Folksongs of the Maine Woods
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10 April VLUS Weekly
http://vassallane.cpsd.us/school_news/school_newspaper/ April 10, 2015 VLUS WEEKLY Stories by and About the Vassal Lane Upper School’s Scholars Vassal Lane Upper School, 197 Vassal Lane, Cambridge, MA 02138 Image by Susan Peloquin Connect to the VLUS Update on the April 17th VLUS Day of Silence Weekly: By Susan Peloquin http://vassallane.cpsd.us/ school_news/school_newspaper/ Just a reminder that VLUS students and staff will be participating in the National Day of Silence as part of our In this issue of the work in the Gay Straight Alliance next Friday, April 17. VLUS Weekly: Students can choose to participate in 2 ways. The first is to wear a sticker stating that the student pledges to be silent Essays! Reviews! that day to recognize the silence that LGBTQ peers and Articles by New families feel regularly. The second is to wear a sticker that Authors! states the student supports the Day of Silence and its Our First Reader’s purpose but isn't committing to be silent. Teachers will be Write Original Story! modifying the classes that day to allow for students who are choosing to be silent to be able to participate through writing. http://vassallane.cpsd.us/school_news/school_newspaper/ !1 http://vassallane.cpsd.us/school_news/school_newspaper/ April 10, 2015 On the Road Again: Journalism for a Moving World Effects on Streets By Fiona O’Loughlin Image by Fiona O’Loughlin After three weeks of almost constant blizzards and snow, Cambridge streets were nearly impassable. Plows pushed snow to the sides of streets, causing them to lose one or more lanes of traffic. -
9/11 Report”), July 2, 2004, Pp
Final FM.1pp 7/17/04 5:25 PM Page i THE 9/11 COMMISSION REPORT Final FM.1pp 7/17/04 5:25 PM Page v CONTENTS List of Illustrations and Tables ix Member List xi Staff List xiii–xiv Preface xv 1. “WE HAVE SOME PLANES” 1 1.1 Inside the Four Flights 1 1.2 Improvising a Homeland Defense 14 1.3 National Crisis Management 35 2. THE FOUNDATION OF THE NEW TERRORISM 47 2.1 A Declaration of War 47 2.2 Bin Ladin’s Appeal in the Islamic World 48 2.3 The Rise of Bin Ladin and al Qaeda (1988–1992) 55 2.4 Building an Organization, Declaring War on the United States (1992–1996) 59 2.5 Al Qaeda’s Renewal in Afghanistan (1996–1998) 63 3. COUNTERTERRORISM EVOLVES 71 3.1 From the Old Terrorism to the New: The First World Trade Center Bombing 71 3.2 Adaptation—and Nonadaptation— ...in the Law Enforcement Community 73 3.3 . and in the Federal Aviation Administration 82 3.4 . and in the Intelligence Community 86 v Final FM.1pp 7/17/04 5:25 PM Page vi 3.5 . and in the State Department and the Defense Department 93 3.6 . and in the White House 98 3.7 . and in the Congress 102 4. RESPONSES TO AL QAEDA’S INITIAL ASSAULTS 108 4.1 Before the Bombings in Kenya and Tanzania 108 4.2 Crisis:August 1998 115 4.3 Diplomacy 121 4.4 Covert Action 126 4.5 Searching for Fresh Options 134 5. -
Song & Music in the Movement
Transcript: Song & Music in the Movement A Conversation with Candie Carawan, Charles Cobb, Bettie Mae Fikes, Worth Long, Charles Neblett, and Hollis Watkins, September 19 – 20, 2017. Tuesday, September 19, 2017 Song_2017.09.19_01TASCAM Charlie Cobb: [00:41] So the recorders are on and the levels are okay. Okay. This is a fairly simple process here and informal. What I want to get, as you all know, is conversation about music and the Movement. And what I'm going to do—I'm not giving elaborate introductions. I'm going to go around the table and name who's here for the record, for the recorded record. Beyond that, I will depend on each one of you in your first, in this first round of comments to introduce yourselves however you wish. To the extent that I feel it necessary, I will prod you if I feel you've left something out that I think is important, which is one of the prerogatives of the moderator. [Laughs] Other than that, it's pretty loose going around the table—and this will be the order in which we'll also speak—Chuck Neblett, Hollis Watkins, Worth Long, Candie Carawan, Bettie Mae Fikes. I could say things like, from Carbondale, Illinois and Mississippi and Worth Long: Atlanta. Cobb: Durham, North Carolina. Tennessee and Alabama, I'm not gonna do all of that. You all can give whatever geographical description of yourself within the context of discussing the music. What I do want in this first round is, since all of you are important voices in terms of music and culture in the Movement—to talk about how you made your way to the Freedom Singers and freedom singing. -
The Ukrainian Weekly 1939, No.33
www.ukrweekly.com vm Supplement to the 8V0B3DA, Ukrainian Dally •яя липні in ***&*** No. 33 JERSEY СГГЖ; N, J., SATURDAY AUOUSfrlS, 193» VDb, VII я POLISH PERSECUTION OF A COMMON PROPAGANDA UKRAINIANS TRICK CAUSES OF- DIS-H-AR-M-ON During the month of June Po Where in. formes times. Poland Д NYONE who. is really interested. in Ще development of lish- authorities tried thirty-six jailed Ukrainian patriots for what, Ukrainian priests for so-called Uk- they were, now. she is taking ad- •**• Ukrainian-American liter must be truly dismayed by rainization of names and, passed-a vantage> of. the current, feeling the scarcity,, of harmonious. relations. and good will among total sentence, of - 231- months' im among. Western. Powers against a good portion of: our active young; people. Tftere. appears prisonment. Most of the" sentences the Nazis by. charging Ulwunian. were suspended, from two^to five patriots whom she arrests with to be tendency among them to split up into factions. To be years. being Nazi spies. Previously Uk- sure, this tendency is as yet incipient.. Perhaps.it is.only In this connection-the court sen ? rainians alone were held responsi- a passing phase, something that will soon disappear as more tenced a peasant from the-village ble for every outbreak of anti-Po-" of Mykhnivtsi to-six months' im- lish feeling resulting from Polish of our younger: generation perceive the-dangers, of factional . prisonment, because he.- insisted excesses. Now>- in the words-of a- strife and how much damage it did *t& -their elders. In any that his- new born baby-should New York Times dispatch fronv case, this-tendency must be immediately checked, before it have its name recorded wifh-^&HpP? Warsaw, dated-August 1?Щь Po rainian ending, thgfete^rr^nstefld lish political"- circles Germany fcv seriously impairs the effectiveness of our. -
Download Hip Hop Albums for Free Download Hip Hop Albums for Free
download hip hop albums for free Download hip hop albums for free. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67a3de657b5e0631 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Download hip hop albums for free. MadeinTYO blew us away in October with his new album, Never Forgotten. It shined with huge features from the likes of Chance The Rapper, Toro Y Moi, Wiz Khalifa, and Ty Dolla $ign. But you know what's better than one album? TWO albums. SOUL-LUXE is the deluxe version of Never Forgotten. Think of it as a remix album and for this one it was remixed by no other than the … [Read more. ] Stream & Download J. Cole’s Highly Anticipated New Rap Album, “The Off-Season” At long last, J. Cole has finally unleashed his sixth studio album, The Off-Season. The Dreamville Records project includes 12-tracks and, in typical Cole fashion, boasts barely any features. -
Top 40 UPDATE BILLBOARD.COM/NEWSLETTERS BILLBOARD.BIZ/NEWSLETTER JUNE 6, 2013 | PAGE 1 of 9
MID WEEK Top 40 UPDATE BILLBOARD.COM/NEWSLETTERS BILLBOARD.BIZ/NEWSLETTER JUNE 6, 2013 | PAGE 1 OF 9 INSIDE Top 40 And Radio Geeks, Unite! The Connected Consumer PAGE 3 RICH APPEL [email protected] What’s With a multitude of entertainment options out there, it’s easy to YOUNGER = HIGHER, LONGER, MORE New At forget that in top 40’s long history, a listener’s favorite station has Who are top 40’s P1s, and how engaged are they in the digital uni- The New never been the only game in town. There was always something verse? According to Edison Research VP Jason Hollins, 60% are Music else a consumer could do. Not to mention there are only so many female, 50% are age 12-24 and 60% 12-34, with an average age of hours in a day, right? 28. This younger skew means a greater Seminar The good news suggested by the HOW TOP 40’S P1s COMPARE TO THE POPULATION level of connectivity compared with PAGE 4 PERSONS TOP 40 Infinite Dial’s study of the format’s 12+ P1s not just other formats but to the 12- P1s—released last week by Edi- AM/FM radio usage in car 84% 88% plus and 12-34 population in general. Macklemore son Research and Arbitron—is that Awareness of Pandora 69% 88% Nearly 80% of P1s have Internet ac- & Ryan Lewis there seems to be plenty of room— Having a profile on any social network 62% 82% cess and use Wi-Fi, and one-third own and time—for all players. -
The Symbolic Rape of Representation: a Rhetorical Analysis of Black Musical Expression on Billboard's Hot 100 Charts
THE SYMBOLIC RAPE OF REPRESENTATION: A RHETORICAL ANALYSIS OF BLACK MUSICAL EXPRESSION ON BILLBOARD'S HOT 100 CHARTS Richard Sheldon Koonce 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 December 2006 Committee: John Makay, Advisor William Coggin Graduate Faculty Representative Lynda Dee Dixon Radhika Gajjala ii ABSTRACT John J. Makay, Advisor The purpose of this study is to use rhetorical criticism as a means of examining how Blacks are depicted in the lyrics of popular songs, particularly hip-hop music. This study provides a rhetorical analysis of 40 popular songs on Billboard’s Hot 100 Singles Charts from 1999 to 2006. The songs were selected from the Billboard charts, which were accessible to me as a paid subscriber of Napster. The rhetorical analysis of these songs will be bolstered through the use of Black feminist/critical theories. This study will extend previous research regarding the rhetoric of song. It also will identify some of the shared themes in music produced by Blacks, particularly the genre commonly referred to as hip-hop music. This analysis builds upon the idea that the majority of hip-hop music produced and performed by Black recording artists reinforces racial stereotypes, and thus, hegemony. The study supports the concept of which bell hooks (1981) frequently refers to as white supremacist capitalist patriarchy and what Hill-Collins (2000) refers to as the hegemonic domain. The analysis also provides a framework for analyzing the themes of popular songs across genres. The genres ultimately are viewed through the gaze of race and gender because Black male recording artists perform the majority of hip-hop songs. -
Songwriter-Music Publisher Agreements and Disagreements, 18 Hastings Comm
Hastings Communications and Entertainment Law Journal Volume 18 | Number 1 Article 3 1-1-1995 Everything That Glitters Is Not Gold: Songwriter- Music Publisher Agreements and Disagreements Don E. Tomlinson Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Don E. Tomlinson, Everything That Glitters Is Not Gold: Songwriter-Music Publisher Agreements and Disagreements, 18 Hastings Comm. & Ent. L.J. 85 (1995). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol18/iss1/3 This Article is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Everything That Glitters Is Not Gold:* Songwriter-Music Publisher Agreements and Disagreements by DON E. TOMLINSON** Table of Contents I. Introduction ............................................ 87 A. The Fundamental Songwriting-Music Publishing Quid Pro Quo ...................................... 88 1. Advances Against Royalties .................... 88 2. Demonstration Recordings ..................... 89 3. Exploitation .................................... 90 4. "H it" Songs ..................................... 90 B. The -
Electric Deregulation Consumers and the Environment
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2000 Montana's power trip: Electric deregulation consumers and the environment Patrick Judge The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Judge, Patrick, "Montana's power trip: Electric deregulation consumers and the environment" (2000). Graduate Student Theses, Dissertations, & Professional Papers. 8509. https://scholarworks.umt.edu/etd/8509 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Maureen and Mike MANSFIELD LIBRARY The University of Montana Permission is granted by the author to reproduce this material in its entirety, provided that this material is used for scholarly purposes and is properly cited in published works and reports. '^Please check "Yes" or "No" and provide signature Yes, I grant permission No, I do not grant permission _________ Author's Signature: ~y 7 / Date: // c / oo________ Any copying for commercial purposes or financial gain may be undertaken only with the author's explicit consent. 8/98 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. MONTANA’S POWER TRIP: ELECTRIC DEREGULATION, CONSUMERS, AND THE ENVIRONMENT by Patrick Judge B.A. -
Jcole Power Trip Featmiguel
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Free Forest Hill Drive Album Download
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Songwriting As a Transformative Practice
SONGWRITING AS A TRANSFORMATIVE PRACTICE: A HEURISTIC INQUIRY INTO THE SONGWRITER’S EXPERIENCE OF CREATING, RECORDING, AND PERFORMING ORIGINAL POPULAR SONGS by Hilary Frances Beech A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Clinical Psychology Sofia University, formerly Institute of Transpersonal Psychology Palo Alto, California May 15, 2014 I certify that I have read and approved the content and presentation of this dissertation: ________________________________________________ __________________ Christine Brooks, Ph.D., Committee Co-Chairperson Date ________________________________________________ __________________ Lisa Herman, Ph.D., Committee Co-Chairperson Date ________________________________________________ __________________ James Swan, Ph.D., Committee Member Date Copyright © Hilary Frances Beech 2014 All Rights Reserved Formatted according to the Publication Manual of the American Psychological Association, 6th Edition ii Abstract Songwriting as a Transformative Practice: A Heuristic Inquiry Into the Songwriter’s Experience of Creating, Recording, and Performing Original Popular Songs by Hilary Frances Beech This qualitative heuristic study explored the subjective experience of transformation resulting from the practice of songwriting. In semi-structured interviews, 6 men and 6 women, aged 35– 69, described their experience of songwriting and discussed 1 song whose composition and sharing had had significant personal impact. Participants were predominantly White, well- educated, and had spiritual orientations divergent from mainstream religions. They had written an average of 315.4 songs over a mean of 36.3 years. Thematic content analysis revealed 6 primary themes. Two foundations of the practice—Connecting (related to the process of songwriting) and Communicating (related to the content)—were directly transformative, while also enabling 4 other transformative outcomes: Wellbeing, Affirmation, Personal Growth, and Making A Difference.