2019 NDA Routine Descriptions
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Black Music, Gender & Sexuality
WGSS 391: Black Music, Gender & Sexuality Fumi Okiji [email protected] Tu/Th 10-11:15am Hasbrouck Laboratory, Room 130 Office hours: Tuesdays, 12-1:30pm, South College, W473 This course explores how black popular music cultures are shaped by performances and representations of gender and sexuality. The course will touch upon a number of themes including hip hop feminism, sex radicalism and camp, gender performativity and black masculinity. We will read music and film/video by artists such as Meshell Ndegeocello, Prince, Nicki Minaj, Bessie Smith and Beyonce as socio-historical texts that allow us access to an alternative source of knowledge supplementing the more theoretical. Students will be expected to build on their appreciation of black music to develop tools with which to critically engage with the expression, and with which to attend to the social, historical, performative and artistic complexes at play. This course fulfills critical race feminisms for UMass WGSS majors and minors. Offensive language and images You will be required to view, listen, think and talk about language, images and sounds that you might find offensive. This may include words and imagery that is sexist, homo- or transphobic, racist or obscene. It should go without saying that, I do not share or condone these words and actions. I do, however, believe that our engagement with these expressions is essential to an elucidation of the themes that underpin the course. It is important for each student to understand that by signing up to this course, you are agreeing to view and to listen to all material pertaining to it, regardless of its potentially offensive nature. -
2018 Upland CA
10/9/2018 Control Panel Upland, CA Results Advanced ~ Solo ~ 8 & Under PLACE ROUTINE STUDIO NAME CATEGORY SOLOIST NAME 1ST WHAT'S MY NAME? The Dance Spot Jazz HAYDEN YU 2ND GIMMIE GIMMIE The Dance Spot Character LEAH SANTOS 3RD MY DESTINY The Dance Spot Lyrical LEAH HUTT 4TH BABY MINE The Dance Spot Lyrical LAURYN BAKH 5TH I GOT LOVE Mather Dance Company Open BELLA BLANDING 6TH FIELDS OF GOLD Mather Dance Company Lyrical MYLIE MURILLO Advanced ~ Solo ~ 911 PLACE ROUTINE STUDIO NAME CATEGORY SOLOIST NAME 1ST NICEST THINGS Mather Dance Company Lyrical PEYTON LESSARD 2ND KITRI'S VARIATION The Dance Spot Ballet ALANA ALVARADO 3RD ON MY OWN The Dance Spot Lyrical AVA KO 4TH I'M A LADY Mather Dance Company Jazz ZOEY GARCIA 5TH PAPER SKIN The Dance Spot Lyrical HANNAH NATONIEWSKI 6TH PRAYING The Dance Spot Open ELIANA SWINDLE 7TH EXPENSIVE The Dance Spot Jazz SAMANTHA CHIN 8TH DREAM A LITTLE DREAM The Dance Spot Character SOFIA BORROMEO 9TH FEEL IT STILL Mather Dance Company Jazz ASHLIE MURILLO file:///Users/owner/Downloads/Believe%202018%20Upland%20.htm 1/19 10/9/2018 Control Panel Advanced ~ Solo ~ 1214 PLACE ROUTINE STUDIO NAME CATEGORY SOLOIST NAME 1ST BROTSJO'R The Dance Spot Ballet MALLORY MCKENNA 2ND YOURS The Dance Spot Lyrical BREANNA MEZA 3RD BROWN EYED GIRL The Dance Spot Lyrical HAILEY GUTIERREZ 4TH LOVE SO SOFT The Dance Spot Jazz MARIAH ALVARADO 5TH GIVE IT TO ME RIGHT The Dance Spot Open KRYSTAL SMALL 6TH KEEP BREATHING The Dance Spot Lyrical LEIA ALVARADO 7TH MADNESS Mather Dance Company Contemporary KATIE MURILLO 8TH GOOD TO -
Stand up Participate Program Year I Evaluation Report
STAND UP PARTICIPATE PROGRAM YEAR I ASIAN MEDIA ACCESS EVALUATION REPORT Prepared by: Rodolfo Gutierrez Eric Armacanqui Yue Zhang November 2015 STAND UP PARTICIPATE (SUP) PROGRAM Year I (09.2014-08.2015) Evaluation Report a Prepared by: HACER with collaboration with Ange Hwang (AMA) HACER HACER’s mission is to provide the Minnesota This report is not copyright protected. Latino community the ability to create and However, HACER must grant permission for the control information about itself in order to affect reproduction of all or part of the enclosed critical institutional decision-making and public material, upon request, information reprinted policy. General support for HACER is provided with permission from other sources, would not by the Center for Urban and Regional Affairs be reproduced. HACER would appreciate (CURA) and Minnesota-based philanthropic acknowledgement, however, as well as two organizations. copies of any material thus reproduced. The content of this report is solely the responsibility of HACER and does not necessarily represent the views of our Executive Director: Rodolfo Gutierrez partners. We are grateful to all who contributed to the making of this report: HACER Thank you to all of those who offered support and 2314 University Ave SE, Apt. 101 expertise for this project, especially Asian Media St. Paul, Minnesota 55114 Access and all SUP program partners (651) 288-1141 www.hacer-mn.org 1 Table of Contents Table of Contents 1 Executive Summary 2 Overview of SUP Program 4 Context Analysis 4 Goal and Objectivities -
Thursday, November 7, 2019 Email: [email protected] Vol
4343 yearsyears ofof coveringcovering SouthSouth BeltBelt Voice of Community-Minded People since 1976 Thursday, November 7, 2019 Email: [email protected] www.southbeltleader.com Vol. 44, No. 41 JFD cheer raises funds Dobie Cheer will hold a fundraiser Thurs- day, Nov. 7, at Spanky’s Pizza, 4010 Spencer Highway. A donation of 15 percent of all sales Nov. 5 general election results tallied will be given to the cheer booster club. Beltway closures planned At least one inside lane on both the eastbound Turner, Buzbee head to December runoff and westbound Beltway 8 frontage road will be The results from the City of Houston and Trailing were challengers Bill King with 14 In the District D City Council race, candidates In that race, candidates Anthony Dolcefi - closed from Beamer to Cottingham daily from 9 State of Texas elections have been tallied, with percent (33,723 votes); Dwight Boykins with 6 Carolyn Shabazz and Brad “Scarface” Jordan no and Nick Hellyar will head to a runoff. Dol- a.m. to 3 p.m. through Saturday, Nov. 23. many races now headed to a Dec. 14 runoff. percent (14,790 votes); Victoria Romero with will head to a runoff to fi ll Boykins’ vacant seat. cefi no received 21 percent of the vote (39,484 At least one inside lane on the northbound While Houston mayoral incumbent Sylves- 1 percent (2,950 votes); Sue Lovell with 1 per- Shabazz received 17 percent of the vote (3,892 votes), while Hellyar received 13 percent Beltway 8 frontage road lanes will be closed ter Turner received signifi cantly more votes than cent (2,940 votes); Demetria Smith with 1 per- votes), while Jordan received 15 percent (3,342 (23,971 votes). -
The Symbolic Role of Animals in the Plains Indian Sun Dance Elizabeth
17 The Symbolic Role of Animals in the Plains Indian Sun Dance 1 Elizabeth Atwood Lawrence TUFTS UNIVERSITY For many tribes of Plains Indians whose bison-hunting culture flourished during the 18th and 19th centuries, the sun dance was the major communal religious ceremony. Generally held in late spring or early summer, the rite celebrates renewal-the spiritual rebirth of participants and their relatives as well as the regeneration of the living earth with all its components. The sun dance reflects relationships with nature that are characteristic of the Plains ethos, and includes symbolic representations of various animal species, particularly the eagle and the buffalo, that once played vital roles in the lives of the people and are still endowed with sacredness and special powers. The ritual, involving sacrifice and supplication to insure harmony between all living beings, continues to be practiced by many contemporary native Americans. For many tribes of Plains Indians whose buffalo-hunting culture flowered during the 18th and 19th centuries, the sun dance was the major communal religious ceremony. Although details of the event differed in various groups, certain elements were common to most tribal traditions. Generally, the annual ceremony was held in late spring or early summer when people from different bands gathered together again following the dispersal that customarily took place in winter. The sun dance, a ritual of sacrifice performed by virtually all of the High Plains peoples, has been described among the Arapaho, Arikara, Assiniboin, Bannock, Blackfeet, Blood, Cheyenne, Plains Cree, Crow, Gros Ventre, Hidatsa, Kiowa, Mandans, Ojibway, Omaha, Ponca, Sarsi, Shoshone, Sioux (Dakota), and Ute (Spier, 1921, p. -
2020 C'nergy Band Song List
Song List Song Title Artist 1999 Prince 6:A.M. J Balvin 24k Magic Bruno Mars 70's Medley/ I Will Survive Gloria 70's Medley/Bad Girls Donna Summers 70's Medley/Celebration Kool And The Gang 70's Medley/Give It To Me Baby Rick James A A Song For You Michael Bublé A Thousands Years Christina Perri Ft Steve Kazee Adventures Of Lifetime Coldplay Ain't It Fun Paramore Ain't No Mountain High Enough Michael McDonald (Version) Ain't Nobody Chaka Khan Ain't Too Proud To Beg The Temptations All About That Bass Meghan Trainor All Night Long Lionel Richie All Of Me John Legend American Boy Estelle and Kanye Applause Lady Gaga Ascension Maxwell At Last Ella Fitzgerald Attention Charlie Puth B Banana Pancakes Jack Johnson Best Part Daniel Caesar (Feat. H.E.R) Bettet Together Jack Johnson Beyond Leon Bridges Black Or White Michael Jackson Blurred Lines Robin Thicke Boogie Oogie Oogie Taste Of Honey Break Free Ariana Grande Brick House The Commodores Brown Eyed Girl Van Morisson Butterfly Kisses Bob Carisle C Cake By The Ocean DNCE California Gurl Katie Perry Call Me Maybe Carly Rae Jespen Can't Feel My Face The Weekend Can't Help Falling In Love Haley Reinhart Version Can't Hold Us (ft. Ray Dalton) Macklemore & Ryan Lewis Can't Stop The Feeling Justin Timberlake Can't Get Enough of You Love Babe Barry White Coming Home Leon Bridges Con Calma Daddy Yankee Closer (feat. Halsey) The Chainsmokers Chicken Fried Zac Brown Band Cool Kids Echosmith Could You Be Loved Bob Marley Counting Stars One Republic Country Girl Shake It For Me Girl Luke Bryan Crazy in Love Beyoncé Crazy Love Van Morisson D Daddy's Angel T Carter Music Dancing In The Street Martha Reeves And The Vandellas Dancing Queen ABBA Danza Kuduro Don Omar Dark Horse Katy Perry Despasito Luis Fonsi Feat. -
Scheme of the Research
SCHEME OF THE RESEARCH TITLE OF THE RESEARCH THE IN FLUENCE OF SOCIAL CLASS TO THE USE OF SWEAR WORD IN NICKI MINAJS’S RAP SONGS LYRIC Sociolinguistic Study Social Class Language Variety Style and Regist - Uper-uper class - Lower-uper class - Uper-middle class - Lower-middle class Swear Word - Uper-Lower class - Lower-lower class THE INFLUENCE OF SOCIAL CLASS TO THE USE OF SWEAR WORDS IN NICKI MINAJ’S RAP SONGS LYRIC Darma Persada University POSTER OF THE RESEARCH THE FLUENCE OF SOCIAL CLASS TO THE USE SWEAR WORD IN NICKI MINAJ’S RAP SONGS LYRIC Mely Arfiyanti 2015130032 DARMA PERSADA UNIVERSITY BACKGROUND FRAME WORK OF THEORIES: Sociolinguistics is the study of the relationship between language and society. How social factors can influence the Sociolinguistics Theory: way people speak. Community development; Culture, - Factors of social technology andeven religion, has caused people to form classs - Type of scoial class certian groups of social class. This form social class demands that group identities differ fromn other social Language variety classes. This need cause the effort to be different; - Style and register Included in the use of language. Each social lass seeks to be different from other sociall classes through the use of a different language. METHOD OF THE RESEARCH RESULT OF THE RESEARCH In this research, the writer use Based on the songs that the writer analyzesd, style and qualitative method to collect the data. register theory use in rap songs. They use swear The sources of the data are from words as her style asher special language that use in journals, articles, books, and internet. -
Considering Fraud in a Financial Statement Audit : Practical Guidance for Applying SAS No
University of Mississippi eGrove American Institute of Certified Public Accountants Guides, Handbooks and Manuals (AICPA) Historical Collection 1997 Considering fraud in a financial statement audit : practical guidance for applying SAS no. 82; Michael J. Ramos Anita M. Lyons American Institute of Certified Public Accountants Follow this and additional works at: https://egrove.olemiss.edu/aicpa_guides Part of the Accounting Commons, and the Taxation Commons Recommended Citation Ramos, Michael J.; Lyons, Anita M.; and American Institute of Certified Public Accountants, "Considering fraud in a financial statement audit : practical guidance for applying SAS no. 82;" (1997). Guides, Handbooks and Manuals. 33. https://egrove.olemiss.edu/aicpa_guides/33 This Book is brought to you for free and open access by the American Institute of Certified Public Accountants (AICPA) Historical Collection at eGrove. It has been accepted for inclusion in Guides, Handbooks and Manuals by an authorized administrator of eGrove. For more information, please contact [email protected]. Considering Fraud in a Financial Statement Audit; Practical Guidance lor Applying SAS No. 82 No. SAS Applying lor Guidance Practical Audit; Statement Financial a in Fraud Considering Considering Fraud in a Financial Statement Audit: Practical Guidance for Applying SAS No. 82 AICPA NOTICE TO READERS Considering Fraud in a Financial Statement Audit: Practical Guidance for Applying SAS No. 82 presents the views of the author and others who helped in its development. This publication has not been approved, disapproved, or otherwise acted upon by any senior technical committees of the American Institute of Certified Public Accountants. Therefore, the contents of this publication, including recommendations and suggestions, have no official or authoritative status. -
AN ANALYSIS on the USE of SLANG LANGUAGE in NICKI MINAJ's SONG LYRICS Vera Seprina [email protected] Djasminar Anwar
AN ANALYSIS ON THE USE OF SLANG LANGUAGE IN NICKI MINAJ'S SONG LYRICS Vera Seprina [email protected] Djasminar Anwar [email protected] English Department Faculty of Letters ABSTRACT The phenomena of slang language use almost in all genres of music, inspired the writer choose to focused in the study to discusses about analysis of the types and meanings of the slang language in Nicki Minaj's song lyrics. The purpose of this study is to classify the types and determine the meanings of slang language that used, in Nicki Minaj's song lyrics. The method used in this study is descriptive qualitative method. The writer uses Eric Partridge theories and other relevant references as well in order to obtain the relevant analysis between the theory and the statement. From the results of the study, it is found out that Society slang was the slang language type that most often used in Nicki Minaj's song lyrics and the meanings of the slang language in this song is related to sexuality. Key words : Slang language, Song lyrics. Language ABSTRAK Fenomena penggunaan bahasa gaul di hampir seiiap genre musik saai ini, menginsiprasi penulis untuk fokus dalam penelitian yang membahas tentang analisis bahasa gaul yang digunakan dalam lirik lagu Nicki Minaj. Tujuan dari penelitian ini adalah untuk menentukatt tipe dan makna dari bahasa gaul yang digunakan dalam lirik lagu Nicki Minaj. Melode yang digunakan dalam penelitian ini adalah metode deskriptif kualitatif. Penulis menggunakan teori Eric Partridge dan beberapa teori pendukung lain yang relevan untuk menjadikan penelitian ini bersifat relevan antara teori yang digunakan dengan halyang akan diieliti oleh penults. -
A Segment of a Song That Lasts for 8 Counts. Most Songs Are Made up of Many 8-Counts Strung Together
8-COUNT (noun) A segment of a song that lasts for 8 counts. Most songs are made up of many 8-counts strung together. The class danced freestyle for six 8-counts. BEAT (noun) The regular, rhythmic aspect of music that can be counted and felt in order to coordinate movement. Also, one of the single moments of emphasis in the music that, together, make up the overall beat. Anne moved side to side with the song’s beat as she danced. BOUNCE (verb) To move in a way that imitates an object bouncing (moving quickly back or away from a surface after hitting it). Chloe placed her hands on her knees and bounced them to the rhythm of the song. CALL (noun) A specific instruction to be performed immediately within a dance. The teacher spoke the calls of the dance so the class would know which movements to perform. CALLER (noun) A person who speaks specific instructions during a dance in order to provide guidance to the dancers. Bobby did a great job of being the caller for the dance because he had all the instructions memorized perfectly. CHARGE (verb) To rush forward forcefully. Anthony charged forward, acting like a football player trying to break through the defense. CHOREOGRAPHY (noun) The set and sequence of movements that make up a dance when they are performed. Tasfia remembered all the choreography and performed the dance perfectly. CLOCKWISE (adverb) Movement in the same direction as the way the hands of a clock move around. The class walked clockwise in a circle during the Fjaskern dance. -
Why Hip-Hop Is Queer: Using Queer Theory to Examine Identity Formation in Rap Music
Why Hip-Hop is Queer: Using Queer Theory to Examine Identity Formation in Rap Music Silvia Maria Galis-Menendez Advisor: Dr. Irene Mata Submitted in Partial Fulfillment of the Prerequisite for Honors in the Department of Women’s and Gender Studies May 2013 © Silvia Maria Galis-Menendez 2 Table of Contents Introduction 3 “These Are the Breaks:” Flow, Layering, Rupture, and the History of Hip-Hop 6 Hip-Hop Identity Interventions and My Project 12 “When Hip-Hop Lost Its Way, He Added a Fifth Element – Knowledge” 18 Chapter 1. “Baby I Ride with My Mic in My Bra:” Nicki Minaj, Azealia Banks and the Black Female Body as Resistance 23 “Super Bass:” Black Sexual Politics and Romantic Relationships in the Works of Nicki Minaj and Azealia Banks 28 “Hey, I’m the Liquorice Bitch:” Challenging Dominant Representations of the Black Female Body 39 Fierce: Affirmation and Appropriation of Queer Black and Latin@ Cultures 43 Chapter 2. “Vamo a Vence:” Las Krudas, Feminist Activism, and Hip-Hop Identities across Borders 50 El Hip-Hop Cubano 53 Las Krudas and Queer Cuban Feminist Activism 57 Chapter 3. Coming Out and Keepin’ It Real: Frank Ocean, Big Freedia, and Hip- Hop Performances 69 Big Freedia, Queen Diva: Twerking, Positionality, and Challenging the Gaze 79 Conclusion 88 Bibliography 95 3 Introduction In 1987 Onika Tanya Maraj immigrated to Queens, New York City from her native Trinidad and Tobago with her family. Maraj attended a performing arts high school in New York City and pursued an acting career. In addition to acting, Maraj had an interest in singing and rapping. -
Chapter 1 Introduction
CHAPTER 1 INTRODUCTION 1.1 Background of The Problem Social class as one of a social factor that play a role in language variation is the structure of relationship between groups where people are clasified based on their education, occupation, and income. Social class in which people are grouped into a set of hierarchical social categories, the mos common being the upper, middle, working class, and lower classes. Variation in laguage is an important topic in sociolinguistics, because it refers to social factror in society and how each factor plays a role in language varieties. Languages vary between ethnic groups, social situations, and spesific location. In social relationship, language is used by someone to represent who they are, it relates with strong identity of a certain social group. In this study the writer concern about swear words in rap song lyric. Karjalainen (2002:24) “swearing is generally considered to be the use of language, an unnecessary linguistic feature that corrupts our language, sounds unpleasant and uneducated, and could well be disposed of”. It can be concluded that swear words are any kind of rude language which is used with or without any purpose. Usually we can finds swear words on rap songs. Rap is one of elements of hip-hop culture that has been connected to the black people. The music of the artists who were born during 80’s appeared to present the music in a way that describes as a social critique. This period of artists focused on the social issue of black urban life, which later forulated hardcore activist, and gangster rap genres of hip-hop rap.