DOCSLIB.ORG

The Life, Music, and Impact of Hazel Dickens Kelly Landers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Life, Music, and Impact of Hazel Dickens Kelly Landers University of Richmond UR Scholarship Repository Honors Theses Student Research 2010 Freedom's disciple : the life, music, and impact of Hazel Dickens Kelly Landers Follow this and additional works at: https://scholarship.richmond.edu/honors-theses Part of the Leadership Studies Commons, and the Music Commons Recommended Citation Landers, Kelly, "Freedom's disciple : the life, music, and impact of Hazel Dickens" (2010). Honors Theses. 1066. https://scholarship.richmond.edu/honors-theses/1066 This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Honors Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. UNIVERS TY OF RICHMOND LIBRARIES \1\\1 \\\I\\\\\\ I\ I\\\\II \I\ I\\ I\\\\ I\I\ \\\\ I\\ \I\I\ \ \\\ I\\I\ \\II 3 3082 01040 2435 Freedom's Disciple: The Life, Music, and Impact ofHazel Dickens by Kelly Landers Honors Thesis in LeadershipStudies Universityof Richmond Richmond, VA April 29, 2011 Advisor: Dr. Gary McDowell Abstract Freedom's Disciple: The Life,Music, and Impact of Hazel Dickens Kelly Landers Committee members: Dr. Gary McDowell, Dr. Terry Price, Dr. Dorothy Holland The work of Appalachian musician Hazel Dickens sheds light on many of the musical and cultural changes in our country. Dickens used her music as a voice forthe disadvantaged, advocating for improvements in the lives of miners, working-class people, and women, and pushing forall to be treated equally. A wonderfulsongwriter, performer, and overall musician, Dickens saw her career, music, and beliefs as inextricably linked, and so this thesis will explore her leadership by analyzing her songs and her history. Signature Page for Leadership Studies Honors Thesis Freedom's Disciple: The Life,Music, and Impact of Hazel Dickens Thesis presented by Kelly Landers This is to certifythat the thesis prepared by Student Name has been approved by his/her committee as satisfactorycompletion of the thesis requirement to earnhonors in leadership studies. Approved as to style and content by: Jepso Freedom's Disciple: The Life, Music, and Impact of Hazel Dickens Kelly Landers April 29, 2011 Jepson Honors Thesis Landers 2 ACKNOWLEDGMENTS: I would like to thank my advisor, Dr. Gary McDowell, forhis guidance and support throughout this process. So much of this project would not have been possible without his good humor, connections, and expertise. I would also like to thank my other committee members, Dr. Terry Price-forhis theoretical input and experience in this genre-and Dr. Dorothy Holland-whose challenging questions, performancehistory, and femalepresence were much appreciated-foragreeing to oversee and be associated with this project as well. The Jepson community has graciously given much-needed supporting to this thesis project, recognizing the influencethat arts can have, even though Hazel Dickens lies somewhat outside the stereotypical realm of leaders. Further thanks go to Ken Irwin at Rounder Records, Dudley Connell, and everyone else who has agreed to speak with me about Hazel Dickens' lifeand music, as well as to Dr. Linda Fairtile in the Music Library, and to Bill C. Malone forhis wonderful books. Most of all, I would like to thank Hazel Dickens forapproving of my project and sharing her stories with me, as well as forher hard work, her leadership example and her wonderfulmusical legacy. As Ken Irwin accurately described her to me, "Hazel is a jewel and a national treasure," and learningabout her lifeand having the opportunity to work directly with her was a giftand pleasure. Landers 3 NOTES: Ms. Dickens passed away on April 22, 2001, after the submission of this thesis. She will be greatly missed, and while I regret that I will not have the chance to interview her further,she leaves behind a powerfulbody of work, a record of old struggles and old music, and an inspiration forfuture generations. I would like to note that, unless otherwise indicated, all of the lyrics in this paper are printed with the same grammar and spacing that Hazel Dickens used when laying them out in the book Working Girl Blues. I deferredto her judgment unless the lyrics that I needed were not foundin that book, forwhich cases I used my best judgment. In this case, as others, I have tried to respect Dickens' intent. She certainly does not need any help getting her point across, but I believe that the ways that she has chosen to present her lyrics should be honored here. Also, while my opportunities to interview Hazel Dickens were curtailed this spring, due to her health and her schedule, I do look forwardto pursuing this research further.I know that I have but scratched the surfaceof her character and her work. This paper feelsfar fromfinished-there are more songs that I would like to discuss, more details that I would like to pursue, and a few unfinishedprojects that will hopefully be released posthumously, as they will doubtlessly add to her great legacy. Landers 4 Table of Contents A: Introduction ············································································ 5 B: Interpreting Influenceand Authority as Leadership ············································································ 9 The Persuasive Power of Music The Power of Celebrity Deconstructing Leadership Myths C: Overview of Dickens' Social Context ··························································"·'·············· 18 Social Movements and Influences Folk Music, Revival, and Authenticity D: Growing Up a Mountain Girl: Dickens' Roots ············································································24 E: Using Leadership to Blend Tradition and Innovation ············································································33 Old Time Music Bluegrass Music Resisting and Embracing Change Common Country Themes F: Leading Advocacy forMiners ············································································64 G: Leadership Impact forthe Working Class ············································································85 H: Leading as a Woman, for Women ........................... ········· .................. ······ ................ 110 Appreciation forTraditional Roles Struggles with Relationship Expectations Rejecting Romantic Expectations Songs Celebrating Progress and Hope I: Conclusions ············································································ 145 Bibliography ············································································147 Landers 5 A: INTRODUCTION "Protest songs date back centuries and cross every cultural and musical genre, lending a voice to those oppressed by societal problems, brutal labor practices or political conflict and war. When a song becomes symbolic of a particular social struggle, it transformsinto an agent of change in itself, helping to build strength of purpose in its participants, steeling them for struggles that are oftenlong and brutal."1 The music and activism of Hazel Dickens sheds light on many of the musical and cultural changes in our country. An Appalachian folkartist fromrural West Virginia, she is respected for her songwriting and her politics, both of which were groundbreaking fora femalemusician in her relatively conservative genre. Her name is not well known outside the genre, though many of her songs are, such as "Black Lung" and "Mama's Hand," and she has been active in the music scene since the 1960s. Rather than pursuing fame, Dickens has composed, recorded, and performedsongs that she considers to be important. These high standards informher creative process, since she will write a song only if she feelscompelled to share an important story.2 Dickens was influentialduring a time of great social and musical change, pushing the boundaries 1 Heather West, "Working Girl Blues by Hazel Dickens, Bill C. Malone," review of Working Girl Blues: The Lifeand Music of Hazel Dickens, by Hazel Dickens and Bill C. Malone, Pop Matters, last modifiedJune 11, 2008, http://www.popmatters.com/pm/ review/working-girl­ 2blues-by-hazel-dickens-bill-c-malone. Hereaftercited as West, "Working Girl Blues." Michelle Nikolai, Coal Mining, Womanhood and Scars From Old Loves, CMT News, http://www.cmt.com/news/country-music/1472442/coal-mining-womanhood-and-scars-from-old­ loves.jhtml. Hereaftercited as Nikolai, "Coal Mining." Landers 6 of women's roles and promoting social change and justice, but her leadership and her music are still relevant, and her push forequality and social justice still rings true. This paper will show how many of the social changes in the United States were both encouraged and reflectedthrough Hazel Dickens' music and cultural leadership. Musically, she impacted the social norms and climate of the genres in which she performed,such as bluegrass, mountain, and old-time music, as a single femalesinging about women's issues and by living her own lifestyle. Politically, she lived forher causes, involved with the struggles of poor, marginalized, and unseen Americans after having emerged fromanonymity herself. My intention in this paper will be to show how Hazel Dickens, this relatively low-profilemusician, was able to do innovative things musically and socially with such great success. This thesis is an in-depth exploration of the lifeand music of Hazel Dickens, who is a prime example of a musician-leader. As displayed by her body of work and her commitment to social ·causes, Dickens is a leader who can be considered good
Load more

Recommended publications
  • Excesss Karaoke Master by Artist
    XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not
    [Show full text]
  • Music Video As Black Art
    IN FOCUS: Modes of Black Liquidity: Music Video as Black Art The Unruly Archives of Black Music Videos by ALESSANDRA RAENGO and LAUREN MCLEOD CRAMER, editors idway through Kahlil Joseph’s short fi lm Music Is My Mis- tress (2017), the cellist and singer Kelsey Lu turns to Ishmael Butler, a rapper and member of the hip-hop duo Shabazz Palaces, to ask a question. The dialogue is inaudible, but an intertitle appears on screen: “HER: Who is your favorite fi lm- Mmaker?” “HIM: Miles Davis.” This moment of Black audiovisual appreciation anticipates a conversation between Black popular cul- ture scholars Uri McMillan and Mark Anthony Neal that inspires the subtitle for this In Focus dossier: “Music Video as Black Art.”1 McMillan and Neal interpret the complexity of contemporary Black music video production as a “return” to its status as “art”— and specifi cally as Black art—that self-consciously uses visual and sonic citations from various realms of Black expressive culture in- cluding the visual and performing arts, fashion, design, and, obvi- ously, the rich history of Black music and Black music production. McMillan and Neal implicitly refer to an earlier, more recogniz- able moment in Black music video history, the mid-1990s and early 2000s, when Hype Williams defi ned music video aesthetics as one of the single most important innovators of the form. Although it is rarely addressed in the literature on music videos, the glare of the prolifi c fi lmmaker’s infl uence extends beyond his signature lumi- nous visual style; Williams distinguished the Black music video as a creative laboratory for a new generation of artists such as Arthur Jafa, Kahlil Joseph, Bradford Young, and Jenn Nkiru.
    [Show full text]
  • 1 Inanna Research Script
    INANNA RESEARCH SCRIPT (to be cut and shaped for performance) By Peggy Firestone Based on Translations of Clay Tablets from Sumer By Samuel Noah Kramer 1 [email protected] (773) 384-5802 © 2008 CAST OF CHARACTERS In order of appearance Narrators ………………………………… Storytellers & Timekeepers Inanna …………………………………… Queen of Heaven and Earth, Goddess, Immortal Enki ……………………………………… Creator & Organizer of Earth’s Living Things, Manager of the Gods & Goddesses, Trickster God, Inanna’s Grandfather An ………………………………………. The Sky God Ki ………………………………………. The Earth Goddess (also known as Ninhursag) Enlil …………………………………….. The Air God, inventor of all things useful in the Universe Nanna-Sin ………………………………. The Moon God, Immortal, Father of Inanna Ningal …………………………………... The Moon Goddess, Immortal, Mother of Inanna Lilith ……………………………………. Demon of Desolation, Protector of Freedom Anzu Bird ………………………………. An Unholy (Holy) Trinity … Demon bird, Protector of Cattle Snake that has no Grace ………………. Tyrant Protector Snake Gilgamesh ……………………………….. Hero, Mortal, Inanna’s first cousin, Demi-God of Uruk Isimud ………………………………….. Enki’s Janus-faced messenger Ninshubur ……………………………… Inanna’s lieutenant, Goddess of the Rising Sun, Queen of the East Lahamma Enkums ………………………………… Monster Guardians of Enki’s Shrine House Giants of Eridu Utu ……………………………………… Sun God, Inanna’s Brother Dumuzi …………………………………. Shepherd King of Uruk, Inanna’s husband, Enki’s son by Situr, the Sheep Goddess Neti ……………………………………… Gatekeeper to the Nether World Ereshkigal ……………………………. Queen of the
    [Show full text]
  • Lightning in a Bottle
    LIGHTNING IN A BOTTLE A Sony Pictures Classics Release 106 minutes EAST COAST: WEST COAST: EXHIBITOR CONTACTS: FALCO INK BLOCK-KORENBROT SONY PICTURES CLASSICS STEVE BEEMAN LEE GINSBERG CARMELO PIRRONE 850 SEVENTH AVENUE, 8271 MELROSE AVENUE, ANGELA GRESHAM SUITE 1005 SUITE 200 550 MADISON AVENUE, NEW YORK, NY 10024 LOS ANGELES, CA 90046 8TH FLOOR PHONE: (212) 445-7100 PHONE: (323) 655-0593 NEW YORK, NY 10022 FAX: (212) 445-0623 FAX: (323) 655-7302 PHONE: (212) 833-8833 FAX: (212) 833-8844 Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com 1 Volkswagen of America presents A Vulcan Production in Association with Cappa Productions & Jigsaw Productions Director of Photography – Lisa Rinzler Edited by – Bob Eisenhardt and Keith Salmon Musical Director – Steve Jordan Co-Producer - Richard Hutton Executive Producer - Martin Scorsese Executive Producers - Paul G. Allen and Jody Patton Producer- Jack Gulick Producer - Margaret Bodde Produced by Alex Gibney Directed by Antoine Fuqua Old or new, mainstream or underground, music is in our veins. Always has been, always will be. Whether it was a VW Bug on its way to Woodstock or a VW Bus road-tripping to one of the very first blues festivals. So here's to that spirit of nostalgia, and the soul of the blues. We're proud to sponsor of LIGHTNING IN A BOTTLE. Stay tuned. Drivers Wanted. A Presentation of Vulcan Productions The Blues Music Foundation Dolby Digital Columbia Records Legacy Recordings Soundtrack album available on Columbia Records/Legacy Recordings/Sony Music Soundtrax Copyright © 2004 Blues Music Foundation, All Rights Reserved.
    [Show full text]
  • University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St
    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand marking: or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • Off the Beaten Track
    Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious.
    [Show full text]
  • Donna Summer I'm a Rainbow Mp3, Flac, Wma
    Donna Summer I'm A Rainbow mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Rock / Pop Album: I'm A Rainbow Country: UK Released: 2014 Style: New Wave, Synth-pop, Ballad, Disco MP3 version RAR size: 1747 mb FLAC version RAR size: 1376 mb WMA version RAR size: 1977 mb Rating: 4.9 Votes: 283 Other Formats: MP4 MPC AAC VOX VOC AHX AU Tracklist Hide Credits I Believe (In You) 1-1 4:31 Vocals [Duet With] – Joe "Bean" Esposito*Written-By – Harold Faltermeyer, Keith Forsey True Love Survives 1-2 3:36 Written-By – Donna Summer, Pete Bellotte You To Me 1-3 4:39 Written-By – Pete Bellotte, Sylvester Levay Sweet Emotion 1-4 3:44 Written-By – Pete Bellotte, Sylvester Levay Leave Me Alone 1-5 4:04 Written-By – Harold Faltermeyer, Keith Forsey Melanie 1-6 3:38 Written-By – Donna Summer, Giorgio Moroder Back Where You Belong 1-7 3:52 Written-By – Harold Faltermeyer, Keith Forsey People Talk 1-8 4:15 Written-By – Donna Summer, Giorgio Moroder To Turn The Stone 1-9 4:20 Written-By – Giorgio Moroder, Pete Bellotte Brooklyn 2-1 4:35 Written-By – Donna Summer, Pete Bellotte, Sylvester Levay I'm A Rainbow 2-2 4:06 Written-By – Bruce Sudano Walk On (Keep On Movin') 2-3 3:49 Written-By – Giorgio Moroder, Pete Bellotte Don't Cry For Me Argentina 2-4 4:22 Written-By – Andrew Lloyd Webber, Tim Rice A Runner With The Pack 2-5 4:06 Written-By – Pete Bellotte Highway Runner 2-6 3:27 Written-By – Donna Summer, Giorgio Moroder Romeo 2-7 3:13 Written-By – Pete Bellotte, Sylvester Levay End Of The Week 2-8 3:38 Written-By – Pete Bellotte, Sylvester Levay I Need Time 2-9 4:23 Written-By – Donna Summer, Giorgio Moroder, Pete Bellotte Companies, etc.
    [Show full text]
  • Information and Analysis Bulletin on Animal Poaching and Smuggling N°6 / 1St July - 30Th Septembre 2014
    Information and analysis bulletin on animal poaching and smuggling n°6 / 1st July - 30th Septembre 2014 Contents Introduction Insects and Arachnids 3 Seahorses Sea 4 Cruelty to animals is pouring and flooding on Tridacna and Queen Conches 5 each and every one of the 134 pages of ”On the Sea Cucumbers 5 Trail ” n°6. Rainbows are rare. And for that are all Fishes 6 the more beautiful. Marine Mammals 8 Opening of a delphinium in Pattaya and a Several recent studies suggest that violence on projected opening in Phuket 8 animals and abuse of animal’s weakness show Marine Turtles 9 predisposition to violence against humans and that witnessing domestic violence or being Tortoises and Freshwater Turtles 13 submitted to parental harassment leads to a Snakes 20 predisposition to violence against animals. Sauria 23 Violence is a viral and vicious circle. Crocodilians 23 Multi-Species Reptiles 24 The FBI in the United States of America now considers that mistreatment, individual Amphibia 25 violence, organized abuse and torture against animals are crimes against society. To start Birds 26 in 2016, a database listing animal sadists The new European commissioner for should help - that is the purpose of the FBI’s the environment 32 new approach - to predict criminality against humans. Pangolins 35 Writers and great thinkers in the ancient Primates 40 centuries had predicted that practice or Ebola 42 witnessing of cruelty inflicted on animals would lead to barbaric treatment towards and among Felines 49 humans. ” After people in Rome were tamed Released on bail without caution 53 to the spectacle of murdering animals, it came the turn of men and the gladiators.
    [Show full text]
  • Lamplighter Sep/Oct 2020
    Observations by the Editor Gloom and Doom Dr. David R. Reagan Now may the God of hope fill you with all joy and peace in be- The Lamplighter lieving, so that you will abound in is published bi-monthly hope by the power of the Holy by Lamb & Lion Ministries Spirit (Romans 15:13). Mailing Address: received a message recently from a P.O. Box 919 McKinney, TX 75070 Igentleman who wrote to complain about our publishing too many negative Telephone: 972/736-3567 Email: [email protected] articles. He suggested that we write more Website: www.lamblion.com about hope. b b b b b b b b b I was surprised by his complaint be- Chairman of the Board: cause each of our staff members who Mark Strickland write for this magazine always try to end Dr. David R. Reagan Founder & Senior Evangelist: our articles with an assurance of hope. Believers even have the hope of escape Dr. David R. Reagan We have done that consistently since the from this steadily darkening world of im- Chief Operating Officer: beginning of the ministry in 1980. morality and violence. That hope is called Rachel Houck the Rapture of the Church, which will occur What has changed is that in the de- before the Great Tribulation begins. Yes, Associate Evangelist: cade of the 80s, we would usually con- Tim Moore Church Age believers — both the living and clude any article about our nation by the dead — will be taken off this planet Internet Evangelist: pointing the reader to 2 Chronicles 7:14, Nathan Jones before God begins pouring out His wrath on asking them to pray for a spiritual revival the world’s rebellious nations.
    [Show full text]
  • Educating the Net Generation Diana G
    Educating the Net Generation Diana G. Oblinger and James L. Oblinger, Editors Chapter 1: Introduction by Diana Oblinger, EDUCAUSE, and James Oblinger, North Carolina State University Chapter 2: Is It Age or IT: First Steps Toward Understanding the Net Generation by Diana Oblinger, EDUCAUSE, and James Oblinger, North Carolina State University • Introduction • Implications • Asking the Right Questions • Endnotes • Acknowledgments • About the Authors Chapter 3: Technology and Learning Expectations of the Net Generation by Gregory Roberts, University of Pittsburgh–Johnstown • Introduction • Technology Expectations of the Net Generation • Learning Expectations of the Net Generation • Conclusion • Endnotes • About the Author Chapter 4: Using Technology as a Learning Tool, Not Just the Cool New Thing by Ben McNeely, North Carolina State University • Growing Up with Technology • How the Net Gen Learns • Cut-and-Paste Culture • Challenges for Higher Education • The Next Generation • About the Author Chapter 5: The Student’s Perspective by Carie Windham, North Carolina State University • Introduction • Meet Generation Y Not • Filling the Attention Deficit • Reaching the Net Generation in a Traditional Classroom • A Virtual Education: Crafting the Online Classroom • E-Life: The Net Gen on Campus • Outlook for the Future • Endnotes • About the Author ISBN 0-9672853-2-1 © 2005 EDUCAUSE. Available electronically at www.educause.edu/educatingthenetgen/ Chapter 6: Preparing the Academy of Today for the Learner of Tomorrow by Joel Hartman, Patsy Moskal,
    [Show full text]
  • THE SMITHEREENS Bio
    THE SMITHEREENS bio Pat DiNizio—vocals, guitar Jim Babjak—guitar, vocals Dennis Diken—drums, vocals Severo "the Thrilla" Jornacion—bass "I think it's as good as anything we've ever done," Pat DiNizio says of Smithereens 2011 , the Smithereens' first album of original songs in 11 years. "I hate to use the term 'comeback album,' and it certainly wasn't planned that way, but it really feels like it," adds his longtime bandmate Jim Babjak. "It has the raw vibe of our early albums, while showing that we're moving forward and that we're still at the top of our game after 31 years." Indeed, the 13-song set shows the New Jersey-bred quartet to be making some of the most urgent music of their three-decade career, delivering their timeless brand of punchy, heartfelt rock 'n' roll with as much fire as ever. Such instantly memorable new tunes as "Sorry," "One Look At You," "A World of Our Own" and "Rings On Her Fingers" exemplify the Smithereens' trademark brand of punchy melodic songcraft, driven home by DiNizio's expressive vocals and emotionally complex lyrics, along with fiery ensemble performances that show off the uncanny musical chemistry of longstanding musical partners DiNizio, Babjak and Dennis Diken, and later addition Severo "the Thrilla" Jornacion, who joined in 2006. Smithereens 2011 's title slyly acknowledges the fact that it's the band's 11th studio album, and that it's been 11 years since their last collection of original material. The album's moniker—as well as its cover design—also pays tribute to the foursome's beloved 1989 release Smithereens 11 .
    [Show full text]
  • Een State University U3bary 31^^71 Ii 428619
    no./Zfi AN ANALYSIS OF TIME IN THE POETRY OF THOMAS HARDY John F. .Noonan A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 1969 Approved by Doctoral Committ \dvi s Department of English EEN STATE UNIVERSITY U3BARY 31^^71 II 428619 ABSTRACT The presence of gloom in the poetry of Thomas Hardy has been noted by critics since the appearance of his earliest volumes. His occasional buoyancy has also been verified in critical studies. This dissertation has explored this range of responses to life in Hardy’s poetry using his treatment of time as the central reference. In those poems that take a dim view of reality, time is often seen as the villain. It is the invisible force which separates men from the joys of childhood and the boundless aspirations of youth, and it is nearly always part of the reason why the present is painful. A regular cycle can be observed: men move in time from faith and felicity to skepticism and sadness. The future, too, is frequently colored gray by Hardy, as he sees there one more threat to the human quest for happiness and contentment. But Hardy’s attitude toward the future is not consistently gloomy. Throughout Collected Poems one can find numerous instances where he reveals a glimmer of hope that life will eventually take a turn for the better. These poems show clearly the redemptive role played occasionally by time In Hardy’s poetry, and argue the invalidity of applying the label "pessimistic” to all of his work.
    [Show full text]