Was David an Aryan?
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A Short History of Pop ‘Pop’ Is Short for Popular Music
Read the text. A short history of pop ‘Pop’ is short for popular music. There are different styles of pop music, but they all appeal to the general public. But when did ‘modern’ pop music begin? There were two significant moments. First of all Leo Fender invented the electric guitar in 1950. Then, in 1954, Sony introduced the transistor radio and after that, music was accessible to people in their homes and cars. In 1954 Elvis Presley released That’s All Right. He fused country music with black rhythm and blues to create rock and roll. At that time this was an innovation, and Elvis, who was young, attractive and exciting, became the first teen idol and made pop music a youth culture. The 1960s was the decade of The Beatles, who dominated pop music from 1961 to 1970 with a new folk-rock sound. The Beatles were the first band to play in a stadium: Shea Stadium in New York in 1965. In June 1969 they had their seventeenth number one hit – two more than Elvis. The 60s also saw the first outdoor music festivals and popular music began to have a social and political message, for example, Bob Dylan. This was also the beginning of Motown and soul music with artists like Ray Charles, The Supremes and Marvin Gaye. Think English Elementary • Unit 9 p.107 © Oxford University Press PHOTOCOPIABLE Next came the 1970s and several new genres of music appeared, like reggae (Bob Marley), glam rock (David Bowie), punk (the Sex Pistols) and heavy metal (Iron Maiden). -
Young Americans to Emotional Rescue: Selected Meetings
YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music. -
Traditional Funk: an Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio
University of Dayton eCommons Honors Theses University Honors Program 4-26-2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Caleb G. Vanden Eynden University of Dayton Follow this and additional works at: https://ecommons.udayton.edu/uhp_theses eCommons Citation Vanden Eynden, Caleb G., "Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio" (2020). Honors Theses. 289. https://ecommons.udayton.edu/uhp_theses/289 This Honors Thesis is brought to you for free and open access by the University Honors Program at eCommons. It has been accepted for inclusion in Honors Theses by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Abstract Recognized nationally as the funk capital of the world, Dayton, Ohio takes credit for birthing important funk groups (i.e. Ohio Players, Zapp, Heatwave, and Lakeside) during the 1970s and 80s. Through a combination of ethnographic and archival research, this paper offers a pedagogical approach to Dayton funk, rooted in the styles and works of the city’s funk legacy. Drawing from fieldwork with Dayton funk musicians completed over the summer of 2019 and pedagogical theories of including black music in the school curriculum, this paper presents a pedagogical model for funk instruction that introduces the ingredients of funk (instrumentation, form, groove, and vocals) in order to enable secondary school music programs to create their own funk rooted in local history. -
2 KINGS Editorial Consultants Athalya Brenner-Idan Elisabeth Schüssler Fiorenza
2 KINGS Editorial Consultants Athalya Brenner-Idan Elisabeth Schüssler Fiorenza Editorial Board Mary Ann Beavis Carol J. Dempsey Gina Hens-Piazza Amy-Jill Levine Linda M. Maloney Ahida Pilarski Sarah J. Tanzer Lauress Wilkins Lawrence WISDOM COMMENTARY Volume 12 2 Kings Song-Mi Suzie Park Ahida Calderón Pilarski Volume Editor Barbara E. Reid, OP General Editor A Michael Glazier Book LITURGICAL PRESS Collegeville, Minnesota www.litpress.org A Michael Glazier Book published by Liturgical Press Scripture texts in this work are taken from the New Revised Standard Version Bible, © 1989, Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved. © 2019 by Order of Saint Benedict, Collegeville, Minnesota. All rights reserved. No part of this book may be used or reproduced in any manner whatsoever, except brief quotations in reviews, without written permission of Liturgical Press, Saint John’s Abbey, PO Box 7500, Collegeville, MN 56321-7500. Printed in the United States of America. 123456789 Library of Congress Cataloging-in-Publication Data Names: Park, Song-Mi Suzie, author. Title: 2 Kings / Song-Mi Suzie Park ; Ahida Calderón Pilarski, volume editor ; Barbara E. Reid, OP, general editor. Other titles: Second Kings Description: Collegeville : Liturgical Press, 2019. | Series: Wisdom commentary ; Volume 12 | “A Michael Glazier book.” | Includes bibliographical references and index. Identifiers: LCCN 2019019581 (print) | LCCN 2019022046 (ebook) | ISBN -
Deuteronomy- Kings As Emerging Authoritative Books, a Conversation
DEUTERONOMY–KinGS as EMERGING AUTHORITATIVE BOOKS A Conversation Edited by Diana V. Edelman Ancient Near East Monographs – Monografías sobre el Antiguo Cercano Oriente Society of Biblical Literature Centro de Estudios de Historia del Antiguo Oriente (UCA) DEUTERONOMY–KINGS AS EMERGING AUTHORITATIVE BOOKS Ancient Near East Monographs General Editors Ehud Ben Zvi Roxana Flammini Editorial Board Reinhard Achenbach Esther J. Hamori Steven W. Holloway René Krüger Alan Lenzi Steven L. McKenzie Martti Nissinen Graciela Gestoso Singer Juan Manuel Tebes Number 6 DEUTERONOMY–KINGS AS EMERGING AUTHORITATIVE BOOKS A CONVERSATION Edited by Diana V. Edelman Society of Biblical Literature Atlanta Copyright © 2014 by the Society of Biblical Literature All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by means of any information storage or retrieval system, except as may be expressly permit- ted by the 1976 Copyright Act or in writing from the publisher. Requests for permission should be addressed in writing to the Rights and Permissions Offi ce, Society of Biblical Literature, 825 Houston Mill Road, Atlanta, GA 30329 USA. Library of Congress Control Number: 2014931428 Th e Ancient Near East Monographs/Monografi as Sobre El Antiguo Cercano Oriente series is published jointly by the Society of Biblical Literature and the Universidad Católica Argentina Facultad de Ciencias Sociales, Políticas y de la Comunicación, Centro de Estu- dios de Historia del Antiguo Oriente. For further information, see: http://www.sbl-site.org/publications/Books_ANEmonographs.aspx http://www.uca.edu.ar/cehao Printed on acid-free, recycled paper conforming to ANSI/NISO Z39.48-1992 (R1997) and ISO 9706:1994 standards for paper permanence. -
The Social and Cultural Changes That Affected the Music of Motown Records from 1959-1972
Columbus State University CSU ePress Theses and Dissertations Student Publications 2015 The Social and Cultural Changes that Affected the Music of Motown Records From 1959-1972 Lindsey Baker Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Baker, Lindsey, "The Social and Cultural Changes that Affected the Music of Motown Records From 1959-1972" (2015). Theses and Dissertations. 195. https://csuepress.columbusstate.edu/theses_dissertations/195 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. The Social and Cultural Changes that Affected the Music of Motown Records From 1959-1972 by Lindsey Baker A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the degree of Bachelor of Music in Performance Schwob School of Music Columbus State University Thesis Advisor Date Dr. Kevin Whalen Honors Committee Member ^ VM-AQ^A-- l(?Yy\JcuLuJ< Date 2,jbl\5 —x'Dr. Susan Tomkiewicz Dean of the Honors College ((3?7?fy/L-Asy/C/7^ ' Date Dr. Cindy Ticknor Motown Records produced many of the greatest musicians from the 1960s and 1970s. During this time, songs like "Dancing in the Street" and "What's Going On?" targeted social issues in America and created a voice for African-American people through their messages. Events like the Mississippi Freedom Summer and Bloody Thursday inspired the artists at Motown to create these songs. Influenced by the cultural and social circumstances of the Civil Rights Movement, the musical output of Motown Records between 1959 and 1972 evolved from a sole focus on entertainment in popular culture to a focus on motivating social change through music. -
Rachel and Leah
1 Rachel and Leah Like brother stories, a sister story is a narrative paradigm that construes the family primarily upon its horizontal axis. In a sister story, identity is determined and the narrative is defined by the sibling bond, as opposed to the more hierarchical parent-child relationship. As I note in my introduction, brother stories dominate the Bible. By the time we meet sisters Rachel and Leah in Genesis 29, Cain has killed Abel, Isaac has usurped Ishmael, and Jacob has deceived Esau. At the conclusion of Rachel and Leah’s sister story, brothers return to the spotlight as Joseph and his brothers become the focus of the narrative. The Bible’s prevailing trope of fraternal rivalry is essentially about patrilineal descent in which paired brothers fight for their father’s and for God’s blessing. Pairing the brothers helps focus the rivalry and makes clear who is the elder and who is the younger and who, therefore, should have the legitimate claim to their father’s property.1 There can be only one winner, one blessed heir in the patrilineal narratives. Naturally, a good story defies cultural expectations, and younger brothers, more often than not, claim their father’s and God’s blessings. Examining this motif in separate works, both Frederick E. Greenspahn and Jon D. Levenson observe how the status of the Bible’s younger sons reflects Israel’s status, and how their stories reflect Israel’s national story.2 Like Israel, younger sons have no inherent right to the status they acquire in the course of their narratives.3 And like Israel, younger sons must experience exile and humiliation to acquire their blessings.4 Isaac faces his father’s knife. -
1980S Music: It Was More Than Disco Boogie—There Was Just Something Subliminal About It Jessica Malinski Course: Communication
1980s Music: It Was More Than Disco Boogie—There Was Just Something Subliminal About It Jessica Malinski Course: Communications 453 Instructor: Dr. Joseph Mirando Assignment: Research Paper Now, more than ever, music artists and record labels are fighting to keep their freedom of speech rights when it comes to their music, as they are constantly being sued for writing specific lyrics. Freedom of Speech is protected under the First Amendment and is defined as the liberty to freely say what one pleases, as well as the related right to hear what others say. This paper will examine the court‟s access to subliminal messages, the plaintiff‟s burden of proof, and the defendants‟ protections; additionally, an in-depth explanation of the court‟s ruling in a pivotal case will be provided. From this examination, one major question arises: can music lyrics contain subliminal messages that may potentially cause a person to commit suicide? First Amendment Protection The First Amendment is particularly supportive of the media; not only does it protect newspapers and magazines under Freedom of the Press, but it also shields music companies and artists under Freedom of Speech. This allows music artists to express their thoughts and feelings through music without question from anyone, including the court system. However, one of the main exceptions to Freedom of Speech with regard to music artists is a subliminal message. Namely, the court feels that if subliminal messages are present within the lyrics, then the listener‟s privacy rights are violated. This means he or she is unable to consciously comprehend or control the subliminal messages. -
'May the Lord Make the Woman Like Rachel'
‘MAY THE LORD MAKE THE WOMAN LIKE RACHEL’ COMPARING MICHAL AND RACHEL1 John Dekker Summary The portrayal of Michal in the book of Samuel is similar to that of Rachel in the book of Genesis. Both have an older sister who is their rival for the affections of their husband. Both have an erratic father who pursues their husband. Both possess household idols called teraphim, which features in the story of their deceiving their father. Both have at least a period of barrenness. Yet there are also differences between the two women, which can be explained in terms of the portrayal of Michal as an even more tragic figure than Rachel. Careful consideration of the points of similarity and difference yields the conclusion that the allusions to the Rachel story in the book of Samuel are intentional. 1. Introduction Many of the women in the book of Samuel have similarities to women in Genesis. This article will examine the parallels between Michal and Rachel. According to the book of Genesis, Rachel was the youngest daughter of Laban, and had an older sister, Leah. Jacob loved Rachel, and asked to marry her. Laban agreed on the condition that Jacob work for him for seven years. However, Laban gave Leah to Jacob instead, 1 The title of this paper comes from Ruth 4:11, where the elders of Bethlehem say to Boaz, ‘May the LORD make the woman who is coming into your home like Rachel and Leah, who together built up the house of Israel.’ Like Boaz, Michal was a direct descendant of Rachel, though of the tribe of Benjamin. -
Record Dreams Catalog
RECORD DREAMS 50 Hallucinations and Visions of Rare and Strange Vinyl Vinyl, to: vb. A neologism that describes the process of immersing yourself in an antique playback format, often to the point of obsession - i.e. I’m going to vinyl at Utrecht, I may be gone a long time. Or: I vinyled so hard that my bank balance has gone up the wazoo. The end result of vinyling is a record collection, which is defned as a bad idea (hoarding, duplicating, upgrading) often turned into a good idea (a saleable archive). If you’re reading this, you’ve gone down the rabbit hole like the rest of us. What is record collecting? Is it a doomed yet psychologically powerful wish to recapture that frst thrill of adolescent recognition or is it a quite understandable impulse to preserve and enjoy totemic artefacts from the frst - perhaps the only - great age of a truly mass art form, a mass youth culture? Fingering a particularly juicy 45 by the Stooges, Sweet or Sylvester, you could be forgiven for answering: fuck it, let’s boogie! But, you know, you’re here and so are we so, to quote Double Dee and Steinski, what does it all mean? Are you looking for - to take a few possibles - Kate Bush picture discs, early 80s Japanese synth on the Vanity label, European Led Zeppelin 45’s (because of course they did not deign to release singles in the UK), or vastly overpriced and not so good druggy LPs from the psychedelic fatso’s stall (Rainbow Ffolly, we salute you)? Or are you just drifting, browsing, going where the mood and the vinyl takes you? That’s where Utrecht scores. -
The Assassination of Dr. Martin Luther King Jr. and the Birth of Funk Culture
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 2013 Funk My Soul: The Assassination of Dr. Martin Luther King Jr. And the Birth of Funk Culture Domenico Rocco Ferri Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the United States History Commons Recommended Citation Ferri, Domenico Rocco, "Funk My Soul: The Assassination of Dr. Martin Luther King Jr. And the Birth of Funk Culture" (2013). Dissertations. 664. https://ecommons.luc.edu/luc_diss/664 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2013 Domenico Rocco Ferri LOYOLA UNIVERSITY CHICAGO FUNK MY SOUL: THE ASSASSINATION OF DR. MARTIN LUTHER KING JR. AND THE BIRTH OF FUNK CULTURE A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY PROGRAM IN HISTORY BY DOMENICO R. FERRI CHICAGO, IL AUGUST 2013 Copyright by Domenico R. Ferri, 2013 All rights reserved. ACKNOWLEDGEMENTS Painstakingly created over the course of several difficult and extraordinarily hectic years, this dissertation is the result of a sustained commitment to better grasping the cultural impact of Dr. Martin Luther King Jr.’s life and death. That said, my ongoing appreciation for contemporary American music, film, and television served as an ideal starting point for evaluating Dr. -
Notes on 2 Kings 202 1 Edition Dr
Notes on 2 Kings 202 1 Edition Dr. Thomas L. Constable Second Kings continues the narrative begun in 1 Kings. It opens with the translation of godly Elijah to heaven and closes with the transportation of the ungodly Jews to Babylon. For discussion of title, writer, date, scope, purpose, genre, style, and theology of 2 Kings, see the introductory section in my notes on 1 Kings. OUTLINE (Continued from notes on 1 Kings) 3. Ahaziah's evil reign in Israel 1 Kings 22:51—2 Kings 1:18 (continued) 4. Jehoram's evil reign in Israel 2:1—8:15 5. Jehoram's evil reign in Judah 8:16-24 6. Ahaziah's evil reign in Judah 8:25—9:29 C. The second period of antagonism 9:30—17:41 1. Jehu's evil reign in Israel 9:30—10:36 2. Athaliah's evil reign in Judah 11:1-20 3. Jehoash's good reign in Judah 11:21—12:21 4. Jehoahaz's evil reign in Israel 13:1-9 5. Jehoash's evil reign in Israel 13:10-25 6. Amaziah's good reign in Judah 14:1-22 7. Jeroboam II's evil reign in Israel 14:23-29 8. Azariah's good reign in Judah 15:1-7 9. Zechariah's evil reign in Israel 15:8-12 10. Shallum's evil reign in Israel 15:13-16 11. Menahem's evil reign in Israel 15:17-22 12. Pekahiah's evil reign in Israel 15:23-26 13. Pekah's evil reign in Israel 15:27-31 Copyright Ó 2021 by Thomas L.