Voices of Young Fathers: the Partners for Fragile Families Demonstration Projects
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The Tuscan Child
PRAISE FOR RHYS BOWEN’S IN FARLEIGH FIELD “Well-crafted, thoroughly entertaining.” —Publishers Weekly “The skills Bowen brings . inform the plotting in this character-rich tale, which will be welcomed by her fans as well as by readers who enjoy fiction about the British home front.” —Booklist “In what could easily become a PBS show of its own, Bowen’s novel winningly details a World War II spy game.” —Library Journal “This novel will keep readers deeply involved until the end.” —Portland Book Review “In Farleigh Field delivers the same entertainment mixed with intellectual intrigue and realistic setting for which Bowen has earned awards and loyal fans.” —New York Journal of Books “Well-plotted and thoroughly entertaining . With characters who are so fully fleshed out, you can imagine meeting them on the street.” —Historical Novel Society “Through the character’s eyes, readers will be drawn into the era and begin to understand the sacrifices and hardships placed on English society.” —Crimespree Magazine “A thrill a minute . highly recommend.” —Night Owl Reviews, Top Pick “Riveting.” —Military Press “Instantly absorbing, suspenseful, romantic and stylish—like binge- watching a great British drama on Masterpiece Theatre.” —Lee Child, New York Times bestselling author “In Farleigh Field is brilliant. The plotting is razor sharp and ingenious, the setting in World War Two Britain is so tangible it’s eerie. The depth and breadth of character is astonishing. They’re likeable and repulsive and warm and stand-offish. And oh, so human. And so relatable. This is magnificently written and a must read.” —Louise Penny, New York Times bestselling author “Irresistible, charming and heartbreakingly authentic. -
The Notion of Song, Identities, Discourses, and Power
The Notion of Song, Identities, Discourses, and Power: Bridging Songs with Literary Texts to Enhance Students’ Interpretative Skills Elroy Alister Esdaille Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2020 © 2020 Elroy Alister Esdaille All Rights Reserved Abstract Sometimes students struggle to interpret literary texts because some of these texts do not lend themselves to the deduction of the interpretative processes with which they are familiar, but the same is not true when students pull interpretations from songs. Is it possible that students’ familiarity with songs might enable them to connect a song with a book and aid interpretation that way? This study attempted to explore the possibility of bridging songs to literary texts in my Community College English classroom, to ascertain if or how the use of song can support or extend students’ interpretive strategies across different types of texts. I investigated how songs might work as a bridge to other texts, like novels, and, if the students use songs as texts, to what extent do the students develop and hone their interpretative skills? Because of this, how might including songs as texts in English writing or English Literature curriculum contribute to the enhancement of students’ writing? The students’ responses disclosed that the songs appealed to their cognition and memories and helped them to interpret and write about the novels they read. Moreover, the students’ responses revealed that pairing or matching songs with novels strengthened interpretation of the book in a plethora of ways, such as meta-message deduction, applying contexts, applying comparisons, and examining thematic correlations. -
Hip Hop, Memes, and the Internet
BY ALL MEMES NECESSARY: HIP HOP, MEMES, AND THE INTERNET MAX TRETTER FRIEDRICH-ALEXANDER-UNIVERSITY ERLANGEN-NUREMBERG INTRODUCTION: HIP HOP ON THE INTERNET The internet influences hip hop in various ways. First and foremost, the internet is a medium that opens up a new space and stage in which hip hop can be performed. This stage is no longer local, but global, which represents both opportunity and challenge. On the one hand, each hip hop artist must assert themselves against countless compet- itors from all over the world; on the other hand, their breakthrough online, if it suc- ceeds, can be monumental in comparison to an analog breakthrough, which is usually confined to a limited area. Therefore, for hip hop artists it is increasingly important to attract attention – as only those who get the attention succeed in this new medium (Prior 2018, Jenkins et al. 2013). The internet’s central influence on hip hop is the inten- sification of the battle for attention – which results in hip hop artists trying new ap- proaches and strategies to gain that attention. One of them is producing their content with an eye to making it as meme-able as possible and capitalizing on meme dynamics on the internet. In this study, I approach memes as a concept, following the definition of Dawkins (2006) who originally defined the concept of memes in his work The Selfish Gene. Memes are small units of information that are usually very simple and catchy (ges- tures, styles, melodies, or phrases). They are transmitted from person to person by imitation or adaption, replicate and spread very quickly, and contribute to the dissem- ination and formation of common behaviors and cultures (Dawkins 2006). -
Big Hits Karaoke Song Book
Big Hits Karaoke Songs by Artist Karaoke Shack Song Books Title DiscID Title DiscID 3OH!3 Angus & Julia Stone You're Gonna Love This BHK034-11 And The Boys BHK004-03 3OH!3 & Katy Perry Big Jet Plane BHKSFE02-07 Starstruck BHK001-08 Ariana Grande 3OH!3 & Kesha One Last Time BHK062-10 My First Kiss BHK010-01 Ariana Grande & Iggy Azalea 5 Seconds Of Summer Problem BHK053-02 Amnesia BHK055-06 Ariana Grande & Weeknd She Looks So Perfect BHK051-02 Love Me Harder BHK060-10 ABBA Ariana Grande & Zedd Waterloo BHKP001-04 Break Free BHK055-02 Absent Friends Armin Van Buuren I Don't Wanna Be With Nobody But You BHK000-02 This Is What It Feels Like BHK042-06 I Don't Wanna Be With Nobody But You BHKSFE01-02 Augie March AC-DC One Crowded Hour BHKSFE02-06 Long Way To The Top BHKP001-05 Avalanche City You Shook Me All Night Long BHPRC001-05 Love, Love, Love BHK018-13 Adam Lambert Avener Ghost Town BHK064-06 Fade Out Lines BHK060-09 If I Had You BHK010-04 Averil Lavinge Whataya Want From Me BHK007-06 Smile BHK018-03 Adele Avicii Hello BHK068-09 Addicted To You BHK049-06 Rolling In The Deep BHK018-07 Days, The BHK058-01 Rumour Has It BHK026-05 Hey Brother BHK047-06 Set Fire To The Rain BHK021-03 Nights, The BHK061-10 Skyfall BHK036-07 Waiting For Love BHK065-06 Someone Like You BHK017-09 Wake Me Up BHK044-02 Turning Tables BHK030-01 Avicii & Nicky Romero Afrojack & Eva Simons I Could Be The One BHK040-10 Take Over Control BHK016-08 Avril Lavigne Afrojack & Spree Wilson Alice (Underground) BHK006-04 Spark, The BHK049-11 Here's To Never Growing Up BHK042-09 -
Introduction M Priorities
Mose_0771065043_xp_01_r1.qxd 9/25/06 3:40 PM Page 1 We Contain Multitudes: Our Many Roles, Many Selves introduction anager, professional, mentor, mother, wife, volunteer, artist, friend, athlete. Never before M have there been so many demands on women to excel in so many domains of life, so many opportuni- ties for self-expression and success, for disappointment and frustration. Our sense of self is nuanced, intricate, and rich. We derive our feelings of satisfaction from multi- ple roles. Freud famously said: “Love and work are the corner- stone of our humanness.” If we augment “love” to include our friends and our passions and “work” to include paid and unpaid activity, this is all that matters. These are the issues we are particularly likely to reflect on at midlife, a time of significant opportunities and chal- lenges when we take stock and ask, “What next?” and “How can I feel better about my life?” and reevaluate our priorities. 1 Mose_0771065043_xp_01_r1.qxd 9/25/06 3:40 PM Page 2 2 Women Confidential We have so many needs and desires. In my career/life-planning workshops with managers and professionals, I am always aware of the different ways in which men and women identify and rank their values. The most striking difference is not in the values themselves or how they are ranked, although there are differences, but in how the lists are completed. The men finish the exercise in a few minutes and move on to the next question. The women write the list. Then they erase it. Then they do it again. -
Calderon, Nicholas Interview 2 Calderon, Nicholas
Fordham University Masthead Logo DigitalResearch@Fordham Oral Histories Bronx African American History Project 5-27-2010 Calderon, Nicholas Interview 2 Calderon, Nicholas. Bronx African American History Project Fordham University Follow this and additional works at: https://fordham.bepress.com/baahp_oralhist Part of the African American Studies Commons Recommended Citation Calderon, Nicholas. May 27, 2010. Interview with the Bronx African American History Project. BAAHP Digital Archive at Fordham University. This Interview is brought to you for free and open access by the Bronx African American History Project at DigitalResearch@Fordham. It has been accepted for inclusion in Oral Histories by an authorized administrator of DigitalResearch@Fordham. For more information, please contact [email protected]. Interviewee: Nicholas Calderon Interviewer: Mark Naison Date: May 27, 2010 Mark Naison (MN): Hello. Today is Thursday May 27th, 2010. This is the Bronx African American History Project and we’re dealing with the second interview with Nicholas Calderon aka Young Buggs. Leader Interviewer is Noel Wolfe, assisting is Mark Naison and our videographer is Dawn Russell. So Noel, take it away. Noel Wolfe (NW): So we last left off when we were talking about how you were shifting into music in a way from drug dealing and I wanted to start there. What did music provide you at that stage? You were 17 years old? Nicholas Calderon (NC): Yes mam. Basically my comfort because it wasn’t my home, so music was a way out to get away from that temporarily though. MN: Now we’re talking about music, were you thinking about being a leader assist like writing rhymes and telling stories? NC: That’s what mainly it was about. -
View Was Provided by the National Endowment for the Arts
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JON HENDRICKS NEA Jazz Master (1993) Interviewee: Jon Hendricks (September 16, 1921 – November 22, 2017) and, on August 18, his wife Judith Interviewer: James Zimmerman with recording engineer Ken Kimery Date: August 17-18, 1995 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 95 pp. Zimmerman: Today is August 17th. We’re in Washington, D.C., at the National Portrait Galley. Today we’re interviewing Mr. Jon Hendricks, composer, lyricist, playwright, singer: the poet laureate of jazz. Jon. Hendricks: Yes. Zimmerman: Would you give us your full name, the birth place, and share with us your familial history. Hendricks: My name is John – J-o-h-n – Carl Hendricks. I was born September 16th, 1921, in Newark, Ohio, the ninth child and the seventh son of Reverend and Mrs. Willie Hendricks. My father was a minister in the African Methodist Episcopal Church, the AME Church. Zimmerman: Who were your brothers and sisters? Hendricks: My brothers and sisters chronologically: Norman Stanley was the oldest. We call him Stanley. William Brooks, WB, was next. My sister, the oldest girl, Florence Hendricks – Florence Missouri Hendricks – whom we called Zuttie, for reasons I never For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 really found out – was next. Then Charles Lancel Hendricks, who is surviving, came next. Stuart Devon Hendricks was next. Then my second sister, Vivian Christina Hendricks, was next. -
The Sam Eskin Collection, 1939-1969, AFC 1999/004
The Sam Eskin Collection, 1939 – 1969 AFC 1999/004 Prepared by Sondra Smolek, Patricia K. Baughman, T. Chris Aplin, Judy Ng, and Mari Isaacs August 2004 Library of Congress American Folklife Center Washington, D. C. Table of Contents Collection Summary Collection Concordance by Format Administrative Information Provenance Processing History Location of Materials Access Restrictions Related Collections Preferred Citation The Collector Key Subjects Subjects Corporate Subjects Music Genres Media Formats Recording Locations Field Recording Performers Correspondents Collectors Scope and Content Note Collection Inventory and Description SERIES I: MANUSCRIPT MATERIAL SERIES II: SOUND RECORDINGS SERIES III: GRAPHIC IMAGES SERIES IV: ELECTRONIC MEDIA Appendices Appendix A: Complete listing of recording locations Appendix B: Complete listing of performers Appendix C: Concordance listing original field recordings, corresponding AFS reference copies, and identification numbers Appendix D: Complete listing of commercial recordings transferred to the Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress 1 Collection Summary Call Number: AFC 1999/004 Creator: Eskin, Sam, 1898-1974 Title: The Sam Eskin Collection, 1938-1969 Contents: 469 containers; 56.5 linear feet; 16,568 items (15,795 manuscripts, 715 sound recordings, and 57 graphic materials) Repository: Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. Summary: This collection consists of materials gathered and arranged by Sam Eskin, an ethnomusicologist who recorded and transcribed folk music he encountered on his travels across the United States and abroad. From 1938 to 1952, the majority of Eskin’s manuscripts and field recordings document his growing interest in the American folk music revival. From 1953 to 1969, the scope of his audio collection expands to include musical and cultural traditions from Latin America, the British Isles, the Middle East, the Caribbean, and East Asia. -
High Fidelity
HIGH FIDELITY A MUSICAL COMEDY BY Amanda Green, Tom Kitt, and David Lindsay-Abaire BASED ON THE NOVEL BY NICK HORNBY AND THE TOUCHSTONE PICTURES FILM HIGH SCHOOL EDITION SHOW PERUSAL 11/07/19 High Fidelity - 1st ed. – 10.21.13 – highfidelity_conductor1cf Copyright © 2013 Amanda Green, Tom Kitt, and David Linsday Abaire ALL RIGHTS RESERVED Copyright Protection. This play (the “Play”) is fully protected under the copyright laws of the United States of America and all countries with which the United States has reciprocal copyright relations, whether through bilateral or multilateral treaties or otherwise, and including, but not limited to, all countries covered by the Pan- American Copyright Convention, the Universal Copyright Convention, and the Berne Convention. Reservation of Rights. All rights to this Play are strictly reserved, including, without limitation, professional and amateur stage performance rights; motion picture, recitation, lecturing, public reading, radio broadcasting, television, video, and sound recording rights; rights to all other forms of mechanical or electronic reproduction now known or yet to be invented, such as CD-ROM, CD-I, DVD, photocopying, and information storage and retrieval systems; and the rights of translation into non-English languages. Performance Licensing and Royalty Payments. Amateur and stock performance rights to this Play are controlled exclusively by Broadway Licensing. No amateur or stock production groups or individuals may perform this Play without obtaining advance written permission from Broadway Licensing. Such royalty fees may be subject to change without notice. Although this book may have been obtained for a particular licensed performance, such performance rights, if any, are not transferable. -
Amici Curiae Brief of Erik Nielson, Charis E
No. 15-666 __________________________________________ In the Supreme Court of the United States _____ ____ TAYLOR BELL, Petitioner, V. ITAWAMBA COUNTY SCHOOL BOARD, Respondent. _____ ____ On Petition for a Writ of Certiorari to the United States Court Of Appeals for the Fifth Circuit ______ ___ AMICI CURIAE BRIEF OF ERIK NIELSON, CHARIS E. KUBRIN, TRAVIS L. GOSA, MICHAEL RENDER (AKA “KILLER MIKE”) AND OTHER SCHOLARS AND ARTISTS IN SUPPORT OF PETITIONER _____ ____ CHARLES “CHAD” BARUCH Counsel of Record COYT RANDAL JOHNSTON JR. JOHNSTON TOBEY BARUCH 3308 Oak Grove Avenue Dallas, Texas 75204 (214) 741-6260 [email protected] Counsel for Amici Curiae __________________________________________ LEGAL PRINTERS LLC, Washington DC ! 202-747-2400 ! legalprinters.com i TABLE OF CONTENTS Table of Contents ........................................................ i Table of Authorities ................................................... ii Interests of Amici Curiae ........................................... 1 Summary of Argument .............................................. 3 Argument .................................................................... 6 A. “Fight the power”: The politics of hip hop .......... 6 B. “Put my Glock away, I got a stronger weapon that never runs out of ammunition”: The non- literal rhetoric of hip hop .................................. 12 C. “They ain’t scared of rap music—they scared of us”: Rap’s bad rap .............................................. 19 Conclusion ............................................................... -
May 2018 Be the Church. Everywhere, Every Day!
May 2018 Middle School Retreat a Be the church. Everywhere, every day! every Everywhere, Be the church. huge success. See what else they’re up to on pg 23. TABLE OF CONTENTS Contributors: Creative Director .................Kirk Rhodes Senior Graphic Designer ...... Dede Caruso Attend the Editors ....................... Melissa Bogdany When Helping Hurts Nancy Doran Mary Trier two-day seminar. Carol Harris Writers ........................... Greg Robson Bob Castaldi Page 4 Jeremy Jobson Rebecca Lang Matt Shiles Monica Smith Pam Anderson Plan for your future Javier G. Velasquez Photographers .................... Fe Salviano at the free estate Kirk Rhodes Bradley Nolff planning seminar. Jessica Saphirstein David Saphirstein Page 6 Shaun Trout John Pierce, Jr. John Kuhn gettyimages.com Printer ....... Central Florida Publishing, Inc. Read about the impact Send newspaper correspondence to: [email protected]. Northlanders have around the globe. Our Purpose: Why we are here. Pages 9-12 From its inception in 1972, Northland has been unwavering in its purpose: To bring people to maturity in Christ. Our Vision: What we see. A vision is a clear mental picture of a preferable future. It sees the future through the eyes of faith. It shares the perspective of the biblical writer when he wrote the following words: “Now faith is the assurance of things hoped for, Go behind the scenes the conviction of things not seen” (Hebrews 11:1, NASB). Northland’s vision is to see people coming to Christ, and to be transformed together as we link locally and globally to with worship leader, worship and serve everywhere, every day. Kailey Simpson. Our Mission: What we do. -
Child Rearing
Subject: Child Rearing -~----------~----~----~----~------~----~------~--~--- [Addressed to:] Mr. Ebenezer Burr Norfolk Litchfield Co. Conn. [Connecticut] Waukesha (Prairieville) [Wisconsin] Aug. 15 Sab. [Sabbath] eve / 47. My dear Parents, Brothers & Sisters. I do not recollect the date of your last letter to us. but I remember that we received it soon after Joel [Joel Grant] left us. You wished us to write often as consistent — I did not write immediately on the reception of your letter, thinking that Joel seeing you would remove the necessity of it — & I can give no other reason for delaying thus long only that I have been so busily engaged through the week that I have not taken the time. We have been usually well until last Monday when Daniel had a violent attack of chill fever — he went to work <at a> in the morning about half a mile cutting wheat — at noon came home sick I gave him an emetic, soaked his feet put drafts upon them. & he took some cathartic pills — but as the violence of the symptoms did not seem to abate we called a physician Tues. eve of the homopathic order — his medicine seemed to have a very good effect — he has had no chill to day & has set up most of the time — we think if he is careful he will be able to be around in a few days — at work a little — It has been exceedingly dry here this summer & considerable sickness prevails now, fevers of various kinds, mostly bilious & chill & some ague — I take medicine occasionally <to prevent sickness> when I have bad feelings — have felt much better this summer than I did last.