Oral History Interview with H.R. Haldeman
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As Tribute to the Daughters of the South: Illuminating the Work of Black Women Principals
Georgia Southern University Digital Commons@Georgia Southern Electronic Theses and Dissertations Graduate Studies, Jack N. Averitt College of Summer 2013 "A Song for You" As Tribute to the Daughters of the South: Illuminating the Work of Black Women Principals Beverly Cox Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/etd Part of the Curriculum and Social Inquiry Commons, Educational Leadership Commons, Elementary and Middle and Secondary Education Administration Commons, Gender and Sexuality Commons, and the Race and Ethnicity Commons Recommended Citation Cox, Beverly, ""A Song for You" As Tribute to the Daughters of the South: Illuminating the Work of Black Women Principals" (2013). Electronic Theses and Dissertations. 859. https://digitalcommons.georgiasouthern.edu/etd/859 This dissertation (open access) is brought to you for free and open access by the Graduate Studies, Jack N. Averitt College of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. “A SONG FOR YOU” AS TRIBUTE TO THE DAUGHTERS OF THE SOUTH: ILLUMINATING THE WORK OF BLACK WOMEN PRINCIPALS by BEVERLY COX (Under the Direction of Sabrina Ross) ABSTRACT Curriculum can be understood as a place of both struggle and possibility, where curriculum workers engage in complicated conversations about self, society, and the purposes of education (Pinar, 2004). Although curriculum theorists have contributed much to discussions of how to improve the current state of education, little attention in the field is given to the role that leadership can play in educational transformation (Ylimaki, 2011). -
Home and Family
5 Home and Family UNCORRECTED PAGE PROOFS Copyright © 2017 (and distributed by) Bedford, Freeman & Worth High School Publishers. Strictly for use with its products. Not for redistribution 06_JAG_8251_ch05_148_307.indd 148 18/08/16 12:26 PM hat makes a house a W home? “Home” suggests sanctuary, loved ones, nourishment — a place where everybody knows your name. The term is woven deep into our language as well as our consciousness. Consider the connotations of homemade and homespun. Home can offer refuge from the hostile world, or it can be a prison. People living together inevitably — sometimes intentionally — rub one another the wrong way. This chafing provides writers with rich material for art. (Remember, without conflict there is no story.) Are these writers working through their own failed relationships with mothers, fathers, and siblings? Sometimes. Are they exploring their conflicted feelings toward a home they left behind? Maybe. Are they holding up a mirror that allows us to see our own homes and families in a new light? Most certainly. Though the trappings of Happy families are all alike; home and family differ across every unhappy family is unhappy cultures, human families have in its own way. much in common. Legend has it that a man from Czechoslovakia, — Leo Tolstoy, Anna Karenina after watching a production of August Wilson’s Fences (set in Pittsburgh in the 1950s), approached the playwright and asked him, “How did you know about my family?” Wilson may not have known that particular man’s family, but he knew about families and how the sins of the Getty Images / father play out in the lives of sons. -
Singing While Female: a Narrative Study on Gender
SINGING WHILE FEMALE: A NARRATIVE STUDY ON GENDER, IDENTITY & EXPERIENCE OF FEMALE VOICE IN CIS, TRANSMASCULINE & NON-BINARY SINGERS by Felix Andrew Graham Dissertation Committee: Professor Hal Abeles, Sponsor Professor Jeanne Goffi-Fynn Approved by the Committee on the Degree of Doctor of Education Date 13 February 2019 Submitted in partial fulfillment of the requirements for the Degree of Doctor of Education in Teachers College, Columbia University 2019 ABSTRACT SINGING WHILE FEMALE: A NARRATIVE STUDY ON GENDER, IDENTITY & EXPERIENCE OF FEMALE VOICE IN CIS, TRANSMASCULINE & NON-BINARY SINGERS Felix Andrew Graham This study explored the personal narratives of six AFAB (“assigned female at birth”) singers – three cis and three trans/non-binary performers of varying ages, ethnicities and locales – to understand how their experiences informed their musical, vocal and gender identities and shaped their musical and vocal lives. Using semi-structured interview process, the singers recounted their memories and understanding of significant events in their development, and together, each singer and I explored those recollections through a process of collaborative self- exploration. Emerging themes from those narratives underscored the need for further investigation into the intersection of AFAB voice, singing and gender, as both existing literature and the results of this study suggest a deeper understanding of the issues around gender socialization, normative expectations and voice is ii necessary to appropriately and effectively prepare singers at all levels of their musical and vocal education. Study results found that there are many sources of socially-mediated influences which shape AFAB singers’ development of self, their individual and social identities, and their perceptions of their voice – particularly in the context of normative expectations that define gender and gender identities. -
Cash Box TOP 100 JUNE 12, 1965
he soundtrack album of Walt Disney's “Mary Poppins” (starring Julie Andrews and Dick Van Dyke) is today the best-selling LP in the U.S., with additional smash sales in Eng- ind, Canada and Australia. As the fabulously successful film, winner of five Academy Awards, opens in other countries this summer and fall, the LP will probably become one of le world’s all-time sales champs. Close to 2 million disks have been sold in the U.S. alone since the Buena Vista item was released last fall. In addition, French, German, Italian BY ALL ODDS ONE OF THE BEST NEW SINGLES OF ’65! SING’JESSEJAM E S''c,w“S UZYL... ON OOLUMBIA REOORDSB — Gash Box CashBox Vol. XXVI-Number 47 June 12, 1965 FOUNDED BY BILL GERSH Gash Box (Publication Office) 1780 Broadway New York 19, N. Y. 10019 (Phone: JUdson 6-2640) CABLE ADDRESS: CASHBOX, N. Y. JOE ORLECK President and Publisher NORMAN ORLECK Vice President The Big Beat’s GEORGE ALBERT Vice President MARTY OSTROW Generai Manager MUSIC & RECORDS DITORIAL IRV LiCHTMAN Editor-in-Chief DICK ZIMMERMAN Associate Editor 1st Decade MIKE MARTUCCI Editorial Assistant JERRY ORLECK Editorial Assistant MARV GOODMAN Editorial Assistant TOM McENTEE Editorial Assistant DVERTISING STEVE CHAZEN BILL STUPER HARVEY GELLER, Hollywood Some purists may debate the point, hind the musical style. Significantly, MARTY TOOHEY but the trade generally claims 1955 as the sources who comment this time General Manager COIN MACHINES & VENDING the year that rock ’n roll first took a around see the idiom in a more favor- Assistant ED ADLUM, foothold on the pop music market. -
The Bluest Eye
OceanofPDF.com Contents Title Page Dedication Foreword The Bluest Eye Autumn Winter Spring Summer About the Author Also by Toni Morrison Acclaim for Toni Morrison Copyright OceanofPDF.com To the two who gave me life and the one who made me free OceanofPDF.com Foreword There can’t be anyone, I am sure, who doesn’t know what it feels like to be disliked, even rejected, momentarily or for sustained periods of time. Perhaps the feeling is merely indifference, mild annoyance, but it may also be hurt. It may even be that some of us know what it is like to be actually hated—hated for things we have no control over and cannot change. When this happens, it is some consolation to know that the dislike or hatred is unjustified—that you don’t deserve it. And if you have the emotional strength and/or support from family and friends, the damage is reduced or erased. We think of it as the stress (minor or disabling) that is part of life as a human. When I began writing The Bluest Eye, I was interested in something else. Not resistance to the contempt of others, ways to deflect it, but the far more tragic and disabling consequences of accepting rejection as legitimate, as self- evident. I knew that some victims of powerful self-loathing turn out to be dangerous, violent, reproducing the enemy who has humiliated them over and over. Others surrender their identity; melt into a structure that delivers the strong persona they lack. Most others, however, grow beyond it. -
Copyrighting Tattoos: Artist Vs
Mitchell Hamline Law Review Volume 42 | Issue 1 Article 8 2016 Copyrighting Tattoos: Artist vs. Client in the Battle of the (Waiver) Forms Brayndi L. Grassi Follow this and additional works at: http://open.mitchellhamline.edu/mhlr Part of the Intellectual Property Law Commons Recommended Citation Grassi, Brayndi L. (2016) "Copyrighting Tattoos: Artist vs. Client in the Battle of the (Waiver) Forms," Mitchell Hamline Law Review: Vol. 42: Iss. 1, Article 8. Available at: http://open.mitchellhamline.edu/mhlr/vol42/iss1/8 This Article is brought to you for free and open access by the Law Reviews and Journals at Mitchell Hamline Open Access. It has been accepted for inclusion in Mitchell Hamline Law Review by an authorized administrator of Mitchell Hamline Open Access. For more information, please contact [email protected]. © Mitchell Hamline School of Law Grassi: Copyrighting Tattoos: Artist vs. Client in the Battle of the (Wai 2 (Do Not Delete) 3/24/2016 7:52 PM COPYRIGHTING TATTOOS: ARTIST VS. CLIENT IN THE BATTLE OF THE (WAIVER) FORMS* Brayndi L. Grassi† I. INTRODUCTION ........................................................................ 44 II. BRIEF HISTORY OF COPYRIGHT LAW IN NEW MEDIUMS ........... 46 III. FIRST INSTANCE OF COPYRIGHTS IN TATTOOS: REED V. NIKE, INC. ................................................................................. 47 IV. ARE TATTOOS COPYRIGHTABLE? ............................................. 48 A. Tattoos Meet All of the Requirements of the Copyright Act ...... 49 1. Originality ................................................................... -
Songs by Title
Songs by Title Title Artist Title Artist - Human Metallica (I Hate) Everything About You Three Days Grace "Adagio" From The New World Symphony Antonín Dvorák (I Just) Died In Your Arms Cutting Crew "Ah Hello...You Make Trouble For Me?" Broadway (I Know) I'm Losing You The Temptations "All Right, Let's Start Those Trucks"/Honey Bun Broadway (I Love You) For Sentimental Reasons Nat King Cole (Reprise) (I Still Long To Hold You ) Now And Then Reba McEntire "C" Is For Cookie Kids - Sesame Street (I Wanna Give You) Devotion Nomad Feat. MC "H.I.S." Slacks (Radio Spot) Jay And The Mikee Freedom Americans Nomad Featuring MC "Heart Wounds" No. 1 From "Elegiac Melodies", Op. 34 Grieg Mikee Freedom "Hello, Is That A New American Song?" Broadway (I Want To Take You) Higher Sly Stone "Heroes" David Bowie (If You Want It) Do It Yourself (12'') Gloria Gaynor "Heroes" (Single Version) David Bowie (If You're Not In It For Love) I'm Outta Here! Shania Twain "It Is My Great Pleasure To Bring You Our Skipper" Broadway (I'll Be Glad When You're Dead) You Rascal, You Louis Armstrong "One Waits So Long For What Is Good" Broadway (I'll Be With You) In Apple Blossom Time Z:\MUSIC\Andrews "Say, Is That A Boar's Tooth Bracelet On Your Wrist?" Broadway Sisters With The Glenn Miller Orchestra "So Tell Us Nellie, What Did Old Ironbelly Want?" Broadway "So When You Joined The Navy" Broadway (I'll Give You) Money Peter Frampton "Spring" From The Four Seasons Vivaldi (I'm Always Touched By Your) Presence Dear Blondie "Summer" - Finale From The Four Seasons Antonio Vivaldi (I'm Getting) Corns For My Country Z:\MUSIC\Andrews Sisters With The Glenn "Surprise" Symphony No. -
"A Song for You" As Tribute to the Daughters of the South: Illuminating the Work of Black Women Principals
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Georgia Southern University: Digital Commons@Georgia Southern Georgia Southern University Digital Commons@Georgia Southern Electronic Theses and Dissertations Graduate Studies, Jack N. Averitt College of Summer 2013 "A Song for You" As Tribute to the Daughters of the South: Illuminating the Work of Black Women Principals Beverly Cox Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/etd Part of the Curriculum and Social Inquiry Commons, Educational Leadership Commons, Elementary and Middle and Secondary Education Administration Commons, Gender and Sexuality Commons, and the Race and Ethnicity Commons Recommended Citation Cox, Beverly, ""A Song for You" As Tribute to the Daughters of the South: Illuminating the Work of Black Women Principals" (2013). Electronic Theses and Dissertations. 859. https://digitalcommons.georgiasouthern.edu/etd/859 This dissertation (open access) is brought to you for free and open access by the Graduate Studies, Jack N. Averitt College of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. “A SONG FOR YOU” AS TRIBUTE TO THE DAUGHTERS OF THE SOUTH: ILLUMINATING THE WORK OF BLACK WOMEN PRINCIPALS by BEVERLY COX (Under the Direction of Sabrina Ross) ABSTRACT Curriculum can be understood as a place of both struggle and possibility, where curriculum workers engage in complicated conversations about self, society, and the purposes of education (Pinar, 2004). Although curriculum theorists have contributed much to discussions of how to improve the current state of education, little attention in the field is given to the role that leadership can play in educational transformation (Ylimaki, 2011). -
Lawrence Weiner
ROBERT RAUSCHENBERG ORAL HISTORY PROJECT The Reminiscences of Lawrence Weiner Columbia Center for Oral History Research Columbia University 2015 PREFACE The following oral history is the result of a recorded interview with Lawrence Weiner conducted by Brent Edwards on May 6, 2015. This interview is part of the Robert Rauschenberg Oral History Project. The reader is asked to bear in mind that s/he is reading a transcript of the spoken word, rather than written prose. Transcription: Audio Transcription Center Session #1 Interviewee: Lawrence Weiner Location: New York, New York Interviewer: Brent Edwards Date: May 6, 2015 Q: It’s May 6, 2015. I’m Brent Edwards and I’m happy to be here with Lawrence Weiner, who’s agreed to talk about Bob Rauschenberg and the downtown art scene in the sixties and seventies. We can be freewheeling and go in any direction you’d like to go in. The idea behind the project, generally, is not solely to provide a biography of Rauschenberg, but to think about the worlds of Rauschenberg. It’s obvious enough that one of the first things to say about Rauschenberg is that he’s in some ways the preeminent artist of his generation who moved in multiple networks. So that’s the idea. Weiner: It’s about ambiance and about the mise-en-scène that he dreamt of making and made. Q: Right. Weiner: The major problem was that Rauschenberg was one of the few people who could maintain his own romantic sense of where he came from and at the same time be totally aware of where he is. -
Ace Catalogue 2014
ace catalogue 2014 ACE • BIG BEAT • BGP • CHISWICK • GLOBESTYLE • KENT • KICKING MULE • SOUTHBOUND • TAKOMA • VANGUARD • WESTBOUND A alphabetic listing by artist 2013’s CDs and LPs are presented here with full details. See www.acerecords.com for complete information on every item. Artist Title Cat No Label Nathan Abshire With His Pine Master Of The Cajun Accordion: CDCHD 1348 Ace Grove Boys & The Balfa Brothers The Classic Swallow Recordings Top accordionist Nathan Abshire at his very best in the Cajun honky-tonk and revival eras of the 1960s and 1970s. Pine Grove Blues • Sur Le Courtableau • Tramp Sur La Rue • Lemonade Song • A Musician’s Life • Offshore Blues • Phil’s Waltz • I Don’t Hurt Anymore • Shamrock • If You Don’t Love Me • Service Blues • Partie A Grand Basile • Nathan’s Lafayette Two Step • Let Me Hold Your Hand • French Blues • La Noce A Josephine • Tracks Of My Buggy • J’etais Au Bal • Valse De Kaplan • Choupique Two Step • Dying In Misery • La Valse De Bayou Teche • Games People Play • Valse De Holly Beach • Fee-Fee Pon-Cho Academy Of St Martin-in-the-Fields Amadeus - Special Edition: FCD2 16002 (2CD) Ace Cond By Sir Neville Marriner The Director’s Cut Academy Of St Martin-in-the-Fields The English Patient FCD 16001 Ace Cond By Harry Rabinowitz Ace Of Cups It’s Bad For You But Buy It! CDWIKD 236 Big Beat Act I Act I CDSEWM 145 Southbound Roy Acuff Once More It’s Roy Acuff/ CDCHD 988 Ace King Of Country Music Roy Acuff & His Smokey Sings American Folk Songs/ CDCHD 999 Ace Mountain Boys Hand-Clapping Gospel Songs Cannonball -
The Memphis and Shelby County Room Music Listening Station Guide
The Memphis and Shelby County Room Music Listening Station Guide 1 The Memphis and Shelby County Room Music Listening Station Guide Instructions for Use Sign in at the Reference Desk for a pair of headphones Use this Guide to determine which album(s) you would like to listen to Power on the Receiver and the CD Changer Use the scroll wheel to select you album Push “Play” If others are waiting to listen, please limit your time to 2 hours After listening, turn off the Changer/ Receiver and return headphones to the Reference Desk Please do not open the Disc Changer or change any settings on the Changer or Receiver 2 CD Genre Artist Album Title Track Listing # Memphis blues / W. C. Handy - Tiger rag / D. J. LaRocca - Good news / Traditional spiritual, arr. Allen Todd II - A mess of blues / D. Pomus and M. Shuman - Let's stay together / Willie Mitchell, Al Green, Al Jackson - Fight song / Tom Ferguson - String quartet no.3, DRequiem : Oro Supplex/Lacrimosa ; Dies irae / John Baur - Ol' man The University 90 Years of making music river / Jerome Kern, arr. by James Richens - Allie call the beasts : Allie ; To be called Classical of Memphis in Memphis The 1 a bear / John David Peterson - Tender land : Stomp your foot upon the floor / Aaron Band University of Memphis Copland - I'm in trouble / Joe Hicks - MKG variations / Kamran Ince - Pockets : Three solos for double bass : number 1 / John Elmquist - Scherzo no.3 in c-sharp minor, op.39 / Frederic Chopin - Brass quintet : Intrada ; Finale / James Richens - Lucia di Lamermoor / Chi me frena in tal momento / Gaetano Donizetti. -
Oral History Transcript T-0325, Interview with Joseph Patterson
ORAL HISTORY T-0325 INTERVIEW WITH “PETE” JOSEPH PATTERSON INTERVIEW BY PAT IMMEKUS JAZZMEN PROJECT APRIL 3, 1974 This transcript is a part of the Oral History Collection (S0829), available at The State Historical Society of Missouri. If you would like more information, please contact us at [email protected]. IMMEKUS: You've been here...how many years did we figure out? PATTERSON: In August, I'll be here 51 years, and I won't be 79 until he fourth of next month...I'11 just give 78, then. IMMEKUS: Okay. Were you born in St. Louis? I assume not. PATTERSON: No, Washington, D.C. IMMEKUS: Did your parents live...were your parents living? Did you live with your parents when you were young? PATTERSON: Well, up until they died. You know what I mean. They both passed when I was a youngster. IMMEKUS: Oh, then who did you live with? PATTERSON: Huh? IMMEKUS: Then, who did you live with after your parents died? PATTERSON: With different people. Kind of batted around like, you know. one of them kinds of things. IMMEKUS: Were your parents slaves? PATTERSON: No, no. IMMEKUS: I guess they couldn't have been if they were in the north. PATTERSON: Well, I don't know. They had them up there, too. IMMEKUS: Yeah, that's true. Do you know anything about any of your ancestors? PATTERSON; Well, yeah, my father died in 1911. I was trying to think how old I was. I was 16 years old when he passed. IMMEKUS: I don't know if I can count back that far.