby’s; Wayne Koestenbaum photo by Tim Schutsky; photograph of Matthew Dudley and Ozgen Felek by Michael Helfenbein. Design by Rebecca Martz, Office of the University Printer. Copyright ©2020 by Yale University facebook.com/beinecke @beineckelibrary twitter.com/BeineckeLibrary beinecke.library.yale.edu subsCribe to library news subscribe.yale.edu BEINECKE ILLUMINATED No. 6, 2019–20 Annual Report 4 From the Director 5 Exhibitions and Events Beyond Words: Experimental Poetry & the Avant-Garde Drafting Monique Wittig Subscribed: The Manuscript in Britain, 1500–1800
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Highland Oaks Activity Calendar July 2020
went on a successful tour in Europe and returned November 1983 designating the third Monday of to the U.S. to perform, co-write songs, play on January an annual legal public holiday observing other musicians’ songs, and produce albums. He the birth of King. It was first celebrated in January also continued to release hit after hit. His next 1986.) Wonder continues his songwriting, successful album was a double one called Songs recording, performing, and advocacy. His legacy in the Key of Life, and it was released in includes having more than 30 top 10 hits both on September 1976. In 1980, Wonder released the the pop and rhythm and blues charts in the U.S., very successful album, Hotter Than July. One of winning 25 Grammys® , one Academy Award® for the singles from that album was Happy Birthday. Best Original Song (in 1985 for I Just Called to Say This song was used in his campaign to make Dr. I Love You), and receiving numerous awards in the Martin Luther King, Jr.’s birth anniversary a U.S. and other countries. Highland Oaks national holiday in the U.S. (Legislation passed in At Water Run July 2020 become a hit was Fingertips. In 1963, it became Music Notes: the No. 1 song on Billboard’s pop charts. His next A Biography of Stevie Wonder hit was Uptight (Everything’s Alright) that was released in 1965. It reached No.1 on the rhythm “Music, at its essence, is what gives us memories. and blues chart and No. 3 on the pop chart.
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The Recording Academy®, AEG Ehrlich Ventures, and CBS, Will Pay Homage to Wonder's Iconic Career with Superstar Performances Celebrating His Incomparable Songbook
® The Recording Academy 3030 Olympic Boulevard • Santa Monica, CA 90404 www.grammy.com THE BAND PERRY, ARIANA GRANDE, LADY GAGA, AND JOHN LEGEND TO PERFORM ON "STEVIE WONDER: SONGS IN THE KEY OF LIFE — ® AN ALL-STAR GRAMMY SALUTE" Two-Time GRAMMY Winner LL COOL J To Host Music Stars Will Perform Iconic Songs By The 25-Time GRAMMY® Winner; Special To Be Broadcast On CBS, Feb. 16, 2015 SANTA MONICA, Calif. (Jan. 29, 2015) — Current 57th GRAMMY® nominees The Band Perry, Ariana Grande, Lady Gaga, and John Legend have been added to the list of performers for "Stevie Wonder: Songs In The Key Of Life — An All-Star GRAMMY Salute." They join previously announced performers Janelle Monáe, Ed Sheeran, and Usher. The primetime special, presented by The Recording Academy®, AEG Ehrlich Ventures, and CBS, will pay homage to Wonder's iconic career with superstar performances celebrating his incomparable songbook. The live concert takes place at Nokia Theatre L.A. LIVE on Tuesday, Feb. 10. Tickets are on sale now at AXS.com and the two-hour special will be broadcast in HDTV and 5.1 surround sound on the CBS Television Network on Monday, Feb. 16 from 9 – 11 p.m. ET/PT. Two-time GRAMMY winner LL COOL J will host this very special tribute. A 25-time GRAMMY winner, Wonder is the only artist to have received Album Of The Year honors for three out of four consecutive years with Innervisions (1973), Fulfillingness' First Finale (1974) and Songs In The Key Of Life (1976). "Stevie Wonder is an icon who forever changed the world of music with his extraordinary gifts, pure talent, kind spirit and incredible sense of humor," said LL COOL J.
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MIGOS, Godfather the Beatles, of Speed and Stevie: Metal Wonder How They’Re Related?
Charry The Spring 2017 Final Edition Slayer, and the MIGOS, Godfather The Beatles, of Speed and Stevie: Metal Wonder How They’re Related? Hip-Hop’s Role Today: Carraway Weighs in on 2017’s Latest Releases The Velvet Underground: Leaders of a Sonic Revolution Disco Demolition Night Queen: White Romanticism of the 1960s and the Culmination of Racially The Rock Band of Charged Anxiety Against a Genre the 1970s TABLE OF CONTENTS Editor: Katherine Murtha - Layout: Cody Pearl & Allison Battinelli Page 3 - “Yellow Submarine: An Expression of the Sixties” by Emma Greenfield Page 5 - “The Velvet Underground: Influence of a Revolution” by Adam Siegel Page 7 - “Queen: The Rock Band of the 1970s” by Will Hein Page 9 - “The Demise of Disco” by Eric Zepeda Page 11 - “The Godfather of Speed Metal” by Dylan Millhouse Page 13 - “From the Cocoon to Kung Fu: Kendrick Lamar’s Development and Influence Over the Years” by Jack Ginsberg Page 15 - “The Evolution of MTV” by Sarah Kuhn Page 17 - “Stevie” by Grant van Inwegen Page 19 - “Why Hip-Hop?” by Julian Carraway Page 21 - “Rap’s #1 Family” by Collin Andrews 1 Pepper’s Lonely Hearts Club Band had; the style some thought it had more redeeming qualities than of the movie stays true to at least part of the band’s others. Miller Francis, in an early 1969 article for message of the time. Great Speckled Bird, expresses the opinion that The plot maintains many ideals of the late the film was a poor representation of The Beatles, sixties. It was the age of hippies and the peak of inadequately showing what the band meant to anti-Vietnam War protests; music was seen as a the people of the sixties.
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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.
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UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Wonderful Words: Stevie Wonder’s Musical Politics During the 1970s and 1980s Permalink https://escholarship.org/uc/item/6x1960j0 Author Kilman, Sandra Marie Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Wonderful Words: Stevie Wonder’s Musical Politics During the 1970s and 1980s A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in African American Studies by Sandra Marie Kilman 2017 © Copyright by Sandra Marie Kilman 2017 ABSTRACT OF THE THESIS Wonderful Words: Stevie Wonder’s Musical Politics During the 1970s and 1980s by Sandra Marie Kilman Master of Arts in African American Studies University of California, Los Angeles, 2017 Professor Robin Davis Gibran Kelley, Chair The problem of racial injustice in the United States continued to plague the nation during the 1970s despite the gains made by the Civil Rights Movement during the preceding decades. Under Republican administrations during the 1970s and 1980s, working Americans encountered new financial challenges as the lion’s share of economic growth benefitted the wealthiest citizens. As socially and politically conscious popular music faded in popularity, Stevie Wonder continued to express his concerns about the obstacles to the promise of freedom and equality that many Americans continued to face. This paper examines four songs, written and performed by Wonder - “Living for the City,” “You Haven’t Done Nothing,” “Happy Birthday,” and “It’s Wrong,” - to track the trajectory of his commentary from local, community-based issues to national, political topics and, finally, to international causes.
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Stevie Wonder, Original Name Steveland Judkins Or Steveland Morris When His Mother Married, Was Born May 13, 1950, Saginaw, Michigan, U.S
Stevie Wonder, original name Steveland Judkins or Steveland Morris when his mother married, was born May 13, 1950, Saginaw, Michigan, U.S. He is an American singer, songwriter, and multi-instrumentalist, a child prodigy who developed into one of the most creative musical figures of the late 20th century. He was born six weeks early with retinopathy of prematurity, an eye disorder which was exacerbated when he received too much oxygen in an incubator, leading to blindness (cécité). Wonder showed an early gift for music, first with a church choir (chorale ) in Detroit, Michigan, where he and his family had moved to when he was four years old, and later with a range of instruments, including the harmonica, piano and drums, all of which he taught himself before age 10. Wonder was just 11 years old when he was discovered by Ronnie White of the Motown band The Miracles. An audition followed with Motown founder Berry Gordy Jr., who didn't hesitate to sign the young musician to a record deal. In 1962, the newly renamed Little Stevie Wonder, working with Motown songwriter Clarence Paul, among others, released his debut The Jazz Soul of Little Stevie Wonder, an instrumental album that showed off the youngster's remarkable musicianship. As his voice changed, his recording career was temporarily put on hold, and he studied classical piano at the Michigan School for the Blind. He dropped the "Little" portion of his stage name in 1964, and re-emerged the following year with the infectious, typically Motown- sounding dance tune "Uptight (Everything's Alright)," a number one R&B/Top Five pop.
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Scratch Tick Pop a Compilation of Scraps from 527 Ruined Vinyl
A Compilation of Scraps from 527 Ruined Vinyl Records Scratch Tick Pop by Barry van der Rijt The Eriskay Connection Scratch Tick Pop Dedicated to the memory Concept by Sleeve design by I would like to thank Additionally, I would like Published by A Compilation of Scraps of Vincent Brinkhoff Barry van der Rijt Rob van Hoesel everyone who has lent me to thank Peter Dekens, The Eriskay Connection A Compilation of Scraps from from 527 Ruined Vinyl their ruined vinyl records Jos Janssen, Jenny Martens, www.eriskayconnection.com For Daniël and Mara Compiled and produced Pressing and production Records by Barry van der Rijt Mels van Zutphen and Anouk & by Barry van der Rijt by Record Industry 2017 To Leonie Rinus from Record Industry TEC052 / 978–94–92051–33–2 527 Ruined Vinyl Records from 2016 until 2017 For the best experience www.barryvanderrijt.com please use headphones Scratch Tick Pop by Barry van der Rijt The Eriskay Connection Scratch Tick Pop — A Compilation of Scraps from 527 Ruined Vinyl Records by Barry van der 527 Ruined Vinyl Records — A Compilation of Scraps from Rijt TEC052 — The Eriskay Connection 32. Pop found in the track (You’re My) Soul 65. Tick found in the track Cafe from 99. Scratch found in the track Mother 134. Tick found in the track Super Stupid 167. Pop found in the track Help! from 200. Pop found in the track Saturday Night 231. Pop found in the track Rocket U.S.A. 298. Scratch found in the track Flash from 332. Tick found in the track Ben Jij Ook 364.
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Rock Album Discography Last Up-Date: September 27Th, 2021
Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least.
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Download (2004 Fal Win.Pdf)
S.A.L.S. JOURNAL a publication of the Southern Appalachian Labor School Volume 27 number 2 www.sals.info Fall/Winter, 2004 Volunteerism Thrives at SALS by Artie Mullins, Volunteer Coordinator This year has been a great year for volunteers here at SALS. The summer months were full of energy and the building of new relationships. Wave after wave of volunteers passed through our community. Each new group of volunteers brought something unique to our endeavor to build a better community. We appreciated their spirit of volunteerism and marveled at their commit- ment to our project. We met people from all over the world and of all ages. Vickie Smith worked tirelessly with Christian Endeavor to complete an amazing amount of work and Debbie Spurlock and Vickie Mullins did great work with Group Work Camps. Volunteers from Global Volunteers began arriving in July and culminated with our last group in October. We Volunteers get instruction on how to use a power saw are always excited when Global Volunteers arrive be- cause they bring such diversity and liveliness along with from Madison, Indiana not only bring out a large group in themselves. As their team leader, my days were long and June each year but dispatched smaller groups throughout often times challenging but few things have I found so the year. We are always happy to see Rev. Mark Porter fulfilling. Global Volunteers has been a SALS partner for and friends whenever they arrive. They have become nearly a decade and the partnership strengthens more SALS family in the truest sense.
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