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Retaining Modern Nordic-American Identity amongst Diversity in the United States Today CHRIS SUSAG his article examines Nordic-American identity as it exists to day in the United States. Four groups will be the focus of this discussion: Norwegian, Swedish, Finnish, and Finland-Swedish Americans. (Icelandic Americans also belong in the multi-ethnic group, but were not surveyed for this study.) Many of the factors contributing to what some scholars see to be an apparent decrease in Nordic-American group identity will be examined. This article will also examine those aspects of each group that are important to its members and continue to serve as important aspects of the group's culture. Some comparisons will be drawn and the future of Nordic- American group identities considered. The United States has historically struggled to bring its citizens together as Americans. The American "melting pot" was one attempt to homogenize many diverse groups into the larger, collective group as Americans. Over time it became obvious, however, that not all Americans shared similar practices or identities and were thus not easily homogenized into this model. While it could be said that the melting pot encouraged many to give up their ethnic identity in favor of some sort of vaguely defined American identity, over time it has been largely abandoned. In its place, the contemporary approach to differentness in the United States is to encourage "diversity." This typically stresses the acceptance of the differences between groups and encourages the celebration of racial, ethnic, and cultural differ- CHRIS SUSAG holds a Ph.D. from the University of Joensuu, Finland. -
Songs by Artist
Reil Entertainment Songs by Artist Karaoke by Artist Title Title &, Caitlin Will 12 Gauge Address In The Stars Dunkie Butt 10 Cc 12 Stones Donna We Are One Dreadlock Holiday 19 Somethin' Im Mandy Fly Me Mark Wills I'm Not In Love 1910 Fruitgum Co Rubber Bullets 1, 2, 3 Redlight Things We Do For Love Simon Says Wall Street Shuffle 1910 Fruitgum Co. 10 Years 1,2,3 Redlight Through The Iris Simon Says Wasteland 1975 10, 000 Maniacs Chocolate These Are The Days City 10,000 Maniacs Love Me Because Of The Night Sex... Because The Night Sex.... More Than This Sound These Are The Days The Sound Trouble Me UGH! 10,000 Maniacs Wvocal 1975, The Because The Night Chocolate 100 Proof Aged In Soul Sex Somebody's Been Sleeping The City 10Cc 1Barenaked Ladies Dreadlock Holiday Be My Yoko Ono I'm Not In Love Brian Wilson (2000 Version) We Do For Love Call And Answer 11) Enid OS Get In Line (Duet Version) 112 Get In Line (Solo Version) Come See Me It's All Been Done Cupid Jane Dance With Me Never Is Enough It's Over Now Old Apartment, The Only You One Week Peaches & Cream Shoe Box Peaches And Cream Straw Hat U Already Know What A Good Boy Song List Generator® Printed 11/21/2017 Page 1 of 486 Licensed to Greg Reil Reil Entertainment Songs by Artist Karaoke by Artist Title Title 1Barenaked Ladies 20 Fingers When I Fall Short Dick Man 1Beatles, The 2AM Club Come Together Not Your Boyfriend Day Tripper 2Pac Good Day Sunshine California Love (Original Version) Help! 3 Degrees I Saw Her Standing There When Will I See You Again Love Me Do Woman In Love Nowhere Man 3 Dog Night P.S. -
Diana Davies Photograph Collection Finding Aid
Diana Davies Photograph Collection Finding Aid Collection summary Prepared by Stephanie Smith, Joyce Capper, Jillian Foley, and Meaghan McCarthy 2004-2005. Creator: Diana Davies Title: The Diana Davies Photograph Collection Extent: 8 binders containing contact sheets, slides, and prints; 7 boxes (8.5”x10.75”x2.5”) of 35 mm negatives; 2 binders of 35 mm and 120 format negatives; and 1 box of 11 oversize prints. Abstract: Original photographs, negatives, and color slides taken by Diana Davies. Date span: 1963-present. Bulk dates: Newport Folk Festival, 1963-1969, 1987, 1992; Philadelphia Folk Festival, 1967-1968, 1987. Provenance The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired portions of the Diana Davies Photograph Collection in the late 1960s and early 1970s, when Ms. Davies photographed for the Festival of American Folklife. More materials came to the Archives circa 1989 or 1990. Archivist Stephanie Smith visited her in 1998 and 2004, and brought back additional materials which Ms. Davies wanted to donate to the Ralph Rinzler Folklife Archives. In a letter dated 12 March 2002, Ms. Davies gave full discretion to the Center for Folklife and Cultural Heritage to grant permission for both internal and external use of her photographs, with the proviso that her work be credited “photo by Diana Davies.” Restrictions Permission for the duplication or publication of items in the Diana Davies Photograph Collection must be obtained from the Ralph Rinzler Folklife Archives and Collections. Consult the archivists for further information. Scope and Content Note The Davies photographs already held by the Rinzler Archives have been supplemented by two more recent donations (1998 and 2004) of additional photographs (contact sheets, prints, and slides) of the Newport Folk Festival, the Philadelphia Folk Festival, the Poor People's March on Washington, the Civil Rights Movement, the Georgia Sea Islands, and miscellaneous personalities of the American folk revival. -
Food Rituals: an Entree Into Multiracial Family Culture
FOOD RITUALS: AN ENTREE INTO MULTIRACIAL FAMILY CULTURE A Thesis submitted to the faculty of San Francisco State University In partial fulfillment of the requirements for the Degree A: Master of Arts (, In f=THS7 Ethnics Studies * U lo by Nicole Evelyn Leopardo San Francisco, California May 2016 Copyright by Nicole Evelyn Leopardo 2016 CERTIFICATION OF APPROVAL I certify that I have read Food Rituals: An Entree into Multiracial Family Culture by Nicole Evelyn Leopardo, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in Ethnic Studies at San Francisco State University. Melissa Nelson, Ph.D. Professor of American Indian Studies FOOD RITUALS: AN ENTREE INTO MULTIRACIAL FAMILY CULTURE Nicole Evelyn Leopardo San Francisco, California 2016 The meanings of food rituals among ethnic groups have become scholarly areas to explore using Sociological and Anthropological approaches. However, still missing in this analysis is what these rituals mean to self-identified multiracial families. Using Ethnic Studies and Mixed Race Studies literature, this research project weaves together cultural understandings of food rituals and theoretical concepts in Mixed Race Studies literature. This research seeks to answer the following questions: What function do food rituals play in multiracial families? How do these rituals help to create a sense of common culture in a multiracial family? Using focus groups of three multiracial families in the San Francisco Bay Area, the researcher found that food rituals function as a tool of cultural continuity and adaptation, and serve to challenge established gender roles. -
Concert: Ithaca College Jazz Workshop Tuesday-Thursday Jazz Lab
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 12-5-2003 Concert: Ithaca College Jazz Workshop Tuesday-Thursday Jazz Lab Steve Brown Steve Wilson Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Tuesday-Thursday Jazz Lab; Brown, Steve; and Wilson, Steve, "Concert: Ithaca College Jazz Workshop" (2003). All Concert & Recital Programs. 2900. https://digitalcommons.ithaca.edu/music_programs/2900 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. ITHACA COLLEGE JAZZ WORKSHOP Tuesday-Thursday Jazz Lab Steve Brown, musical director Steve Wilson, guest saxophone soloist Mean What You Say Thad Jones Rhythm-A-Ning Thelonious Monk Arr. Ryan Socrates Jessica's Day Quincy Jones The Dolphin Luis Eca Arr. Ray Brown Fantasy in "D" Cedar Walton Arr. Rufus Reid INTERMISSION There Will Never Be Another You Warren/Gordon Arr. Ray Brown Lisa Victor Feldman Arr. Yvonne Darancou A Joyful Noise Steve Wilson A Penthouse Dawn Oliver Nelson Willow Weep For Me AnnRonell Arr. Phil Woods Ford Hall Friday, December 5, 2003 8:15 p.m. Called by the Palm Beach Post "flawless, gifted with fabulous technique and a first-rate sense of what's musical," Steve Wilson has performed and recorded with the greatest names in jazz. A sampling of the musicians he has worked with includes Chick Corea, Dave Holland, Dianne Reeves, O.T.B., Donald Brown, Billy Childs, Don Byron, Bill Stewart, James Williams, and Mulgrew Miller. -
Windward Passenger
MAY 2018—ISSUE 193 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE BURRELL WINDWARD PASSENGER PHEEROAN NICKI DOM HASAAN akLAFF PARROTT SALVADOR IBN ALI Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2018—ISSUE 193 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : PHEEROAN aklaff 6 by anders griffen [email protected] Andrey Henkin: [email protected] Artist Feature : nicki parrott 7 by jim motavalli General Inquiries: [email protected] ON The Cover : dave burrell 8 by john sharpe Advertising: [email protected] Encore : dom salvador by laurel gross Calendar: 10 [email protected] VOXNews: Lest We Forget : HASAAN IBN ALI 10 by eric wendell [email protected] LAbel Spotlight : space time by ken dryden US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIVAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD ReviewS 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Mark Keresman, Marilyn Lester, Miscellany 43 Suzanne Lorge, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Event Calendar 44 Andrew Vélez, Scott Yanow Contributing Writers Kevin Canfield, Marco Cangiano, Pierre Crépon George Grella, Laurel Gross, Jim Motavalli, Greg Packham, Eric Wendell Contributing Photographers In jazz parlance, the “rhythm section” is shorthand for piano, bass and drums. -
Piano • Vocal • Guitar • Folk Instruments • Electronic Keyboard • Instrumental • Drum ADDENDUM Table of Contents
MUsic Piano • Vocal • Guitar • Folk Instruments • Electronic Keyboard • Instrumental • Drum ADDENDUM table of contents Sheet Music ....................................................................................................... 3 Jazz Instruction ....................................................................................... 48 Fake Books........................................................................................................ 4 A New Tune a Day Series ......................................................................... 48 Personality Folios .............................................................................................. 5 Orchestra Musician’s CD-ROM Library .................................................... 50 Songwriter Collections ..................................................................................... 16 Music Minus One .................................................................................... 50 Mixed Folios .................................................................................................... 17 Strings..................................................................................................... 52 Best Ever Series ...................................................................................... 22 Violin Play-Along ..................................................................................... 52 Big Books of Music ................................................................................. 22 Woodwinds ............................................................................................ -
Politics Among Danish Americans in the Midwest, Ca. 1890-1914
The Bridge Volume 31 Number 1 Article 6 2008 Politics Among Danish Americans in the Midwest, ca. 1890-1914 Jorn Brondal Follow this and additional works at: https://scholarsarchive.byu.edu/thebridge Part of the European History Commons, European Languages and Societies Commons, and the Regional Sociology Commons Recommended Citation Brondal, Jorn (2008) "Politics Among Danish Americans in the Midwest, ca. 1890-1914," The Bridge: Vol. 31 : No. 1 , Article 6. Available at: https://scholarsarchive.byu.edu/thebridge/vol31/iss1/6 This Article is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in The Bridge by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Politics Among Danish Americans in the Midwest, ca. 1890-1914 by J0rn Brnndal During the last decades of the nineteenth century and into the twentieth, ethnicity and religion played a vital role in shaping the political culture of the Midwest. Indeed, historians like Samuel P. Hays, Lee Benson, Richard Jensen (of part Danish origins), and Paul Kleppner argued that ethnoreligious factors to a higher degree than socioeconomic circumstances informed the party affiliation of ordinary voters.1 It is definitely true that some ethnoreligious groups like, say, the Irish Catholics and the German Lutherans boasted full fledged political subcultures complete with their own press, their own political leadership and to some extent, at least, their own ethnically defined issues. Somewhat similar patterns existed among the Norwegian Americans.2 They too got involved in grassroots level political activities, with their churches, temperance societies, and fraternal organizations playing an important role in modeling a political subculture. -
Marc Shapiro
ADELE The Biography MARC SHAPIRO ST. MARTIN’S GRIFFIN NEW YORK adele. Copyright © 2012 by Marc Shapiro. All rights reserved. Printed in the United States of America. For information, address St. Martin’s Press, 175 Fifth Avenue, New York, N.Y. 10010. www .stmartins .com Design by Steven Seighman ISBN 978- 1- 250- 02516- 6 (trade paperback) ISBN 978- 1- 250- 02547- 0 (hardcover) ISBN 978- 1- 250- 02515- 9 (e-book) First Edition: July 2012 10 9 8 7 6 5 4 3 2 1 10. NO BALLAD, NO CRY dele began writing new material for her follow- up record in April 2009. But not before she agreed to take a fl yer as an actress with a guest shot on the hit tele vi- sion sitcom Ugly Betty. It seemed like a harm- Aless diversion from all the drama and pressure in her life. She reasoned, how hard could it be to play herself? In the episode, Betty is dancing with her husband at their wedding when the couple is suddenly interrupted by Adele. Th ere is some harmless banter and the next thing we know Adele is up on stage singing the song “Right As Rain.” Adele realized that that kind of promotion in America was well worth the eff ort, but would later acknowledge in Vogue that the Ugly Betty experience cured her of any future acting aspirations. “I can’t watch it. I was so uncomfortable. I am the worst actress of all time.” But Adele was thankful for the momentary respite from Marc Shapiro her day job as singer-songwriter on the rise. -
The Jazz Record
oCtober 2019—ISSUe 210 YO Ur Free GUide TO tHe NYC JaZZ sCene nyCJaZZreCord.Com BLAKEYART INDESTRUCTIBLE LEGACY david andrew akira DR. billy torn lamb sakata taylor on tHe Cover ART BLAKEY A INDESTRUCTIBLE LEGACY L A N N by russ musto A H I G I A N The final set of this year’s Charlie Parker Jazz Festival and rhythmic vitality of bebop, took on a gospel-tinged and former band pianist Walter Davis, Jr. With the was by Carl Allen’s Art Blakey Centennial Project, playing melodicism buoyed by polyrhythmic drumming, giving replacement of Hardman by Russian trumpeter Valery songs from the Jazz Messengers songbook. Allen recalls, the music a more accessible sound that was dubbed Ponomarev and the addition of alto saxophonist Bobby “It was an honor to present the project at the festival. For hardbop, a name that would be used to describe the Watson to the band, Blakey once again had a stable me it was very fitting because Charlie Parker changed the Jazz Messengers style throughout its long existence. unit, replenishing his spirit, as can be heard on the direction of jazz as we know it and Art Blakey changed By 1955, following a slew of trio recordings as a album Gypsy Folk Tales. The drummer was soon touring my conceptual approach to playing music and leading a sideman with the day’s most inventive players, Blakey regularly again, feeling his oats, as reflected in the titles band. They were both trailblazers…Art represented in had taken over leadership of the band with Dorham, of his next records, In My Prime and Album of the Year. -
To Elektra EKL-264 Mono / EKS-7264 Stereo "The BLUES Project"
DAVE RAY: Dave "Snaker" Ray, whose ambition is to be a doctor, started playing guitar while a sophomore in high school. He origin ally began with blues (Leadbelly) to keep his fingers nimble fo r what he thought would be a classical-flamenco guitarist career. "After an adagio by Sor and a hacked-up Farruca, I began playing Led better's stuff exclusively, " Dave reports. He began playing the 12-string guitar when a senior in high school, and lists as early influences, Elvis' Sun label recordings, Bo Diddley, Muddy Waters, early Chicago, and, of course, Leadbelly. " I sing the blues because it's a medium not as demanding as literatu re or serious music, and free enough to permit a total statement of personality and. self, " Dave states. "I play blues because 1 feel it's important to me to express myself and because I feel it's a significant form of music which hasn't had enough dispersement. As far as white men playing blues, that's all who do play blues. the new Negroes are too busy (doing other things). " Discography: Blues, Rags and Hollers (Elektra EKL 240). Dave Ray may soon be heard, with John Koerner and Tony Glover, on Elektra EKL 267. ERIC VON SCHMIDT: E ric w rites: "B orn 1931; began singing in 1948; first influences were Leadbelly, Josh White and Jelly Roll Morton — then Library of Congress material and field recordings. Worked as magazine illustrator, then painter until 1952... two years in the army, and then to Florida, where I worked as a frame-maker and built a 27-foot ketch which was almost called the 'John Hurt'. -
The Question of Yom Tov Sheini for Visitors to Israel RABBI MAYER RABINOWITZ
The Question of Yom Tov Sheini for Visitors to Israel RABBI MAYER RABINOWITZ This paper was adopted on May 28, 1981 by a vote of 12-2-1. Members voting in favor: Rabbis Kassel Abelson, Ephraim L. Bennett, Ben Zion Bokser, David M. Feldman, Wolfe Kelman, David H. Lincoln, Mayer E. Rabinowitz, Alexander M. Shapiro, Morris M. Shapiro, Israel N. Silverman, Harry Z. Sky and Henry A. Sosland. Members voting in opposition: Rabbis Joel Roth and Phillip Sigal. Abstaining: Rabbi Edward M. Gershfield. SHE'ELAH Should a visitor to Israel observe Yom Tov Sheini or should he follow the custom of Eretz Yisrael to only observe one day of a Yom Tov? TESHUVAH The prevailing practice has been that a visitor to Israel observes Yom Tov Sheini. This is based on Mishnah Pesahim 4:1: Notnin alav humrei makom sheyatza misham ve/Jumrei makom shehalakh lesham (We impose on him the restrictions of the place from where he came and the restrictions of the place where he has gone). Based upon the discussion in the Gemara Pesahim 5la, and following the opinion of Rav Ashi that the Mishnah refers to a person who intends to return to his place of abode (da'ato lahzor), many posekim have stated that visitors to Israel must obseiVe Yom Tov Sheini if they intend to return to the Diaspora (Arukh H ashulhan, Orah Hayyim 496:5; Mishnah Berurah, ibid., par. 13). InMa'aseh Geonim (no. 47, pp. 31-32), we find the opinion that a visitor to Israel must observe Yom Tov Sheini. Only after dwelling in Israel for twelve months would the "visitor" be considered a resident and a part of the community.