Waylon: an Autobiography Free
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Essay on the Nomination and Confirmation of the First Latina Justice on the US Supreme Court
ESSAYS AN ESSAY ON THE NOMINATION AND CONFIRMATION OF THE FIRST LATINA JUSTICE ON THE U.S. SUPREME COURT: THE ASSIMILATION DEMAND AT WORK KEVIN R. JOHNSON* INTRODUCTION ................................. ........... 98 I. THURGOOD MARSHALL'S APPOINTMENT TO THE SUPREME COURT: CONFIRMATION AS A TEST OF ASSIMILATION...................................... 107 A. The "JudicialActivist" Charge ............... 110 B. The "Anti-White" Presumption.............. 111 C. Affiliation with the National Association for the Advancement of Colored People ............. 112 II. SANDRA DAY O'CONNOR'S APPOINTMENT: SENATE CONFIRMATION AS CORONATION ......... 115 III. SONIA SOTOMAYOR'S APPOINTMENT TO THE SUPREME COURT: CONFIRMATION AS A TEST OF ASSIMILATION...................................... 119 * Dean, University of California at Davis School of Law and Mabie-Apallas Professor of Public Interest Law and Chicana/o Studies; A.B. University of Califor- nia, Berkeley; J.D. Harvard University. Elica Vafaie and Esmeralda Soria, both of the Class of 2011, provided invaluable research assistance. Joanna Cuevas Ingram and Michael Wu, both of the Class of 2012, and Aida Macedo, Class of 2011, pro- vided helpful editorial assistance. I participated with Hispanics for a Fair Judiciary in supporting Justice Sotomayor's confirmation and blogged on the Senate Judiciary Committee confirmation hearings for Concurring Opinions (http://www.concurring opinions.com/), La Opinion (http://www.impre.com/laopinion), and Immigration- Prof (http://lawprofessors.typepad.com/immigration/). Some of the ideas in this Es- say were presented in embryonic form in those forums. Conversations with Vik Amar helped my thinking on various parts of this Essay. Sofia Martos, Lauren Gil- bert, Afra Afsharipour, Cruz Reynoso, Miguel M6ndez, Michael Olivas, Steve Bender, Sylvia Lazos, Leticia Saucedo, Keith Aoki, Angela Onwuachi-Willig, Mary Romero, Christopher David Ruiz Cameron, Sergio Garcia, Luis Fuentes-Rohwer, Pedro Malavet, Maria Pab6n L6pez, Ediberto Romin, Mary Louise Frampton, and George A. -
Waylon Jennings
TABLE OF CONTENTS 3 Introduction 4 About the Guide 5 Pre and Post-Lesson: Anticipation Guide 6 Lesson 1: Introduction to Outlaws 7 Lesson 1: Worksheet 8 Lyric Sheet: Me and Paul 9 Lesson 2: Who Were The Outlaws? 10 Lesson 3: Outlaw Influence 11 Lesson 3: Worksheet 12 Activities: Jigsaw Texts 14 Lyric Sheet: Are You Sure Hank Done It This Way 15 Lesson 4: T for Texas, T for Tennessee 16 Lesson 4: Worksheet 17 Lesson 5: Literary Lyrics 19 “London” by William Blake 20 Complete Tennessee Standards 22 Complete Texas Standards 23 Biographies 3-6 Table of Contents 2 Outlaws and Armadillos: Country’s Roaring ‘70s examines how the Outlaw movement greatly enlarged country music’s audience during the 1970s. Led by pacesetters such as Willie Nelson, Waylon Jennings, Kris Kristofferson, and Bobby Bare, artists in Nashville and Austin demanded the creative freedom to make their own country music, different from the pop-oriented sound that prevailed at the time. This exhibition also examines the cultures of Nashville and fiercely independent Austin, and the complicated, surprising relationships between the two. Artwork by Sam Yeates, Rising from the Ashes, Willie Takes Flight for Austin (2017) 3-6 Introduction 3 This interdisciplinary lesson guide allows classrooms to explore the exhibition Outlaws and Armadillos: Country’s Roaring ‘70s on view at the Country Music Hall of Fame and Museum® from May 25, 2018 – February 14, 2021. Students will examine the causes and effects of the Outlaw movement through analysis of art, music, video, and nonfiction texts. In doing so, students will gain an understanding of the culture of this movement; who and what influenced it; and how these changes diversified country music’s audience during this time. -
Camp Long Creek In-Room Directory
WELCOME! SERVICE DIRECTORY Bass Pro Shops Long Creek Marina ... .417-334-4860 Lost & Found ......................... Ext. 5213 Bass Pro Shops Shooting Academy ........ Ext. 5476 Medical Services Big Cedar Dining -Cox Medical Center Branson ...... .417-335-7000 -Buzzard Bar ........................ Ext. 7005 Mountain Top Golf Course .............. Ext. 5421 -Devil’s Pool Restaurant ............... Ext. 7000 Ozarks National Golf Course............. Ext. 5421 -Truman Café and Custard ............. Ext. 7241 Resort Operator .......................... Ext. 0 -Uncle Buck’s Fish Bowl & Grill ........ Ext. 5252 Security .............................. Ext. 5215 Big Cedar Family Photography ........... Ext. 7107 The Shoppe at Big Cedar ............... Ext. 7151 Big Cedar Front Desk .................. Ext. 5122 Top of the Rock Buffalo Ridge Golf Course & Pro Shop .... Ext. 5430 -General Information.................. Ext. 4002 Camp Long Creek Check-in Desk ........ Ext. 5455 -Ancient Ozarks Canteen at Long Creek .................Ext. 5447 Natural History Museum .............. Ext. 5310 Cedar Creek Spa ...................... Ext. 5201 -Arnie’s Barn General Store ............ Ext. 5339 Conferences & Banquets ................ Ext. 5159 -Lost Canyon Cave & Nature Trail....... Ext. 5305 Dining Reservations .................... Ext. 7107 -Top of the Rock Golf Course ........... Ext. 5343 Dogwood Canyon Nature Park ........... Ext. 3364 -Top of the Rock Golf Pro Shop ......... Ext. 5343 Emergency Assistance ..................... Ext. 0 -Welcome Center .................... -
Jessi Colter out of the Ashes Mp3, Flac, Wma
Jessi Colter Out Of The Ashes mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Blues / Folk, World, & Country Album: Out Of The Ashes Country: US Released: 2006 Style: Country MP3 version RAR size: 1727 mb FLAC version RAR size: 1415 mb WMA version RAR size: 1795 mb Rating: 4.7 Votes: 850 Other Formats: AIFF MIDI RA MP1 AU MOD VOC Tracklist Hide Credits His Eye Is On The Sparrow 1 Written-By – Civilla Durfee Martin You Can Pick 'Em 2 Written-By – Jessi Colter, Ray Herndon Starman 3 Written-By – Jessi Colter The Phoenix Rises 4 Written-By – Jessi Colter Out Of The Rain 5 Featuring, Guitar, Vocals – Tony Joe White, Waylon JenningsWritten-By – Tony Joe White Velvet And Steel 6 Written-By – Jessi Colter Rainy Day Woman #12 & 35 7 Written-By – Bob Dylan You Took Me By Surprise 8 Written-By – Jessi Colter So Many Things 9 Written-By – Jessi Colter The Canyon 10 Written-By – Jessi Colter Never Got Over You 11 Written-By – Jessi Colter, Ray Herndon Please Carry Me Home 12 Featuring, Vocals, Drums – Shooter JenningsWritten-By – Jessi Colter, Shooter Jennings Credits Acoustic Bass – Don Was Backing Vocals – Carter Robertson, Greater Apostolic Christ Temple Choir (tracks: 5), Joanna Robertson Bass – Jerry Bridges Bass, Electric Piano [Wurlitzer], Organ, Percussion – Ray Kennedy Bass, Keyboards, Drums – Barny Robertson Cello – Jenny Lynn Young Drums – Jeff Hale Drums, Percussion – Richie Allbright Electric Guitar – Reggie Young Harmonica – Kirk "Jelly Roll" Johnson* Mastered By – Ray Kennedy Mixed By – JR Rodriguez (tracks: 12), Ray Kennedy Producer -
Dave Cobb Episode Transcript
VOICES IN THE HALL DAVE COBB EPISODE TRANSCRIPT PETER COOPER Welcome to Voices in the Hall, presented by the Country Music Hall of Fame and Museum. I’m Peter Cooper. Today’s guest, producer extraordinaire Dave Cobb. DAVE COBB When we approach these records we approach it much the way a record would’ve been done in 1965, 1970. And it’s humans playing together. There are mistakes all over the record. There’s timing issues, there’s tuning issues, there’s pitch issues, there’s flubs of words. The same way people are seeking out organically grown food, I think people are seeking out organically grown music at the same time. The moment I heard Chris Stapleton I was like, “Man I’ve got to track him down.” If I can just get to Nashville I’d run into him and I’d run into Jason Isbell and try to sucker them in to make records. I like to fly by the seat of my pants. Walk in and see what’s going to grab you that day. To me it was a really cool thing about linking really great artists that I like now, and linking Nashville, what Nashville is today. Taking kind of a snapshot of it. And I love it when I get to introduce somebody to somebody else I think is talented. And you see there eyes both sparkle. And I love the unity in the scene. That’s why I moved here. PETER COOPER It’s Voices in the Hall, with Dave Cobb. “4th of July” - Shooter Jennings (Black Magick / Universal South) PETER COOPER “Fourth of July,” from Shooter Jennings. -
Discouraging Racial Preferences in Adoptions
Discouraging Racial Preferences in Adoptions Solangel Maldonado* More than 20,000 white Americans go abroad each year to adopt children from other countries, the majority of whom are not white. At the same time, there are more African American children available for adoption than there are African American families seeking to adopt them. While Americans claim there are few healthy infants available for adoption in the United States, hundreds of African American newborns each year are placed with white families in Canada and other countries. Tracing the history of transracial adoption in the United States, this Article argues that one reason why Americans go abroad to adopt is race. The racial hierarchy in the adoption market places white children at the top, African American children at the bottom, and children of other races in between, thereby rendering Asian or Latin American children more desirable to adoptive parents than African American children. Drawing on the rich literature on cognitive bias, this Article debunks the myths about domestic and international adoptions and shows that racial preferences, even if unconscious, play a role in many Americans’ decisions to adopt internationally. This Article proposes that the law discourage adoptions based on racial preferences by requiring that Americans seeking to adopt internationally, while there are available children in the United States who meet their non-race-based criteria, show non-race-based reasons for going abroad. * Associate Professor, Seton Hall University School of Law. J.D. 1996, Columbia Law School. I am grateful to Michelle Adams, Mark Alexander, Ruby Andrew, Carlos Bellido, Carl Coleman, Kevin Kelly, Jason Gardner, Timothy Glynn, Tristin Green, Rachel Godsil, Charlie Sullivan, the participants in the 12th International Society of Family Law Conference in Salt Lake City, the participants in the Second National POC in Washington, D.C., and the participants in the LatCrit X Conference in San Juan, Puerto Rico, for their helpful comments. -
Remembering Waylon
FOR IMMEDIATE RELEASE Contact: Jaclyn Todisco 646-695-7053 [email protected] REMEMBERING WAYLON AN UNPRECEDENTED AUCTION FOCUSING ON THE LIFE AND TIMES OF WAYLON JENNINGS, THE LEGENDARY OUTLAW COUNTRY MUSICIAN WHO CARVED HIS WAY TO SUPER-STARDOM Memorable objects from Jennings’ career, plus remarkable items from many of his fellow musicians and friends including Hank Williams, John Lennon, Chet Atkins, Johnny Cash, Willie Nelson, and Muhammad Ali New York, NY (August 5, 2014) – On October 5 at Phoenix's stunning Musical Instrument Museum, New York City-based auction house Guernsey’s will resurrect the aura of outlaw country megastar Waylon Jennings with the sale of many of his personal belongings. For the first time, Jennings’ legions of fans will have a chance to own a piece of musical history. The featured collection is being offered by country music legend Jessi Colter, Jennings’ wife of more than thirty years with whom he often shared the stage. The event will help bring attention to the important care provided at the Phoenix Children’s Hospital. A driving force of the Outlaw Country movement that erupted in the ‘70s, Jennings rejected the conventions of country’s manufactured “Nashville Sound” and reached superstardom with his commanding baritone and stripped-down, updated honky tonk, which gave his music a gritty edge all its own. His style changed the face of country music and influenced countless musicians, as his songs consistently appeared on both Billboard’s country and pop charts throughout a career that spanned more than five decades. Jennings’ album Wanted! The Outlaws – featuring collaborations with his wife, Jessi Colter, Willie Nelson, and Tompall Glaser – peaked at No.1 on the charts and was the first country album to be certified platinum. -
Austin's Progressive Country Music Scene and the Negotiation
Space, Place, and Protest: Austin’s Progressive Country Music Scene and the Negotiation of Texan Identities, 1968-1978 Travis David Stimeling A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements of the Doctor of Philosophy in the Department of Music. Chapel Hill 2007 Approved by: Jocelyn R. Neal, Chair Jon W. Finson David García Mark Katz Philip Vandermeer © 2007 Travis David Stimeling ALL RIGHTS RESERVED ii ABSTRACT TRAVIS DAVID STIMELING: “Space, Place, and Protest: Austin’s Progressive Country Music Scene and the Negotiation of Texan Identities, 1968-1978” (Under the direction of Jocelyn R. Neal) The progressive country music movement developed in Austin, Texas, during the early 1970s as a community of liberal young musicians and concertgoers with strong interests in Texan country music traditions and contemporary rock music converged on the city. Children of the Cold War and the post-World War II migration to the suburbs, these “cosmic cowboys” sought to get back in touch with their rural roots and to leave behind the socially conservative world their parents had created for them. As a hybrid of country music and rock, progressive country music both encapsulated the contradictions of the cosmic cowboys in song and helped to create a musical sanctuary in which these youths could articulate their difference from mainstream Texan culture. Examining the work of the movement’s singer-songwriters (Michael Murphey, Guy Clark, Gary P. Nunn), western swing revivalists (Asleep at the Wheel, Alvin Crow and the Pleasant Valley Boys), and commercial country singers (Willie Nelson, Waylon Jennings), this dissertation explores the proliferation of stock imagery, landscape painting, and Texan stereotypes in progressive country music and their role in the construction of Austin’s difference. -
Southern Music and the Seamier Side of the Rural South Cecil Kirk Hutson Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1995 The ad rker side of Dixie: southern music and the seamier side of the rural South Cecil Kirk Hutson Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Folklore Commons, Music Commons, Social and Cultural Anthropology Commons, and the United States History Commons Recommended Citation Hutson, Cecil Kirk, "The ad rker side of Dixie: southern music and the seamier side of the rural South " (1995). Retrospective Theses and Dissertations. 10912. https://lib.dr.iastate.edu/rtd/10912 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthiough, substandard margins, and improper alignment can adversely affect reproductioiL In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. -
Michele Mulazzani's Playlist: Le 999 Canzoni Piu' Belle Del XX Secolo
Michele Mulazzani’s Playlist: le 999 canzoni piu' belle del XX secolo (1900 – 1999) 001 - patti smith group - because the night - '78 002 - clash - london calling - '79 003 - rem - losing my religion - '91 004 - doors - light my fire - '67 005 - traffic - john barleycorn - '70 006 - beatles - lucy in the sky with diamonds - '67 007 - nirvana - smells like teen spirit - '91 008 - animals - house of the rising sun - '64 009 - byrds - mr tambourine man - '65 010 - joy division - love will tear us apart - '80 011 - crosby, stills & nash - suite: judy blue eyes - '69 012 - creedence clearwater revival - who'll stop the rain - '70 013 - gaye, marvin - what's going on - '71 014 - cocker, joe - with a little help from my friends - '69 015 - fleshtones - american beat - '84 016 - rolling stones - (i can't get no) satisfaction - '65 017 - joplin, janis - piece of my heart - '68 018 - red hot chili peppers - californication - '99 019 - bowie, david - heroes - '77 020 - led zeppelin - stairway to heaven - '71 021 - smiths - bigmouth strikes again - '86 022 - who - baba o'riley - '71 023 - xtc - making plans for nigel - '79 024 - lennon, john - imagine - '71 025 - dylan, bob - like a rolling stone - '65 026 - mamas and papas - california dreamin' - '65 027 - cure - charlotte sometimes - '81 028 - cranberries - zombie - '94 029 - morrison, van - astral weeks - '68 030 - springsteen, bruce - badlands - '78 031 - velvet underground & nico - sunday morning - '67 032 - modern lovers - roadrunner - '76 033 - talking heads - once in a lifetime - '80 034 -
“The Greatest Gift Is the Realization That Life Does Not Consist Either In
“The greatest gift is the realization that life does not consist either in wallowing in the past or peering anxiously into the future; and it is appalling to contemplate the great number of often painful steps by which ones arrives at a truth so old, so obvious, and so frequently expressed. It is good for one to appreciate that life is now. Whatever it offers, little or much, life is now –this day-this hour.” Charles Macomb Flandrau Ernest Hemingway drank here. Cuban revolutionaries Fidel Castro and Che Guevera drank here. A longhaired young hippie musician named Jimmy Buffett drank and performed here, too. From the 1930’s through today this rustic dive bar has seen more than its share of the famous and the infamous. It’s a little joint called Capt. Tony’s in Key West, Florida. Eighty-seven-year-old Anthony ‘Capt. Tony’ Tarracino has been the owner and proprietor of this boozy establishment since 1959. It seems Tony, as a young mobster, got himself into some serious trouble with ‘the family’ back in New Jersey and needed to lay low for a while. In those days, the mosquito invested ‘keys’ (or islands) on the southernmost end of Florida’s coastline was a fine place for wise guys on the lam to hide out. And this was well before the tee-shirt shops, restaurants, bars, art galleries, charming B&B’s and quaint hotels turned Key West into a serious year-round tourist destination. Sure, there were some ‘artsy’ types like Hemingway and Tennessee Williams living in Key West during the late 50’s when Tony bought the bar, but it was a seaside shanty town where muscular hard-working men in shrimp boats and cutters fished all day for a living. -
Psaudio Copper
Issue 142 AUGUST 2ND, 2021 Is there a reader among us who doesn’t dig ZZ Top? We mourn the passing of Joseph Michael “Dusty” Hill (72), bassist, vocalist and keyboardist for the tres hombres. Blending blues, boogie, bone-crushing rock, born-for-MTV visuals, humor and outrageousness – they once took a passel of live animals on stage as part of their 1976 – 1977 Worldwide Texas Tour – Hill, drummer Frank Beard and guitarist Billy F. Gibbons have scorched stages worldwide. As a friend said, “it’s amazing how just three guys could make that much sound.” Rest in peace, Mr. Hill. In this issue: Anne E. Johnson gets inspired by the music of Renaissance composer William Byrd, and understands The Animals. Wayne Robins reviews Native Sons, the superb new album from Los Lobos. Ray Chelstowski interviews The Immediate Family, featuring studio legends Waddy Wachtel, Lee Sklar, Russ Kunkel and others, in an exclusive video interview. I offer up more confessions of a record collector. Tom Gibbs finds much to like in some new SACD discs. John Seetoo winds up his coverage of the Audio Engineering Society’s Spring 2021 AES show. Ken Sander travels through an alternate California reality. WL Woodward continues his series on troubadour Tom Waits. Russ Welton interviews cellist Jo Quail, who takes a unique approach to the instrument. In another article, he ponders what's needed for sustaining creativity. Adrian Wu looks at more of his favorite analog recordings. Cliff Chenfeld turns us on to some outstanding new music in his latest Be Here Now column.