From Zones of Conflict Comes Music for Peace
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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 -
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
Schedule Quickprint TKRN-FM
Schedule QuickPrint TKRN-FM 5/1/2021 4AM through 5/1/2021 8AM s: AirTime s: Runtime Schedule: Description 04:00:00a 00:00 Saturday, May 01, 2021 4AM 04:00:00a 04:08 WHO LOVES YOU / FOUR SEASONS 04:04:08a 02:52 VEHICLE / IDES OF MARCH 04:07:00a 03:20 CARRY ON WAYWARD SON / KANSAS 04:10:20a 05:17 LEVON / ELTON JOHN 04:15:37a 03:07 COULDN'T GET IT RIGHT / CLIMAX BLUES BAND 04:18:44a 03:50 MY SWEET LORD / GEORGE HARRISON 04:22:34a 04:37 JUST THE WAY YOU ARE (ALBUM) / BILLY JOEL 04:27:11a 03:08 O-O-H CHILD / FIVE STAIRSTEPS 04:30:23a 03:30 STOP-SET 04:37:09a 02:51 IF I CAN'T HAVE YOU / YVONNE ELLIMAN 04:40:00a 03:15 DOES ANYBODY REALLY KNOW WHAT TIME IT IS? / CHICAGO 04:43:15a 04:08 EVIL WOMAN (ALBUM) / ELECTRIC LIGHT ORCHESTRA 04:47:23a 02:36 I CAN SEE CLEARLY NOW / JOHNNY NASH 04:49:59a 02:46 TEQUILA SUNRISE / EAGLES 04:52:45a 03:30 STOP-SET 05:00:00a 00:00 Saturday, May 01, 2021 5AM 05:00:00a 03:19 MOVIN' OUT (ANTHONY'S SONG) / BILLY JOEL 05:03:19a 03:55 YOUR SONG / ELTON JOHN 05:07:14a 02:49 SHINING STAR / EARTH, WIND & FIRE 05:10:03a 03:31 THE JOKER / STEVE MILLER BAND 05:13:34a 03:22 NIGHT FEVER / BEE GEES 05:16:56a 03:55 SIGNS / FIVE MAN ELECTRICAL BAND 05:20:51a 04:02 GIVE A LITTLE BIT / SUPERTRAMP 05:24:53a 02:51 LOTTA LOVE / NICOLETTE LARSON 05:27:48a 03:30 STOP-SET 05:34:34a 04:06 ALREADY GONE / EAGLES 05:38:40a 03:05 HI HI HI / PAUL MC CARTNEY & WINGS 05:41:45a 03:24 DECEMBER 1963 (OH WHAT A NIGHT) / FOUR SEASONS 05:45:09a 03:34 WILL IT GO ROUND IN CIRCLES / BILLY PRESTON 05:48:43a 04:02 WHEEL IN THE SKY / JOURNEY 05:52:45a 03:30 -
Multigenerational Modeling of Money Management
Journal of Financial Therapy Volume 9 Issue 2 Article 5 2018 Multigenerational Modeling of Money Management Christina M. Rosa Brigham Young University Loren D. Marks Brigham Young University Ashley B. LeBaron Brigham Young University See next page for additional authors Follow this and additional works at: https://newprairiepress.org/jft Part of the Counseling Psychology Commons, Family, Life Course, and Society Commons, Marriage and Family Therapy and Counseling Commons, Social Psychology Commons, and the Social Work Commons This work is licensed under a Creative Commons Attribution-Noncommercial 4.0 License Recommended Citation Rosa, C. M., Marks, L. D., LeBaron, A. B., & Hill, E. (2018). Multigenerational Modeling of Money Management. Journal of Financial Therapy, 9 (2) 5. https://doi.org/10.4148/1944-9771.1164 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Journal of Financial Therapy by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Multigenerational Modeling of Money Management Cover Page Footnote We appreciate resources of the "Marjorie Pay Hinckley Award in the Social Sciences and Social Work" at Brigham Young University which funded this research. Authors Christina M. Rosa, Loren D. Marks, Ashley B. LeBaron, and E.Jeffrey Hill This article is available in Journal of Financial Therapy: https://newprairiepress.org/jft/vol9/iss2/5 Journal of Financial Therapy Volume 9, Issue 2 (2018) Multigenerational Modeling of Money Management Christina M. Rosa-Holyoak Loren D. Marks, Ph.D. Brigham Young University Ashley B. LeBaron, M.S. -
“Until That Song Is Born”: an Ethnographic Investigation of Teaching and Learning Among Collaborative Songwriters in Nashville
“UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2016 ABSTRACT “UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill With the intent of informing the practice of music educators who teach songwriting in K– 12 and college/university classrooms, the purpose of this research is to examine how professional songwriters in Nashville, Tennessee—one of songwriting’s professional “hubs”—teach and learn from one another in the process of engaging in collaborative songwriting. This study viewed songwriting as a form of “situated learning” (Lave & Wenger, 1991) and “situated practice” (Folkestad, 2012) whose investigation requires consideration of the professional culture that surrounds creative activity in a specific context (i.e., Nashville). The following research questions guided this study: (1) How do collaborative songwriters describe the process of being inducted to, and learning within, the practice of professional songwriting in Nashville, (2) What teaching and learning behaviors can be identified in the collaborative songwriting processes of Nashville songwriters, and (3) Who are the important actors in the process of learning to be a collaborative songwriter in Nashville, and what roles do they play (e.g., gatekeeper, mentor, role model)? This study combined elements of case study and ethnography. Data sources included observation of co-writing sessions, interviews with songwriters, and participation in and observation of open mic and writers’ nights. -
Tuareg Music and Capitalist Reckonings in Niger a Dissertation Submitted
UNIVERSITY OF CALIFORNIA Los Angeles Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Eric James Schmidt 2018 © Copyright by Eric James Schmidt 2018 ABSTRACT OF THE DISSERTATION Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger by Eric James Schmidt Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Timothy D. Taylor, Chair This dissertation examines how Tuareg people in Niger use music to reckon with their increasing but incomplete entanglement in global neoliberal capitalism. I argue that a variety of social actors—Tuareg musicians, fans, festival organizers, and government officials, as well as music producers from Europe and North America—have come to regard Tuareg music as a resource by which to realize economic, political, and other social ambitions. Such treatment of culture-as-resource is intimately linked to the global expansion of neoliberal capitalism, which has led individual and collective subjects around the world to take on a more entrepreneurial nature by exploiting representations of their identities for a variety of ends. While Tuareg collective identity has strongly been tied to an economy of pastoralism and caravan trade, the contemporary moment demands a reimagining of what it means to be, and to survive as, Tuareg. Since the 1970s, cycles of drought, entrenched poverty, and periodic conflicts have pushed more and more Tuaregs to pursue wage labor in cities across northwestern Africa or to work as trans- ii Saharan smugglers; meanwhile, tourism expanded from the 1980s into one of the region’s biggest industries by drawing on pastoralist skills while capitalizing on strategic essentialisms of Tuareg culture and identity. -
A Multi-Level Analysis of Songwriter Career Strategies by Rachel S
Changing Patterns of Cooperation in Occupational Communities: A Multi-Level Analysis of Songwriter Career Strategies By Rachel Skaggs Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in Sociology August 10, 2018 Nashville, Tennessee Approved: Daniel B. Cornfield, PhD Shaul Kelner, PhD Joshua Murray, PhD Copyright © 2018 by Rachel Skaggs All Rights Reserved ii To my father, Donnie Skaggs, who I’ve watched pursue his songwriting dreams. To my mother, Rose Skaggs, who supports his dreams and mine. To David Carlson. His dreams and mine are intertwined. iii ACKNOWLEDGMENTS It is an overwhelming task to think of all of the support that people have given me in support of this dissertation. My dissertation is about collaboration, and I have been unmeasurably lucky to have collaborated with wonderful people. I want to begin by thanking every songwriter I interviewed. Without their trust and insight, I could not have conducted research that is as compelling, touching, and important as the project that has emerged. The generosity and openness of these people, most of whom were total strangers to me, is inspiring. Next, I must acknowledge the support of the Robert Penn Warren Center for the Humanities. As a dissertation fellow at the Warren Center, I was able to truly develop my ideas and focus on the work of writing a good dissertation. My fellow fellows at the Warren Center challenged me and supported me. Danielle Picard, Wietske Smeele, Sara Kollner, Alexandra Alekseyeva, David Vila, and James Phelan all contributed to the ways I think about my own work as I try to present it in a manner that is intelligible and meaningful to an interdisciplinary audience. -
Holes in Time: the Autobiography of a Gangster Frank J. Costantino
Holes in Time: The Autobiography of a Gangster Frank J. Costantino © 1979 Library of Congress Catalog Number 79-89370 DEDICATION To Chaplain Max Jones who has the courage to put God first, and the salvation of lost souls as his primary goal. In the day of negative thinking about the role of the prison chaplain, Max Jones stands as a shining example of Christian faith at work behind prison walls. …and to all the staff and directors of Christian Prison Ministries and prison workers everywhere. …and to Dr. Richard Leoffler, Dr. Donald Brown, Curt Bock and Don Horton who believed in me from the very beginning. …and to my wife of 17 years, Cheryl, who went through the whole prison experience with me. FOREWARD Frank was a professional criminal. He deliberately decided to be a thief and a robber. With protection from the underworld, he preyed on the upper world. In eleven years he participated in robberies and thefts totaling eleven million dollars. All this he did with no qualms of conscience. He reasoned that bankers and businessmen stole with their pens. He stole with his guns. He saw no difference. On his first felony conviction he received a sentence of 22 years in prison. There he had plenty of time to think and to reason within himself. The inhumanity that he witnessed demanded that he find out what he wanted to be, a giver or a taker. He reached the conclusion that those who don’t care leave holes in time. His personal encounter with Christ in the office of Chaplain Max Jones settled all the issues. -
1. Summer Rain by Carl Thomas 2. Kiss Kiss by Chris Brown Feat T Pain 3
1. Summer Rain By Carl Thomas 2. Kiss Kiss By Chris Brown feat T Pain 3. You Know What's Up By Donell Jones 4. I Believe By Fantasia By Rhythm and Blues 5. Pyramids (Explicit) By Frank Ocean 6. Under The Sea By The Little Mermaid 7. Do What It Do By Jamie Foxx 8. Slow Jamz By Twista feat. Kanye West And Jamie Foxx 9. Calling All Hearts By DJ Cassidy Feat. Robin Thicke & Jessie J 10. I'd Really Love To See You Tonight By England Dan & John Ford Coley 11. I Wanna Be Loved By Eric Benet 12. Where Does The Love Go By Eric Benet with Yvonne Catterfeld 13. Freek'n You By Jodeci By Rhythm and Blues 14. If You Think You're Lonely Now By K-Ci Hailey Of Jodeci 15. All The Things (Your Man Don't Do) By Joe 16. All Or Nothing By JOE By Rhythm and Blues 17. Do It Like A Dude By Jessie J 18. Make You Sweat By Keith Sweat 19. Forever, For Always, For Love By Luther Vandros 20. The Glow Of Love By Luther Vandross 21. Nobody But You By Mary J. Blige 22. I'm Going Down By Mary J Blige 23. I Like By Montell Jordan Feat. Slick Rick 24. If You Don't Know Me By Now By Patti LaBelle 25. There's A Winner In You By Patti LaBelle 26. When A Woman's Fed Up By R. Kelly 27. I Like By Shanice 28. Hot Sugar - Tamar Braxton - Rhythm and Blues3005 (clean) by Childish Gambino 29. -
The Folk Singer
THE FOLK SINGER ___________________________ A New Musical Book & Lyrics by Tom Attea Contact: Tom Attea [email protected] (c) 2016 Tom Attea ii. CAST DON, FOLK SINGER & ORGANIZER KIM, HIS GIRLFRIEND TODD, FOLK SINGER AMY, FOLK SINGER ZACK, FOLK SINGER JAN, FOLK SINGER BAND CHORUS AS KIM, FRANK, HARMONY SINGERS AND VIDEOGRAPHERS iii. SONGS WELCOME.............................................................................Don & Others PEOPLE LOOK BEAUTIFUL TO ME................................Amy THE WAR MEMORIAL.......................................................Todd IF ALL YOU WANT IS MORE.............................................Jan THE DAY LINCOLN'S STATUE CAME TO LIFE.............Zack HAMMERED.........................................................................Don TERROR, ERROR..................................................................Todd SITTIN' ON A NUCLEAR BOMB........................................Zack A NEWBORN CHILD............................................................Amy THAT GOOD OLD RAILWAY STATION..........................Don SOUNDS A LOT LIKE LUCK...............................................Zack DO YOU MIND TELLIN' ME WHY?....................................Jan UNDERACHIEVING AS BEST WE CAN............................ Don, Jan, and Amy BLUE COLLAR, CAN'T EARN A DOLLAR.......................Todd I LONG FOR WIDE OPEN SPACES......................................Don WOULD YOU HAVE THE SENSE TO LOVE ME?.............Amy & Zack A CLIMATE OF CHANGE...................................................All -
A Shaman, a Sherpa, and a Healer: a Post-Intentional
A SHAMAN, A SHERPA, AND A HEALER: A POST-INTENTIONAL PHENOMENOLOGY OF SONGWRITING by BRIAN E. KUMM (Under the Direction of Corey W. Johnson) ABSTRACT The purpose of this study was to explore the phenomenon of songwriting. Through a series of in depth interviews, three songwriters provided rich descriptions of their lived experiences with the phenomenon. Post-intentional phenomenology was used as the primary guiding theoretical framework for this study, which negotiated the tenets of both phenomenology and poststructuralism. Songwriting was described in terms of portaling, everesting, and gravitating-levitating and was revealed as a complex phenomenon of cathartic and transcendent experiences. The findings highlight the need for unstructured, expressive, and artistic leisure, which can be transformative in times of personal or social unrest. INDEX WORDS: Songwriting, Post-intentional phenomenology, Creativity, Leisure A SHAMAN, A SHERPA, AND A HEALER: A POST-INTENTIONAL PHENOMENOLOGY OF SONGWRITING by BRIAN E. KUMM B.S., University of West Georgia, 1999 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2011 © 2011 Brian E. Kumm All Rights Reserved A SHAMAN, A SHERPA, AND A HEALER: A POST-INTENTIONAL PHENOMENOLOGY OF SONGWRITING by BRIAN E. KUMM Major Professor: Corey W. Johnson Committee: Janette R. Hill Diane M. Samdahl Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia December 2011 iv DEDICATION This thesis is dedicated to the memory of Dianne Kendall Hickly (mom number 2). March 1, 1947 – July 23, 2011 v ACKNOWLEDGEMENTS I sincerely want to say thank you to everyone who contributed to the successful completion of this thesis. -
BEST of 2011 – OUR FAVOURITE ALBUMS of the YEAR 1317 Commercial Drive Vancouver, BC Tel: 604-251-6964 Email: [email protected] Web: Highlifeworld.Com
HIGHLIFE Donec Egestas Scelerisque WORLD dolor: MUSIC BEST OF 2011 – OUR FAVOURITE ALBUMS OF THE YEAR 1317 Commercial Drive Vancouver, BC tel: 604-251-6964 email: [email protected] web: highlifeworld.com BEST OF 2011 BOMBINO Agadez Niger From the Saharan sands of Niger comes this recording by the brilliant guitarist/vocalist Bombino, who manages to create a distinctive desert blues style with echoes of both Ali Farka Toure and Tinariwen. An essential recording! TOM WAITS Bad As Me USA Gravelly-voiced poet and musical maverick Tom Waits returns with this strong batch of rocking blues stompers and tender ballads, joined by the likes of Keith Richards, Marc Ribot and David Hidalgo. Beginning with a train journey north to Chicago and ending in a bar on New Year’s eve (singing ‘Auld Lang Syne’ no less) this is a trip worth taking. Highly recommended! KIRAN AHLUWALIA Aam Zameen: Common Ground Canada Indo-Canadian vocalist Kiran Ahluwalia, known for her beautifully updated Ghazal music, this time does some continent hopping as she collaborates with desert blues sensations Tinariwen and Terakaft. From the opening take on Nusrat Fateh Ali Khan’s classic ‘Mustt Mustt’, propelled by handclaps and call and response vocals, we are in for an exciting cross-cultural musical feast. WILCO The Whole Love USA The 8th release by Jeff Tweedy and cohorts impressively reprises the various musical inclinations of this effortlessly creative group. From the off-kilter whirlwind of the opener to the epic beauty of the 12 minute closer, this is an album by a band at the top of their game.