CONTRACT Case Studies in Science Education, Volume I: the Case 658P.; for Related Documents, See SE 026 360, SE 0261 Occasional
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Early STRATEGY of the MONTH EXTENDING
CORE WORD: Early For Educators, Related Service Providers and Parents STRATEGY OF THE MONTH EXTENDING, EXPANDING AND ELABORATING The AAC strategy of Extending, Expanding and Elaborating focuses on communication partners responding to what students express by providing immediate, (simultaneous) verbal and AAC system modeling based on the student's unique language goals. As an example, students at the single-word level may have a goal to produce two-word utterances and therefore the ‘add a word’ approach could be utilized, (providing modeling by adding a word to the utterance/word produced). Such added words could be targeted as: pronouns, verbs, or descriptors, (for added specificity). Intermediate to advanced communicators would have different, higher-level language goals and targets that are individualized. When using the Extending, Expanding and Elaborating approach, it is suggested that such modeling is carried out in a positive, upbeat tone and with correct grammar and syntax. WAYS WE CAN USE THE WORD SHARE INFORMATION: (e.g., I am early) ASK A QUESTION: (e.g., am I early?) DESCRIBE: (e.g., too early) NEGATE: (e.g., you are not early) ROUTINES AND SCHEDULES Circle: Adults and students can use early to indicate who was early to school during the morning circle time routine. 1 Snack time: Adults can lead students in a discussion about foods and the difference between what type of foods you eat early in the day such as breakfast food (e.g., eggs, toast, yogurt, etc.). PLAY Freeze Dance: Students can play freeze dance and when an adult or student pauses the music, students can point out if anyone stopped dancing too early. -
K-Pop Fandom in Lima,Perú
Wesleyan ♦ University K-POP FANDOM IN LIMA, PERÚ: VIRTUAL AND LIVE CIRCULATION PATTERNS By Stephanie Ho Faculty Advisor: Dr. Mark Slobin A Dissertation submitted to the Faculty of Wesleyan University in partial fulfillment of the requirements for the degree of Master of Arts. Middletown, Connecticut MAY 2015 i Acknowledgements I would like to thank my advisor, Dr. Mark Slobin, for his invaluable guidance and insights during the process of writing this thesis. I am also immensely grateful to Dr. Su Zheng and Dr. Matthew Tremé for acting as members of my thesis committee and for their considered thoughts and comments on my early draft, which contributed greatly to the improvement of my work. I would also like to thank Gabrielle Misiewicz for her help with editing this thesis in its final stages, and most importantly for supporting me throughout our time together as classmates and friends. I thank the Peruvian fans that took the time to help me with my research, as well as Virginia and Violeta Chonn, who accompanied me on fieldwork visits and took the time to share their opinions with me regarding the Limeñan fandom. Thanks to my friends and colleagues at Wesleyan – especially Nicole Arulanantham, Gen Conte, Maho Ishiguro, Ellen Lueck, Joy Lu, and Ender Terwilliger – as well as Deb Shore from the Music Department, and Prof. Ann Wightman of the Latin American Studies Department. From my pre-Wesleyan life, I would like to acknowledge Francesca Zaccone, who introduced me to K-pop in 2009, and has always been up for discussing the K-pop world with me, be it for fun or for the purpose of helping me further my analyses. -
Selling Or Selling Out?: an Exploration of Popular Music in Advertising
Selling or Selling Out?: An Exploration of Popular Music in Advertising Kimberly Kim Submitted to the Department of Music of Amherst College in partial fulfillment of the requirements for the degree of Bachelor of Arts with honors. Faculty Advisor: Professor Jason Robinson Faculty Readers: Professor Jenny Kallick Professor Jeffers Engelhardt Professor Klara Moricz 05 May 2011 Table of Contents Acknowledgments............................................................................................................... ii Chapter 1 – Towards an Understanding of Popular Music and Advertising .......................1 Chapter 2 – “I’d Like to Buy the World a Coke”: The Integration of Popular Music and Advertising.........................................................................................................................14 Chapter 3 – Maybe Not So Genuine Draft: Licensing as Authentication..........................33 Chapter 4 – Selling Out: Repercussions of Product Endorsements...................................46 Chapter 5 – “Hold It Against Me”: The Evolution of the Music Videos ..........................56 Chapter 6 – Cultivating a New Cultural Product: Thoughts on the Future of Popular Music and Advertising.......................................................................................................66 Works Cited .......................................................................................................................70 i Acknowledgments There are numerous people that have provided me with invaluable -
View / Open OURJ Spring 2018 Lelkins.Pdf
Oregon Undergraduate Research Journal 13.1 (2018) ISSN: 2160-617X (online) blogs.uoregon.edu/ourj Spitting Bars and Subverting Heteronormativity: An Analysis of Frank Ocean and Tyler, the Creator’s Departures from Heteronormativity, Traditional Concepts of Masculinity, and the Gender Binary Lizzy Elkins*, International Studies and Women’s, Gender and Sexuality Studies ABSTRACT This paper seeks to investigate an emerging movement of rap and pop artists who actively subvert structures of the gender binary and heteronormativity through their music. The main artists considered in this research are pop/rap/R&B artist Frank Ocean and rap artist Tyler, the Creator, both of whom have claimed fame relatively recently. Artists like Ocean and Tyler make intentional departures from heteronormativity and the gender binary, combat concepts such as ‘toxic masculinity’, and hint at the possibilities for normalization and destigmatization of straying from the gender binary through lyrics, metaphysical expressions, physical embodiments of gender, expression of fluid/non-heteronormative sexualities, and disregard for labels in their sexual and gendered identities. I will discuss the history and context around music as an agent for social change and address privileging of the black heterosexual cisgender man as the central voice to pop/rap/R&B in the following research. This project will draw on Beauvoirian philosophy regarding gender as well as contemporary sources of media like Genius, record sale statistics, and album lyrics. By illustrating and evaluating how these artists subvert traditional concepts of gender and sexuality, I hope to also shine a light on how their music, which reaches millions of people who are less aware of or accepting of gayness, catalyzes social change and is significant in this current political moment, which is an era of increasing public tolerance of queer ideas and less binary gender expression. -
Deconstructing “Do-It-Yourself” Punk Rock Ethics in Philadelphia" (2016)
Dickinson College Dickinson Scholar Student Honors Theses By Year Student Honors Theses 5-22-2016 Consuming Authenticity: Deconstructing “Do-It- Yourself” Punk Rock Ethics in Philadelphia Patricia Ann Kotrady Dickinson College Follow this and additional works at: http://scholar.dickinson.edu/student_honors Part of the American Popular Culture Commons, Music Commons, and the Sociology of Culture Commons Recommended Citation Kotrady, Patricia Ann, "Consuming Authenticity: Deconstructing “Do-It-Yourself” Punk Rock Ethics in Philadelphia" (2016). Dickinson College Honors Theses. Paper 238. This Honors Thesis is brought to you for free and open access by Dickinson Scholar. It has been accepted for inclusion by an authorized administrator. For more information, please contact [email protected]. Consuming Authenticity Deconstructing “Do-It-Yourself” Punk Rock Ethics in Philadelphia By Patricia Ann Kotrady Submitted in partial fulfillment of Honors Requirements for the Department of American Studies at Dickinson College May 10, 2016 Table of Contents Introduction: Welcome to “the Best Punk Scene in the Country Right Now” 1 “The House Shows Don’t Really Happen Everywhere”: Why Philadelphia? 7 “Semi Anti-Establishment, I Guess”: Punk as a Vessel 12 “You Know, Just Do It”: An Overview of DIY Punk Ethics 16 “This Music is Just Organic”: 21 Authenticity, Opposition, and the Myth of the Mainstream "We never want to be a band that's just in it to make a buck”: 27 The Narrative of “Selling Out” “It’s Never Been Easier to Make Music Like a Pro”: 32 -
Eyesontheprize-Studyguide 201
A Blackside Publication A Study Guide Written by Facing History and Ourselves Copyright © 2006 Blackside, Inc. All rights reserved. Cover photos:(Signature march image) James Karales; (Front cover, left inset image) © Will Counts, Used with permission of Vivian Counts; (All other inset images) © Bettmann/Corbis Design by Planet Studio For permissions information, please see page 225 FOREWORD REP. JOHN LEWIS 5th Congressional District, Georgia The documentary series you are about to view is the story of how ordinary people with extraordinary vision redeemed “If you will protest courageously and democracy in America. It is a testament to nonviolent passive yet with dignity and …. love, when resistance and its power to reshape the destiny of a nation and the history books are written in future generations, the historians will the world. And it is the chronicle of a people who challenged have to pause and say, ‘There lies a one nation’s government to meet its moral obligation to great people, a black people, who humanity. injected new meaning and dignity We, the men, women, and children of the civil rights move- into the very veins of civilization.’ ment, truly believed that if we adhered to the discipline and This is our challenge and our philosophy of nonviolence, we could help transform America. responsibility.” We wanted to realize what I like to call, the Beloved Martin Luther King, Jr., Community, an all-inclusive, truly interracial democracy based Dec. 31, 1955 on simple justice, which respects the dignity and worth of every Montgomery, Alabama. human being. Central to our philosophical concept of the Beloved Community was the willingness to believe that every human being has the moral capacity to respect each other. -
December 1966
Mr & Mrs. Grant c~nn<?~ 4907.Klat~e ROho~d 45244 20¢ Cinc:Lnnatl., :LO IN THIS ISSUE... DON'T BUY THE OAKLAND TRIB FREEDOM PRIMER MOVIE REVIEW: Losing Just The Same o o .c n. LOWNDES COUNTY NEGROES go to polls in Lowndesboro, Alabama, the first time they have voted in their lives. 1600 voted for the Lowndes County Freedom OrganizatiIJn candidates. L DES cau TY CAN IDATES. LOSE,. UT BLACK PANTHER STRONG The Lowndes County Freedom Organization, the only political party crowd, shaking hands, hugging and kissing TAX ASSESSOR in America controlled and organized by black people, was defeated in the people young and old (This sounds Alice L. MOJre (LCFO) 1604 sentimental: I put it in for the benefit of Charlie Sullivan (Dem) 2265 Lowndes County, Alabama last month. The LCFO, also known a s the those of our readers Who may think that TAX COLLECTOR Black Panther Party after its ballot symbol, a leaping black panther, was Black Power people are harsh and fright Frank Miles, Jr. (LCFO) 1603 organized a year and a half ago by Lowndes County residents and mem ening. In Lowndes, where Black Power Iva D. Sullivan (D,~m) 2268 bers of the Student Nonviolent Coordinating Committee. began, it is black people together. "It is BOARD OF EDUCATION, PLACE #3 the will, the courage and the love in our Robert Logan (LCFO) 1664 Fear, intimidation, fraud and unpreparedness caused its defeat this hearts," said carmichae(in his speech.) David M. Lyon (Rep) 1937 Fall, but the LCFO' has proved to be a strong political organization. -
Developing a Strategy for Appropriate Uses of the Benjamin Franklin Parkway
Developing a Strategy for Appropriate Uses of the Benjamin Franklin Parkway Report to the Parkway Council Foundation and Managing Director’s Office – City of Philadelphia February 28, 2018 Table of Contents Acknowledgements ......................................................................................................................................... 2 Executive Summary ......................................................................................................................................... 3 Introduction and Definitions ......................................................................................................................... 3 Context ....................................................................................................................................................... 5 Findings and Conclusions .............................................................................................................................. 6 Recommendations and Observations .............................................................................................................. 10 Vision and Oversight .............................................................................................................................. 10 Communication ..................................................................................................................................... 11 Noise, Sound and Vibration Management .............................................................................................. -
Introduction
Introduction Racism systematically verifies itself when the slave can only break ftee by imitating the master: by contradicting his own reality. 0 When a Black man looks at Black people with a Black mind and Black soul, it is immediately apparent that Black people possess certain unique characteristics which not only distinguish them from whites and negroes, but which have greatly contributed to the survival of Blacks. Whites recog nize this and have always attempted to eradicate these characteristics or discredit them. In instances where they have succeeded, negroes have been created. Negroes have always been close allies of whites in trying to eliminate Black resistance to undesirable acculturation. Negroes see poor and uninstitutionalized Blacks as niggers. They find it necessary to prove to whites that they are not niggers, failing to realize that whites see all Black people as niggers, no matter how rich or how poor. Some Blacks prefer to be called negroes because they like to distinguish themselves from other Blacks. They fear that if they called themselves Blacks, they might antagonize whites. And if they antagonized whites, they would lose o This quote was taken from an article written by John O'Neal entitled "Motion in the Ocean," in Black Theater, Drama Review, Vol. 12, No. 4. their position as negroes-the white-appointed overseers of Blacks. Thus, negroes have always tried to aid and impress whites by eliminating Blackness. Negroes know that whites prefer institutionalized Blacks, i.e., Blacks who give their allegiance to white cultural, political, social and economic institutions. Non-institutionalized Blacks are difficult to con trol, because their allegiance is to Blacks and not to white institutions. -
C L I N T E T T I N G
1 C L I N T E T T I N G E R AN ALPHABET OF REINVENTION by Clint Ettinger 1. A - E is for Exchange 2. F - K is for Kimmy 3. L - T is for Trio 4. U - Z is for Zap ONE A) The Oxford American Dictionary defines ‘reinventing oneself’ as taking up a radically new job or way of life. The Macmillan Dictionary defines it as changing the way you behave or the things you do so that people think of you as a different kind of person. Quite a difference. B) So, must we really change? Or should we just wear a veneer of change so that others perceive us as having changed? C) is for Change or Die Writer and entrepreneur John Mashni firmly believes there are only three types of reinvention 1. Reactive Reinvention - when an external event occurs and forces you to change. 2. Proactive Reinvention - when you intentionally change to capitalize on an opportunity. 3. Reflective Reinvention - when you fail at something but still have a strong desire to continue in that particular endeavor. D) “Make reinvention your lifestyle, and you’ll stay young at heart no matter your chronological age. Keep on reinventing yourself, and death becomes nothing more significant than the period at the end of this sentence.”1 E) is for Exchange Last week during my second-year writing class, I asked everyone what they thought about the topic ‘reinventing oneself.’ “These two words bring both happiness and fear,” Apple said. “It’s more complex than that. -
Transcript, Lowndes County
https://snccdigital.org/our‐voices/lowndes‐county/part‐3/ SNCC Digital Gateway: Our Voices Lowndes County: Come Out Fighting 3.1 Ethel Williams: How the Jackson Family Became Involved Ethel Williams: But anyway, we got involved through John. And when Stokely and Bob Mants and the others came to the county and talked and talked to John, and John talked to Daddy and Mama. Daddy agreed. They don't have anywhere else to stay. My brother had a vacant home down there which is SNCC. He was not here. Bill had gone to California, and there wasn't anybody staying it. It was not too run down. It was not too up to par, but it wasn't anybody living there, so you know how that was. Daddy said, "Well, I'll let them stay over there. I don't owe George Beers anything." That was the man who we had the cotton gin. You'd take your cotton to the gin and get your money, so Daddy did not owe George Beers, which meant that our property was not in debt to anyone. So he stepped out on that. 3.2 Wendell Paris: Subject to Get Shot or Shot At Wendell Paris: What impressed me most was that the community—White Hall—that was incorporated later as White Hall—but the White Hall—it was called White Hall at that time. It just wasn't incorporated. But the White Hall community was organized to the point that you had to let them know who you were before you were able to—what's that highway number? Is it 81 or something? Jennifer Lawson: If you were on 80, then this was 23. -
Antimodernism and Genre from Country-Rock to Alt.Country, 1968-98
Antimodernism and Genre from Country-Rock to Alt.Country, 1968-98 Jason Bianchi Kirby San Jose, California B.A. Sociology and Literature, University of California—Santa Cruz, 2002 M.A. American Culture Studies, Bowling Green State University, 2006 A dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Music University of Virginia August 2016 Abstract This dissertation is a cultural history exploring expressions of and responses to antimodernism within country-rock and “alternative country” music, drawing on reception history, intellectual history of underground and mainstream left-wing American political movements, interview discourse with artists, and close readings of songs. In this dissertation I argue that despite styling itself as a type of purer root or “folk” form of contemporary country music, in terms of its ideologies, studio production techniques, fan and critical discourse, and business practices, alt.country is a type of rock music. It embodies some of rock’s core beliefs, particularly rock’s critique of the more bureaucratic and “rationalized” dimensions of postindustrial capitalism, particularly as this relates to the everyday impact of new technologies. I argue that this anti-modernism, emerging here from the American political left, has been different in different eras, from the back-to-the-land movement of the late 1960s, to late- ‘80s/early-‘90s expressions of left populist punk’s longing for “folk” community. In this project I look beyond contemporary scholarly understandings of alt.country as mostly ironic, as ultimately I suggest that this music illustrates what Keir Keightley calls rock’s aesthetic of “seriousness,” more precisely than it does an understanding of country music ideology.