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AC/DC You Shook Me All Night Long Adele Rolling in the Deep Al Green
AC/DC You Shook Me All Night Long Adele Rolling in the Deep Al Green Let's Stay Together Alabama Dixieland Delight Alan Jackson It's Five O'Clock Somewhere Alex Claire Too Close Alice in Chains No Excuses America Lonely People Sister Golden Hair American Authors The Best Day of My Life Avicii Hey Brother Bad Company Feel Like Making Love Can't Get Enough of Your Love Bastille Pompeii Ben Harper Steal My Kisses Bill Withers Ain't No Sunshine Lean on Me Billy Joel You May Be Right Don't Ask Me Why Just the Way You Are Only the Good Die Young Still Rock and Roll to Me Captain Jack Blake Shelton Boys 'Round Here God Gave Me You Bob Dylan Tangled Up in Blue The Man in Me To Make You Feel My Love You Belong to Me Knocking on Heaven's Door Don't Think Twice Bob Marley and the Wailers One Love Three Little Birds Bob Seger Old Time Rock & Roll Night Moves Turn the Page Bobby Darin Beyond the Sea Bon Jovi Dead or Alive Living on a Prayer You Give Love a Bad Name Brad Paisley She's Everything Bruce Springsteen Glory Days Bruno Mars Locked Out of Heaven Marry You Treasure Bryan Adams Summer of '69 Cat Stevens Wild World If You Want to Sing Out CCR Bad Moon Rising Down on the Corner Have You Ever Seen the Rain Looking Out My Backdoor Midnight Special Cee Lo Green Forget You Charlie Pride Kiss an Angel Good Morning Cheap Trick I Want You to Want Me Christina Perri A Thousand Years Counting Crows Mr. -
The Percussion Family 1 Table of Contents
THE CLEVELAND ORCHESTRA WHAT IS AN ORCHESTRA? Student Learning Lab for The Percussion Family 1 Table of Contents PART 1: Let’s Meet the Percussion Family ...................... 3 PART 2: Let’s Listen to Nagoya Marimbas ...................... 6 PART 3: Music Learning Lab ................................................ 8 2 PART 1: Let’s Meet the Percussion Family An orchestra consists of musicians organized by instrument “family” groups. The four instrument families are: strings, woodwinds, brass and percussion. Today we are going to explore the percussion family. Get your tapping fingers and toes ready! The percussion family includes all of the instruments that are “struck” in some way. We have no official records of when humans first used percussion instruments, but from ancient times, drums have been used for tribal dances and for communications of all kinds. Today, there are more instruments in the percussion family than in any other. They can be grouped into two types: 1. Percussion instruments that make just one pitch. These include: Snare drum, bass drum, cymbals, tambourine, triangle, wood block, gong, maracas and castanets Triangle Castanets Tambourine Snare Drum Wood Block Gong Maracas Bass Drum Cymbals 3 2. Percussion instruments that play different pitches, even a melody. These include: Kettle drums (also called timpani), the xylophone (and marimba), orchestra bells, the celesta and the piano Piano Celesta Orchestra Bells Xylophone Kettle Drum How percussion instruments work There are several ways to get a percussion instrument to make a sound. You can strike some percussion instruments with a stick or mallet (snare drum, bass drum, kettle drum, triangle, xylophone); or with your hand (tambourine). -
Only Believe Song Book from the SPOKEN WORD PUBLICATIONS, Write To
SONGS OF WORSHIP Sung by William Marrion Branham Only Believe SONGS SUNG BY WILLIAM MARRION BRANHAM Songs of Worship Most of the songs contained in this book were sung by Brother Branham as he taught us to worship the Lord Jesus in Spirit and Truth. This book is distributed free of charge by the SPOKEN WORD PUBLICATIONS, with the prayer that it will help us to worship and praise the Lord Jesus Christ. To order the Only Believe song book from the SPOKEN WORD PUBLICATIONS, write to: Spoken Word Publications P.O. Box 888 Jeffersonville, Indiana, U..S.A. 47130 Special Notice This electronic duplication of the Song Book has been put together by the Grand Rapids Tabernacle for the benefit of brothers and sisters around the world who want to replace a worn song book or simply desire to have extra copies. FOREWARD The first place, if you want Scripture, the people are supposed to come to the house of God for one purpose, that is, to worship, to sing songs, and to worship God. That’s the way God expects it. QUESTIONS AND ANSWERS, January 3, 1954, paragraph 111. There’s something about those old-fashioned songs, the old-time hymns. I’d rather have them than all these new worldly songs put in, that is in Christian churches. HEBREWS, CHAPTER SIX, September 8, 1957, paragraph 449. I tell you, I really like singing. DOOR TO THE HEART, November 25, 1959. Oh, my! Don’t you feel good? Think, friends, this is Pentecost, worship. This is Pentecost. Let’s clap our hands and sing it. -
Williams, Hipness, Hybridity, and Neo-Bohemian Hip-Hop
HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Maxwell Lewis Williams August 2020 © 2020 Maxwell Lewis Williams HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA Maxwell Lewis Williams Cornell University 2020 This dissertation theorizes a contemporary hip-hop genre that I call “neo-bohemian,” typified by rapper Kendrick Lamar and his collective, Black Hippy. I argue that, by reclaiming the origins of hipness as a set of hybridizing Black cultural responses to the experience of modernity, neo- bohemian rappers imagine and live out liberating ways of being beyond the West’s objectification and dehumanization of Blackness. In turn, I situate neo-bohemian hip-hop within a history of Black musical expression in the United States, Senegal, Mali, and South Africa to locate an “aesthetics of existence” in the African diaspora. By centering this aesthetics as a unifying component of these musical practices, I challenge top-down models of essential diasporic interconnection. Instead, I present diaspora as emerging primarily through comparable responses to experiences of paradigmatic racial violence, through which to imagine radical alternatives to our anti-Black global society. Overall, by rethinking the heuristic value of hipness as a musical and lived Black aesthetic, the project develops an innovative method for connecting the aesthetic and the social in music studies and Black studies, while offering original historical and musicological insights into Black metaphysics and studies of the African diaspora. -
FAHRENHEIT 451 by Ray Bradbury This One, with Gratitude, Is for DON CONGDON
FAHRENHEIT 451 by Ray Bradbury This one, with gratitude, is for DON CONGDON. FAHRENHEIT 451: The temperature at which book-paper catches fire and burns PART I: THE HEARTH AND THE SALAMANDER IT WAS A PLEASURE TO BURN. IT was a special pleasure to see things eaten, to see things blackened and changed. With the brass nozzle in his fists, with this great python spitting its venomous kerosene upon the world, the blood pounded in his head, and his hands were the hands of some amazing conductor playing all the symphonies of blazing and burning to bring down the tatters and charcoal ruins of history. With his symbolic helmet numbered 451 on his stolid head, and his eyes all orange flame with the thought of what came next, he flicked the igniter and the house jumped up in a gorging fire that burned the evening sky red and yellow and black. He strode in a swarm of fireflies. He wanted above all, like the old joke, to shove a marshmallow on a stick in the furnace, while the flapping pigeon- winged books died on the porch and lawn of the house. While the books went up in sparkling whirls and blew away on a wind turned dark with burning. Montag grinned the fierce grin of all men singed and driven back by flame. He knew that when he returned to the firehouse, he might wink at himself, a minstrel man, Does% burntcorked, in the mirror. Later, going to sleep, he would feel the fiery smile still gripped by his Montag% face muscles, in the dark. -
TIME and ETHOS in RHETORICAL THEORY Collin Bjork Submitted To
ACCUMULATING CHARACTER: TIME AND ETHOS IN RHETORICAL THEORY Collin Bjork Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of English, Indiana University June 2019 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee __________________________________________ Chair: Dana Anderson, Ph.D. __________________________________________ John Schilb, Ph.D. __________________________________________ Justin Hodgson, Ph.D. __________________________________________ Freya Thimsen, Ph.D. __________________________________________ Scot Barnett, Ph.D. 2 May 2019 ii Acknowledgements I am incredibly thankful for the long list of people and places that have impacted the direction and contours of this dissertation. And in a project that engages the imbricated concepts of character and time, I am particularly grateful for those who gave their own time to contribute to the ongoing development of my ethos as a scholar, teacher, and community member. I am thankful first for the public libraries that provided a quiet yet communal space in which to write: the Monroe Country Public Library, Ector County Public Library, Round Rock Public Library, Cedar Park Public Library, Austin Public Library, and Ghent Public Library. Your community-based work shares many important aims with the field of rhetoric that I now call home. I look forward to more opportunities to collaborate with you and other public libraries in the future. I am also grateful for the many universities that made their libraries and classrooms available for my thinking, writing, and teaching: Indiana University, the University of Texas at Austin, the University of Texas Permian Basin, Texas A&M University, Texas State University, Southwestern University, and Austin Community College. -
Aaamc Issue 9 Chrono
of renowned rhythm and blues artists from this same time period lip-synch- ing to their hit recordings. These three aaamc mission: collections provide primary source The AAAMC is devoted to the collection, materials for researchers and students preservation, and dissemination of materi- and, thus, are invaluable additions to als for the purpose of research and study of our growing body of materials on African American music and culture. African American music and popular www.indiana.edu/~aaamc culture. The Archives has begun analyzing data from the project Black Music in Dutch Culture by annotating video No. 9, Fall 2004 recordings made during field research conducted in the Netherlands from 1998–2003. This research documents IN THIS ISSUE: the performance of African American music by Dutch musicians and the Letter ways this music has been integrated into the fabric of Dutch culture. The • From the Desk of the Director ...........................1 “The legacy of Ray In the Vault Charles is a reminder • Donations .............................1 of the importance of documenting and • Featured Collections: preserving the Nelson George .................2 achievements of Phyl Garland ....................2 creative artists and making this Arizona Dranes.................5 information available to students, Events researchers, Tribute.................................3 performers, and the • Ray Charles general public.” 1930-2004 photo by Beverly Parker (Nelson George Collection) photo by Beverly Parker (Nelson George Visiting Scholars reminder of the importance of docu- annotation component of this project is • Scot Brown ......................4 From the Desk menting and preserving the achieve- part of a joint initiative of Indiana of the Director ments of creative artists and making University and the University of this information available to students, Michigan that is funded by the On June 10, 2004, the world lost a researchers, performers, and the gener- Andrew W. -
MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division -
The Life & Rhymes of Jay-Z, an Historical Biography
ABSTRACT Title of Dissertation: THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 Omékongo Dibinga, Doctor of Philosophy, 2015 Dissertation directed by: Dr. Barbara Finkelstein, Professor Emerita, University of Maryland College of Education. Department of Teaching and Learning, Policy and Leadership. The purpose of this dissertation is to explore the life and ideas of Jay-Z. It is an effort to illuminate the ways in which he managed the vicissitudes of life as they were inscribed in the political, economic cultural, social contexts and message systems of the worlds which he inhabited: the social ideas of class struggle, the fact of black youth disempowerment, educational disenfranchisement, entrepreneurial possibility, and the struggle of families to buffer their children from the horrors of life on the streets. Jay-Z was born into a society in flux in 1969. By the time Jay-Z reached his 20s, he saw the art form he came to love at the age of 9—hip hop— become a vehicle for upward mobility and the acquisition of great wealth through the sale of multiplatinum albums, massive record deal signings, and the omnipresence of hip-hop culture on radio and television. In short, Jay-Z lived at a time where, if he could survive his turbulent environment, he could take advantage of new terrains of possibility. This dissertation seeks to shed light on the life and development of Jay-Z during a time of great challenge and change in America and beyond. THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 An historical biography: 1969-2004 by Omékongo Dibinga Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2015 Advisory Committee: Professor Barbara Finkelstein, Chair Professor Steve Klees Professor Robert Croninger Professor Derrick Alridge Professor Hoda Mahmoudi © Copyright by Omékongo Dibinga 2015 Acknowledgments I would first like to thank God for making life possible and bringing me to this point in my life. -
Two Teens and a Budget It Pays to Belong !
Two Teens and a Budget It Paysays to Belong ! Two Teens and a Budget CHAPTER 1 - ANGELA Liam always insists that the car wasn’t the last straw. But trust me, it was. At least that’s what finally made dad explode at Uncle Billy’s house. And dad, like ... never explodes. Especially at Uncle Billy. Uncle Billy is that really rich, old, great uncle that everybody wishes they could have. And we actually have him. Lucky us, except of course, there’s a catch. Uncle Billy is totally useless. Not that he’s useless. He’s, like, super successful and filthy rich, and if you ask (or don’t ask), he’s more than happy to tell you all about his first job and his second job and his third job and his first business and his second business and … you get the picture. To hear Uncle Billy tell it, he was working while he was still in diapers. Whatever. Like anybody cares. Because he doesn’t do what rich, lonely uncles are supposed to do - such as adopt and lavish me with all the good things in life. Okay, maybe he’s not that lonely. He’s got Aunt Rose to keep him company and listen to how wonderful he is. And truthfully, I wouldn’t be all that good at that. But still. I’d listen if I thought it was worth my while. Which it’s totally not. As he likes to point out, the only valuables I’ll ever be getting from his will are jewels of advice. -
Smash-Hits-1980-12-J
TLY ...,., man League lbums lncolour be won ROXY MUSIC FLESH+BLOOD Phone 01-200 0200 To find out the nearest shop where you can obtain "Flesh & Blood" at a minimwn of £1.00 off tlte album's R.R.P. ALBUM & CASSETTE 1.,.,~.1EiJ NEW AMSTERDAM June 12-25 1980 Elvis Costello ...........................................4 It's tough atthe top. Jerry TIN SOLDIERS Dammers just popped in to Stiff Little Fingers ....................................4 borrow a picture of himself. Seems he was trying to cash a CHRISTINE cheque at the bank and the Siouxsie & The Banshees ....................... 5 people didn't recognise him . .. Our apologies next to the folks CRYING who were disappointed by the Don Mclean .............................................8 absence of the promised Dexy's colour poster in the lastjssue. CHINATOWN r----...:S~ee, thei:O• haef'already been 4 rattled off to the prlntws before THT:~EL~.1oivi. M·~A~s·~·H ........................ ·1 the actual shot arrived and we decided we needed to~ bett.er. The Mash ............................................... 14 have atlence ,and we1t bring LITTLE JEANNIE one soon. This time around eve definitely got a fantastic Elton John .............................................. 16 vid,c> game for our new IF LOVING YOU IS WRONG d prize, our Irresistible lffer OD page 26 plus a Rod Stewart ........................................... 16 S etro"c:ompetition on page • EVERYBODY'S GOTTO LEARN 28. So'-Juat think yourself lucky - we UNd_"to'"1ive7n a _rolled u SOMETIME -~e'.lnidHle ofthe"' The Korgis .............................................. 19 BACK TOGETHER AGAIN Roberta Flack & Donny Hathaway ........22 THE MAN WHO DIES EVERYDAY ntributon Ultravox .................................................29 qb' K'-atz TO BE OR NOT TO BE R~ttrr Fr,cl Deller B. -
Chevrolet Blazer Owner Manual (GMNA-Localizing-U.S./Canada/Mexico- 13557845) - 2020 - CRC - 3/24/20
20_CHEV_Blazer_COV_en_US_84373191C_2020MAR30.ai 1 3/20/2020 8:49:23 AM C M Y CM MY CY CMY K Chevrolet Blazer Owner Manual (GMNA-Localizing-U.S./Canada/Mexico- 13557845) - 2020 - CRC - 3/24/20 Contents Introduction . 2 Keys, Doors, and Windows . 7 Seats and Restraints . 39 Storage . 91 Instruments and Controls . 98 Lighting . 145 Infotainment System . 154 Climate Controls . 155 Driving and Operating . 161 Vehicle Care . 243 Service and Maintenance . 337 Technical Data . 351 Customer Information . 355 Reporting Safety Defects . 365 OnStar . 369 Connected Services . 375 Index . 378 Chevrolet Blazer Owner Manual (GMNA-Localizing-U.S./Canada/Mexico- 13557845) - 2020 - CRC - 3/24/20 2 Introduction Introduction For vehicles first sold in Canada, Canadian Vehicle Owners substitute the name “General Motors of Canada Company” for A French language manual can be Chevrolet Motor Division wherever it obtained from your dealer, at appears in this manual. www.helminc.com, or from: This manual describes features that Propriétaires Canadiens may or may not be on the vehicle On peut obtenir un exemplaire de because of optional equipment that ce guide en français auprès du was not purchased on the vehicle, The names, logos, emblems, concessionnaire ou à l'adresse model variants, country suivante: slogans, vehicle model names, and specifications, features/applications vehicle body designs appearing in that may not be available in your Helm, Incorporated this manual including, but not limited region, or changes subsequent to Attention: Customer Service to, GM, the GM logo, CHEVROLET, the printing of this owner’s manual. 47911 Halyard Drive the CHEVROLET Emblem, and Plymouth, MI 48170 BLAZER are trademarks and/or Refer to the purchase USA service marks of General Motors documentation relating to your LLC, its subsidiaries, affiliates, specific vehicle to confirm the Using this Manual or licensors.