March 15 Book.Indb
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
United States Air Force and Its Antecedents Published and Printed Unit Histories
UNITED STATES AIR FORCE AND ITS ANTECEDENTS PUBLISHED AND PRINTED UNIT HISTORIES A BIBLIOGRAPHY EXPANDED & REVISED EDITION compiled by James T. Controvich January 2001 TABLE OF CONTENTS CHAPTERS User's Guide................................................................................................................................1 I. Named Commands .......................................................................................................................4 II. Numbered Air Forces ................................................................................................................ 20 III. Numbered Commands .............................................................................................................. 41 IV. Air Divisions ............................................................................................................................. 45 V. Wings ........................................................................................................................................ 49 VI. Groups ..................................................................................................................................... 69 VII. Squadrons..............................................................................................................................122 VIII. Aviation Engineers................................................................................................................ 179 IX. Womens Army Corps............................................................................................................ -
Robert Glasper's In
’s ION T T R ESSION ER CLASS S T RO Wynton Marsalis Wayne Wallace Kirk Garrison TRANSCRIP MAS P Brass School » Orbert Davis’ Mission David Hazeltine BLINDFOLD TES » » T GLASPE R JAZZ WAKE-UP CALL JAZZ WAKE-UP ROBE SLAP £3.50 £3.50 U.K. T.COM A Wes Montgomery Christian McBride Wadada Leo Smith Wadada Montgomery Wes Christian McBride DOWNBE APRIL 2012 DOWNBEAT ROBERT GLASPER // WES MONTGOMERY // WADADA LEO SmITH // OrbERT DAVIS // BRASS SCHOOL APRIL 2012 APRIL 2012 VOLume 79 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed News Editor Hilary Brown Reviews Editor Aaron Cohen Contributing Editors Ed Enright Zach Phillips Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. -
Reel-To-Real: Intimate Audio Epistolarity During the Vietnam War Dissertation Presented in Partial Fulfillment of the Requireme
Reel-to-Real: Intimate Audio Epistolarity During the Vietnam War Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Alan Campbell, B.A. Graduate Program in Music The Ohio State University 2019 Dissertation Committee Ryan T. Skinner, Advisor Danielle Fosler-Lussier Barry Shank 1 Copyrighted by Matthew Alan Campbell 2019 2 Abstract For members of the United States Armed Forces, communicating with one’s loved ones has taken many forms, employing every available medium from the telegraph to Twitter. My project examines one particular mode of exchange—“audio letters”—during one of the US military’s most trying and traumatic periods, the Vietnam War. By making possible the transmission of the embodied voice, experiential soundscapes, and personalized popular culture to zones generally restricted to purely written or typed correspondence, these recordings enabled forms of romantic, platonic, and familial intimacy beyond that of the written word. More specifically, I will examine the impact of war and its sustained separations on the creative and improvisational use of prosthetic culture, technologies that allow human beings to extend and manipulate aspects of their person beyond their own bodies. Reel-to-reel was part of a constellation of amateur recording technologies, including Super 8mm film, Polaroid photography, and the Kodak slide carousel, which, for the first time, allowed average Americans the ability to capture, reify, and share their life experiences in multiple modalities, resulting in the construction of a set of media-inflected subjectivities (at home) and intimate intersubjectivities developed across spatiotemporal divides. -
Full Album (Pdf)
ALL YOU CAN DO Music by Vicky Nguyen ft. Jimetta Rose & Brandon Paak Anderson Lyrics by George Watsky VERSE D min7 E min7 F Maj7 G 7sus4 A 7sus4 D min7 E min7 F Maj7 G 7sus4 A 7sus4 Verse 1: 4x Verse 2: 6x Vocals 4 . & 4 . [RAP]’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ . Ad lib fill Ad lib fill 4 œ œ œ œ œ œ œ œ & 4 . œ œ ‰ œ ‰ œ ‰ œ ’ ’ ’ ’ œ œ ‰ œ ‰ œ ‰ œ ’ ’ ’ ’ . Piano 4 œ œ œ œ ? 4 . œ œ ‰ œ ‰ ‰ ’ ’ ’ ’ œ œ ‰ œ ‰ ‰ ’ ’ ’ ’ . œ œ œ œ œ œ œ œ œ œ CHORUS D min7 E min7 F Maj7 G 7sus4 A 7sus4 D min7 E min7 F Maj7 G 7sus4 A 7sus4 to Verse Vox. œ œ œ œ œ œ œ œ & . ‰ œ ‰ œ œ œ ‰ œ ‰ œ œ œ œ œ ‰ œ ‰ œ œ œ œ ‰ J Œ . All you can do is all you can do is all you can do is all you can do is Ad lib fill Ad lib fill œ œ . œ œ œ œ œ œ œ œ . & . œ ‰ œ ‰ œ ‰ œ ’ ’ ’ ’ œ ‰ œ ‰ œ ‰ œ ’ ’ ’ ’ . Pno. ? œ œ œ œ . œ œ ‰ œ ‰ ‰ ’ ’ ’ ’ œ œ ‰ œ ‰ ‰ ’ ’ ’ ’ . œ œ œ œ œ œ œ œ œ œ All You Can Do ©2014 George Watsky All Rights Administered by Kobalt Music Group (ASCAP) All Rights Reserved ALL YOU CAN DO ft. Jimetta Rose Verse 1 Verse 2 Happy’s not a faucet that’ll flow when a handle So pour that liquor out. I never chickened out is turned But if got to make a second pick I’d take a I wanna handle my shit, but it hasn’t occurred different route I need the stamina, keep on like my grandma- But a grip of my decisions pretty Mickey ma Mouse When I’m not on camera I gotta be a man of I tried to join the 27 Club, they kicked me out my word It was like I’m limpin into heaven while my dick And be a greater guy, not some thin-as-paper is out guy And there’s Amy Winehouse sittin on a cloud Like the times that Georgie Porgie kissed the and drinking stout girl and made her cry But she spits it out the moment I come gliding Saying “see ya later, bye.” Shit I say is pretty in strange She’s all like, “come on Joplin, who the fuck Coming back for Christmas and we bitch on invited him?! how the city changed Hide all of the Heinekens!” No, they don’t Fuck it, man, we’re changing too. -
Exquisite Corpse (PDF)
EXQUISITE CORPSE Music by Kush Mody Lyrics by George Watsky, Rafael Casal, Daveed Diggs, Chinaka Hodge, Michael Jones, Benjamin Laub, Jonathan Park, & Adam Traore G min Eb7 #11 G min Eb7 #11 3fr. ( 5fr.) 3fr. ( 5fr.) Vocals b 4 . & b 4 . ’[RAP] ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ . b œ œ œ œ & b 4 . œ œ œ œ œ œ œ œ . Piano œ #œ œ #œ w w ? 4 w #ww w #ww bb 4 . w w . X Infinity ©2016 George Watsky All Rights Administered by Kobalt Music Group (ASCAP) All Rights Reserved EXQUISITE CORPSE Intro Grieves Verse Have you ever seen a corpse? Ooowee, ain’t that a bitch? How about an exquisite one? Nobody believed it til the first wave hit Think about Frankenstein’s monster The ground started shaking and the sky went red Now think about fun (Mayday! Atlanta’s been lost, Justin Bieber is dead) You’re getting it, good! No! God damn, another one down Johnny starts with a leg. I sew on an arm. Then you lend colonies of people living under the ground a hand Rallied against the clowns, a resistance was born We each add our piece They fight for mankind and the existence of porn (let’s Now, what kind of beast have we made? go!) Let’s find out! Back on the surface life teeters Watsky Verse Avoiding wild packs of North American beavers I woke up Sunday to a bloodshot sky Creepers and face feeders robot overlords goosestep by fearing the great reaper shoulda listened when we had the juice to try You’re either gonna get eaten or beat with a pay meter And Bill the Science Guy told us that “the end is Nye!” This is real shit homie, dog eat dog Lately it’s been getting -
Austin's Progressive Country Music Scene and the Negotiation
Space, Place, and Protest: Austin’s Progressive Country Music Scene and the Negotiation of Texan Identities, 1968-1978 Travis David Stimeling A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements of the Doctor of Philosophy in the Department of Music. Chapel Hill 2007 Approved by: Jocelyn R. Neal, Chair Jon W. Finson David García Mark Katz Philip Vandermeer © 2007 Travis David Stimeling ALL RIGHTS RESERVED ii ABSTRACT TRAVIS DAVID STIMELING: “Space, Place, and Protest: Austin’s Progressive Country Music Scene and the Negotiation of Texan Identities, 1968-1978” (Under the direction of Jocelyn R. Neal) The progressive country music movement developed in Austin, Texas, during the early 1970s as a community of liberal young musicians and concertgoers with strong interests in Texan country music traditions and contemporary rock music converged on the city. Children of the Cold War and the post-World War II migration to the suburbs, these “cosmic cowboys” sought to get back in touch with their rural roots and to leave behind the socially conservative world their parents had created for them. As a hybrid of country music and rock, progressive country music both encapsulated the contradictions of the cosmic cowboys in song and helped to create a musical sanctuary in which these youths could articulate their difference from mainstream Texan culture. Examining the work of the movement’s singer-songwriters (Michael Murphey, Guy Clark, Gary P. Nunn), western swing revivalists (Asleep at the Wheel, Alvin Crow and the Pleasant Valley Boys), and commercial country singers (Willie Nelson, Waylon Jennings), this dissertation explores the proliferation of stock imagery, landscape painting, and Texan stereotypes in progressive country music and their role in the construction of Austin’s difference. -
Artist with Title Writer Label Cat Year Genre
Artist With Title Writer Label Cat Year Genre Notes Album Synopsis_c Anonymous Uncle Tom’s Cabin No Label 0 Comedy Anonymous - Uncle Tom’s Cabin, No Label , 78, ???? Anonymous The Secretary No Label 0 Comedy Anonymous - The Secretary, No Label , 78, ???? Anonymous Mr. Speaker No Label 0 Comedy Anonymous - Mr. Speaker, No Label , 78, ???? Anonymous The Deacon No Label 0 Comedy Anonymous - The Deacon, No Label , 78, ???? Anonymous First Swimming Lesson Good-Humor 10 0 Comedy Anonymous - First Swimming Lesson, Good-Humor 10, 78, ???? Anonymous Auto Ride Good-Humor 4 0 Comedy Anonymous - Auto Ride, Good-Humor 4, 78, ???? Anonymous Pioneer XXX, Part 1 No Label 0 Comedy Anonymous - Pioneer XXX, Part 1, No Label , 78, ???? Anonymous Pioneer XXX, Part 2 No Label 0 Comedy Anonymous - Pioneer XXX, Part 2, No Label , 78, ???? Anonymous Instrumental w/ lots of reverb No Label 0 R&B Anonymous - Instrumental w/ lots of reverb, No Label , 78, ???? Coy and Helen Tolbert There’s A Light Guiding Me Chapel Tone 775 0 Gospel with Guitar Coy and Helen Tolbert - There’s A Light Guiding Me, Chapel Tone 775, 78, ???? Coy and Helen Tolbert Old Camp Meeting Days R. E. Winsett Chapel Tone 775 0 Gospel with Guitar Coy and Helen Tolbert - Old Camp Meeting Days (R. E. Winsett), Chapel Tone 775, 78, ???? Donna Lane and Jack Milton Henry Brandon And His Orchestra Love On A Greyhound Bus Blane - Thompson - Stoll Imperial 1001 0 Vocal Donna Lane and Jack Milton - Love On A Greyhound Bus (Blane - Thompson - Stoll), Imperial 1001, 78, ???? G. M. Farley The Works Of The Lord Rural Rhythm 45-EP-551 0 Country G. -
Cover Bk2sch.P65
Families l Schools l Communities Learning Together Connecting Families to the Classroom Wisconsin Department of Public Instruction Families l Schools l Communities Learning Together Connecting Families to the Classroom Ruth Anne Landsverk Wisconsin Department of Public Instruction Madison, Wisconsin This publication is available from the Families in Education Program Wisconsin Department of Public Instruction 125 South Webster Street P.O. Box 7841 Madison, Wisconsin 53707-7841 608-266-9757 or 800-441-4563 Bulletin No. 03117 © 2003 Wisconsin Department of Public Instruction The Wisconsin Department of Public Instruction does not discriminate on the basis of sex, race, religion, age, national origin, ancestry, creed, pregnancy, marital or parental status, sexual orientation, or physical, mental, emotional or learning disability. Printed on Recycled Paper ii Connecting Families to the Classroom Table of Contents Foreword ..................................................................................................................................................... v Acknowledgements .................................................................................................................................... vii Introduction Using the Partnership Action Team to Pull it All Together............................................................................. 3 Useful Websites .......................................................................................................................................... 5 Part 1: Classroom -
TINY GLOWING SCREENS Pt. 3 Music by Kush Mody Ft
TINY GLOWING SCREENS Pt. 3 Music by Kush Mody ft. Camila Recchio & Danny McClain Lyrics by George Watsky VERSE 1 A min G D min F G A min G D min F G Vocals b 4 & 4 ’[RAP] ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ b 4 œ. nœ œ n˙ œ. nœ œ n˙ & 4 œ. œ œ œ ˙ ˙ ˙ œ. œ œ œ ˙ ˙ ˙ Piano œ ˙ ˙ ˙ œ ˙ ˙ ˙ 4 œ. œ œ ˙ ˙ œ. œ œ ˙ ˙ ? b 4 œ ˙ œ ˙ œ. œ œ œ ˙ ˙ ˙ œ. œ œ œ ˙ ˙ ˙ A min G D min F G A min G D min Vox. & b ’ ’ ’ ’ 45 ’ ’ ’ ’ ’ 4 ’ ’ ’ ’ ’ ’ ’ ’ b œ. œ œ 5 n˙ Œ 4 œ. œ œ & œ. nœ œ œ ˙ 4 ˙ ˙ 4 œ. nœ œ œ ˙ w Pno. œ ˙ ˙ ˙ œ ˙ w œ nœ œ œ œ ˙ ˙ œ. œ œ ? b œ œ ˙ 45 Œ 4 œ ˙ w ˙ ˙ œ. œ œ œ ˙ w A min G D min F G A min G D min F G A min G D min Vox. & b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ 45 œ. œ œ n˙ œ. œ œ n˙ œ. œ œ 5 & b œ. nœ œ œ ˙ ˙ ˙ œ. nœ œ œ ˙ ˙ ˙ œ. nœ œ œ ˙ 4 Pno. œ ˙ ˙ ˙ œ ˙ ˙ ˙ œ ˙ œ. œ œ ˙ ˙ œ. œ œ ˙ ˙ œ. œ œ ? b œ ˙ œ ˙ œ ˙ 45 œ. œ œ œ ˙ ˙ ˙ œ. œ œ œ ˙ ˙ ˙ œ. œ œ œ ˙ F G A min C/G D min Bb G D min Vox. 5 4 5 4 & b 4 ’ ’ ’ ’ ’ 4 ’ ’ ’ ’ 4 ’ ’ ’ ’ ’ 4 œ œ œ œ œ œ ˙ ’ ’ ’ ’ Freeze freeze freeze b 5 ˙ n˙ Œ 4 œ œ œ ˙ 5 ˙ n˙ Œ 4 œ œ œ œ ˙ w & 4 ˙ ˙ 4 œ. -
Front Matter Template
Copyright by Melissa Anne Vera 2019 The Thesis Committee for Melissa Anne Vera Certifies that this is the approved version of the following Thesis: Queer Eye for the Straight Guy: Exploring Abject Performances of Masculinity APPROVED BY SUPERVISING COMMITTEE: Julie Minich, Supervisor Laura Gutierrez Queer Eye for the Straight Guy: Exploring Abject Performances of Masculinity by Melissa Anne Vera Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2019 Acknowledgements I would like to thank my girlfriend, Trinica, my cats, and my pup for their unending support. I would like to thank my thesis supervisor, Dr. Julie Minich for her understanding and encouragement. I would also like to thank Dr. Laura Gutierrez for her feedback and for great conversation. iv Abstract Queer Eye for the Straight Guy: Exploring Abject Performances of Masculinity Melissa Anne Vera, M.A. The University of Texas at Austin, 2019 Supervisor: Julie Minich My analysis of Justin Baldoni and his online series Man Enough and will talk about the ways in which the men in the series attempt to hold themselves accountable to what they consider to be new standards of manhood. They get vulnerable with each other, talk about body image, and talk about the ways in which the #metoo movement has affected their lives. They talk about male privilege and the ways in which they are trying to combat gender inequality, through keeping fellow men accountable. I will examine the character of Rogelio in the CW show Jane the Virgin. -
Vietnam Memorial Speech
Vietnam Memorial Speech th OctoberVietnam Memorial 10 Speech, 2015, | October Washington 10th, 2015, Washington DC. DC. BillRoedy.com | [email protected] - Thank you, Charlie - Thanks and congratulations Charlie for arranging this. - His idea, vision, inspiration. - We go back a awhile: . Roommates. Taught me about Bronx Irish Catholic (BIC) . Branch School . Airborne/Ranger . Lost our friend, Kenny Gillihan in Ranger School . My best man . Together in Vietnam . Patty/Life long Partner Vietnam Memorial Speech | October 10th, 2015, Washington DC. BillRoedy.com | [email protected] - Welcome Fellow soldiers, friends, and family – Veterans, class of 70, Vietnam veterans, Fathers, sons of West Point graduates. - Gerry Minor, Mike’s brother, great to see you after 45 years. Don’t wait so long next time. One more shout out – Bob Kimmitt – class of ‘69’ instrumental in building this Memorial Wall, and still serves on its board. - “THANK YOU FOR YOUR SERVICE”. - I’m always moved when I see men and women in uniform being thanked in public. - Total strangers, hands eagerly outstretched rushing up to soldiers in airports and shopping malls and earnestly thanking them for their service to our country. - Not in response to some spectacular act of valor splashed across the headlines, or to purple hearts pinned to their chests or medals draped over their necks in Rose Garden ceremonies. Vietnam Memorial Speech | October 10th, 2015, Washington DC. BillRoedy.com | [email protected] - Just for the uniform/plain and simple. “Thank you for your service”. [It has even happened to me 40 years after my Vietnam tour when using my USAA card for a rental car in North Carolina] - It was not always thus. -
World War II Unit. Using Primary Sources in the Classroom. INSTITUTION Alabama Dept
DOCUMENT RESUME ED 478 045 SO 035 010 TITLE World War II Unit. Using Primary Sources in the Classroom. INSTITUTION Alabama Dept. of Archives and History, Montgomery. PUB DATE 2001-07-13 NOTE 144p.; For other units in this series, see SO 035 002-011. AVAILABLE FROM Alabama Department of Archives and History, 624 Washington Ave., Montgomery, AL 36130-0100. Tel: 334-242-4435; e-mail: [email protected]; Web site: http://www.archives.state.al.us/ . PUB TYPE Guides Classroom Teacher (052) EDRS PRICE EDRS Price MF01/PC06 Plus Postage. DESCRIPTORS Curriculum Enrichment; *Primary Sources; Secondary Education; Social Studies; *State History; Student Educational. Objectives; *World War II IDENTIFIERS *Alabama; Document Analysis ABSTRACT This teaching unit, "World War II Unit," is the ninth in a series of 10 units about Alabama state history, part of a project designed to help teachers integrate the use of primary source materials into their classrooms. Although the units are designed to augment the study of Alabama, they are useful in the study of U.S. history, world history, and the social studies in general. Each unit contains background information for the teacher and consists of several lessons. Lessons contain learning objectives, suggested activities, and documents. This unit is divided into 11 sections: (1) "Introduction";(2) "Lesson 1: Political Cartoons" (nine primary source documents); (3) "Lesson 2: Production and Propaganda" (three primary source documents); (4) "Lesson 3: WACS Women in the War" (eight primary source documents);(5)