2021-2022 Season Mckendree Presents
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Remix Survey 7-6-2010-2
Remix Culture Survey Instrument Which of the following do you currently own? (check all that apply) • High-definition television set • DVD Player • Personal Video Recorder (e.g. TiVo) • Cable/Satellite television connection • Video Game console (e.g. XBOX, PlayStation) • Portable video game device (e.g. Nintendo DS, PSP) • High-speed internet connection (e.g. DSL, cable modem) • Stereo system or portable CD player • Portable MP3 player (e.g. iPod) • Satellite radio (XM, Sirius) • Turntables • Video camera • E-book reader (e.g. Kindle) • Tablet computer (e.g. iPad) • Smartphone (e.g. iPhone, Blackberry, Droid) • A non-smartphone mobile phone (phone calls and text but doesn’t have more advanced features like video and web) How often have you done the following activities in the past month? Never Rarely Sometimes Often Daily or more • Watched TV shows or movies on a TV set (not computer) • Played non-online games on a console (e.g. XBOX, PlayStation) • Played non-online games on a computer • Listened to CDs • Listened to digital music (e.g. MP3s) • Listened to the radio • Read books • Read newspapers or magazines • Download or streamed a movie, television show, or video clip online. • Played a game online • Downloaded or streamed music online For the remainder of this survey, please consider the following definitions: Sample-based media: Creating something different using elements of preexisting media (pieces of music, games, shows, video, text, or photos). There are two specific subgenres of sample based media: • Remix: Adding, taking out, mixing, combining or editing your own elements or effects with preexisting media (e.g. film, music, video games) to produce something different • Mash-up: Combining only elements of preexisting media together (e.g. -
1.4Oti a Week Ending A° 11`,4, 2° 2172 AI 16 Of, 21 26 .46 October 16, 1993 24M 25 No
November St, MON TVEWED TNU FR! SET WEEKLY 1 2345 6 Oct?"6De:oToo II $3.00 2. 7 8 91011 12 13 1993 ,TA',"° A vt,""" 1415 16171819 20 $2.80 plus .20 GST 22 23242526 27 5 61 9 21 Volume 58 No. 14 4 A4AS16 2829 30 1.4oti A Week Ending A° 11`,4, 2° 2172 AI 16 of, 21 26 .46 October 16, 1993 24m 25 No. 1 HIT BLIND MELON Blind Melon ANNE MURRAY Croonin' MELISSA ETHERIDGE Yes I Am LOADED Various Artists SMASHING PUMPKINS DREAMLOVER Siamese Dream Mariah Carey INNER CIRCLE Columbia Bad To The Bone SCORPIONS Face The Heat : JUDGEMENT NIGHT SOUNDTRACK Various Artists THE CURE Show EVERYBODY HURTS R.E.M. HIT PICK NAKED RAIN The Waltons PET SHOP BOYS LOVIN' ARMS Very COUNTRY Darden Smith ADDS SPIRIT OF THE WEST PINK CASHMERE Faithlift Prince RISE AGAIN CULTURE BEAT SUNDAY MORNING The Rankin Family Serenity Earth Wind & Fire SAY THE WORD DUFF McKAGAN ALL THAT SHE WANTS Joel Feeney Believe In Me Ace Of Base THIS OLD HOUSE REN & STIMPY WILD WORLD Lynne & The Rebels You Eediot Mr. Big FALLIN' NEVER FELT SO GOOD: HEAL IT UP REBA McENTIRE THE MOMENT YOU WERE MINE . Shawn Camp Concrete Blonde Greatest Hits Volume Two Beth Neilsen Chapman I.R.S. RUNAWAY ALBUM PICK No. 1 ALBUM EnVogueOVE THE WISH Mae M000re ART OF LIVING The Boomers POSSESSIONS MAKE LOVE TO ME Sarah McLachlan Anne Murray AND IF VENICE IS SINKING SEND ME A LOVER Spirit Of The West Taylor Dayne RUBBERBAND GIRL LET ME SHOW YOU Kate Bush Dan Hill ,k I BELIEVE FULLY COMPLETELY CANDY DULFER Robert Plant DANCE MIX '93 The Tragically Hip Sax -A -Go -Go Various Artists MR. -
1 the Versions Project: Exploring
THE VERSIONS PROJECT: EXPLORING MASHUP CULTURE By FRANCESCA LYN SUPERVISORY COMMITTEE: Benjamin DeVane, CHAIR Melinda McAdams, MEMBER James Oliverio, MEMBER A PROJECT IN LIEU OF THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF 1 MASTER OF ARTS UNIVERSITY OF FLORIDA 2011 2 ©2011 Francesca Lyn To everyone who has encouraged me to never give up, this would have never happened without all of you. 3 ACKNOWLEDGMENTS It is a pleasure to thank the many people who made this thesis possible. Thank you to my thesis chair Professor Ben DeVane and to my committee. I know that I was lucky enough to be guided by experts in their fields and I am extremely grateful for all of the assistance. I am grateful for every mashup artist that filled out a survey or simply retweeted a link. Special thanks goes to Kris Davis, the architect of idealMashup who encouraged me to become more of an activist with my work. And thank you to my parents and all of my friends. 4 TABLE OF CONTENTS page ACKNOWLEDGEMENTS……………………………………………………………………….4 ABSTRACT……..………………………………………………………………………………...6 INTRODUCTION..……………………………………………………………………………….7 Remix Culture and Broader Forms………………………………………………………………..9 EARLY ANTECEDENTS………………………………………………………………………10 Hip-hop…………………………………………………………………………………………..11 THE MODERN MASHUP ERA………………………………………………………………..13 NEW MEDIA ARTIFACTS…………………………………………………………………….14 The Hyperreal……………………………………………………………………………………15 Properties of New Media………………………………………………………………………...17 Community……………………………………………………………………………...…18 -
Sustainability Report Monster Beverage Corporation
2020 SUSTAINABILITY REPORT MONSTER BEVERAGE CORPORATION FORWARD-LOOKING STATEMENT This Report contains forward-looking statements, within the meaning of the U.S. federal securities laws as amended, regarding the expectations of management with respect to our plans, objectives, outlooks, goals, strategies, future operating results and other future events including revenues and profitability. Forward-look- ing statements are generally identified through the inclusion of words such as “aim,” “anticipate,” “believe,” “drive,” “estimate,” “expect,” “goal,” “intend,” “may,” “plan,” “project,” “strategy,” “target,” “hope,” and “will” or similar statements or variations of such terms and other similar expressions. These forward-looking statements are based on management’s current knowledge and expectations and are subject to certain risks and uncertainties, many of which are outside of the control of the Company, that could cause actual results and events to differ materially from the statements made herein. For additional information about the risks, uncer- tainties and other factors that may affect our business, please see our most recent annual report on Form 10-K and any subsequent reports filed with the Securities and Exchange Commission, including quarterly reports on Form 10-Q. Monster Beverage Corporation assumes no responsibility to update any forward-looking state- ments whether as a result of new information, future events or otherwise. 2020 SUSTAINABILITY REPORT #UNLEASHED TABLE OF CONTENTS LETTER FROM THE CO-CEOS 1 COMPANY AT A GLANCE 3 INTRODUCTION 5 SOCIAL 15 PRODUCT RESPONSIBILITY 37 ENVIRONMENTAL 45 GOVERNANCE 61 CREDITS AND CONTACT 67 INTRODUCTION MONSTER BEVERAGE CORPORATION LETTER FROM THE CO-CEOS As Monster publishes its first Sustainability Report, we cannot ignore the impact of the COVID-19 pandemic. -
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. -
Erie's Mayor Speaks on the Rise in Crime and Violence in the City
The local voice for news, arts, and culture. with SINNOTT Erie’s Mayor Speaks on the Rise in Crime and Violence in the City August 5 - 18, 2015 / Vol. 5, No. 16 / ErieReader.com ATTACK OF BEARDED BABY THE PACA CELEBRATE ERIE GALLABALOO SUMMER JAM AT BT IS TODAY THE DAY YOU IGNITE YOUR FUTURE? If you have the spark, we have the programs to guide you toward a rewarding career. FORTIS offers programs in the following areas: Nursing • Medical/Dental • Business I.T. • Skilled Trades • Cosmetology CALL 1.800.555.7600 TEXT “IGNITE” TO 367847 FORTIS.EDU IGNITE YOUR FUTURE FORTIS INSTITUTE 5757 WEST 26TH STREET, ERIE, PA 16506 Financial Aid Available for those who qualify. Career Placement Assistance for All Graduates. For consumer information, visit Fortis.edu. From The Editors ter @Snevets_Yaj, as he’ll soon be launch- ing a podcast amongst what we’re sure or better or for worse, Erie has spent in search of a silver-bullet-proof-vest an- will be many other creative ventures. nearly a decade with Mayor Joe Sin- swer but to offer a longform interview he next installment of Erie Gives Fnott. And for better or for worse, that would fill as many pages as possible TDay falls on Tuesday, Aug. 11. From 8 Sinnott, who ran unopposed for his final and address as many topics as they could a.m. to 8 p.m., Erieites have a twelve-hour of three terms, reaching the imposed limit fit in. window to donate to the nonprofit of on all mayors after Lou Tullio’s two-de- Does it answer everything? No. -
Feed the Monster Impact and Technical Evaluation
Feed the Monster Impact and Technical Evaluation Prepared by: Nedjma Koval-Saifi, Principal Investigator, INTEGRATED, & Jan Plass, Co-Investigator, New York University CREATE March 2018 Integrated Services, Indigenous Solutions, 2018. Copyright by Integrated Services, Indigenous Solutions. Feed the Monster: Impact and Technical Evaluation is made available under a Creative Commons Attribution 4.0 International License: http://creativecommons.org/ licenses/. Images owned by third parties, as indicated, may not be used without permission. Published by World Vision, Inc. and Foundation for Information Technology Education and Development, Inc. World Vision, Inc. 300 I Street NE Washington, D.C. 20002 USA All Children Reading: A Grand Challenge for Development (ACR GCD) www.allchildrenreading.org Foundation for Information Technology Education and Development, Inc. (FIT-ED) 3/F Orcel II Building 1611 Quezon Avenue Quezon City 1104 Philippines Digital Learning for Development www.dl4d.org This research was conducted under the Digital Learning for Development (DL4D) project of the Foundation for Information Technology Education and Development (FIT-ED) of the Philippines, jointly funded by the International Development Research Centre (IDRC) of Canada, the Department for International Development (DFID) of the United Kingdom, and All Children Reading: A Grand Challenge for Development (ACR GCD)—a partnership of the United States Agency for International Development (USAID), World Vision, and the Austra- lian Government. The views expressed in this work are those of the authors and do not necessarily represent those of the funders. Recommended citation: Koval-Saifi, N., & Plass, J. (2018). Feed the Monster: Impact and technical evaluation. Washington, DC: World Vision and Foundation for Information Technology Education and Development. -
LA VIE EN ROSE LIVIN’ and LOVIN’ with LOUIS ARMSTRONG
LA VIE EN ROSE LIVIN’ and LOVIN’ with LOUIS ARMSTRONG Words are completely inadequate when attempting to convey the spirit of Louis Armstrong to anyone unfamiliar with his genius. It is far better to learn about Armstrong, also known as Satchmo, Pops, Papa Dip, through his music. And yet, to define his accomplishment solely through music is to overlook the totality of his unique contributions to the world. There is much to discover when we widen our focus. Through his story, we can examine how technology can be used to document change through the lens of a single person’s life. His long career spans the timeline of developing media: print media, photography, sound recordings, radio and television broadcasting, and film. Even today his legacy is spread through developing new media. With Internet access, any student can get their daily dose of Satchmo through iTunes, YouTube, Facebook, or Twitter. Satchmo used every means possible to create and communicate, and he was truly a pioneer exploring new technologies. Armstrong was constantly recording his story, first with pen and paper, next using with his trusty typewriter to write memoirs, essays and letters. He took to lugging around a reel‐to‐reel tape recorder on tour. He tucked scissors and scotch tape in his pockets to make collages whenever he had a spare moment. He amassed a personal collection of 1,600 recordings, 650 home recorded tapes in hand‐decorated boxes, 5,000 photographs, and 86 scrapbooks. He was often the first African American performer to break through racial barriers — in radio programs, animated shorts, early soundies, television shows, commercial advertisements, and in full‐length feature films — in a time when people of color could not walk through the front door of many public establishments, sit in the front of the bus, or go to an integrated school. -
Unsatisfaction Joni Mitchell, Joan Baez, Patti Smith
1 Unsatisfaction Joni Mitchell, Joan Baez, Patti Smith de Matilde Acevedo 1 Dulce ángel virginal, dulce amor de mi vida * Un sonido me interrumpe y abro los ojos. ¿Un murmullo?, ¿un silbido?, ¿qué era? Despego la cabeza del piso. Miro a la derecha. A la izquierda. Mantengo el abdominal. Giro la cabeza para ver detrás de mí. Es mi mamá, está sentada en una silla en la terraza. Canta mirando el atardecer. No sé cuánto llevo acostada. Empecé meditando (dizque shabassana, la postura del cadáver), me morí, me dormí, no sé qué pasó. Intento levantarme. Volteo mi cuerpo hacia la derecha y me arropo en posición fetal, estiro los pies y los brazos, luego pongo la mano izquierda sobre el suelo, luego el antebrazo derecho, apoyo rodilla, apoyo un pie, apoyo el otro pie, mis rodillas me van alzando, remonto vértebra por vértebra hasta quedar parada. Avanzo hacia la terraza como si fuera un Dios, decidida y musculosa, como si toda la parsimonia del mundo se me hubiese transferido. Ahora ando firme, sin que mis brazos o cualquier extremidad se balancee. Voy lento y controlo cada movimiento, como si fuera un hombre desnudo y azul, calvo, fuerte, radiante: una estrella en movimiento que se dirige a la terraza. La luz del sol pega directamente sobre mí y me imagino brillante, enceguecedora, pero realmente la ciega soy yo con esta luz y apenas puedo ver a mi mamá. Alcanzo a apreciar el contorno perfilado de una persona sentada, con audífonos puestos (de esos que rodean a la oreja entera y no pierden la oportunidad de hacerse ver), pelo largo, oscuro, y capul. -
Music for Guitar
So Long Marianne Leonard Cohen A Bm Come over to the window, my little darling D A Your letters they all say that you're beside me now I'd like to try to read your palm then why do I feel so alone G D I'm standing on a ledge and your fine spider web I used to think I was some sort of gypsy boy is fastening my ankle to a stone F#m E E4 E E7 before I let you take me home [Chorus] For now I need your hidden love A I'm cold as a new razor blade Now so long, Marianne, You left when I told you I was curious F#m I never said that I was brave It's time that we began E E4 E E7 [Chorus] to laugh and cry E E4 E E7 Oh, you are really such a pretty one and cry and laugh I see you've gone and changed your name again A A4 A And just when I climbed this whole mountainside about it all again to wash my eyelids in the rain [Chorus] Well you know that I love to live with you but you make me forget so very much Oh, your eyes, well, I forget your eyes I forget to pray for the angels your body's at home in every sea and then the angels forget to pray for us How come you gave away your news to everyone that you said was a secret to me [Chorus] We met when we were almost young deep in the green lilac park You held on to me like I was a crucifix as we went kneeling through the dark [Chorus] Stronger Kelly Clarkson Intro: Em C G D Em C G D Em C You heard that I was starting over with someone new You know the bed feels warmer Em C G D G D But told you I was moving on over you Sleeping here alone Em Em C You didn't think that I'd come back You know I dream in colour -
In Your Dreams
Core Apprenticeship Library Apprenticeship Sector: Arts & Culture Unit Guide: In Your Dreams In Your Dreams The In Your Dreams unit is a series of inquiry-driven lessons designed to boost students’ sophistication as nonfiction readers. The culminating zine project requires students to integrate information from multiple sources, selecting details to support a central idea. Students will also gain vocabulary skills, including the use of word roots and affixes and an awareness of words’ connotations. Students will learn to “read like writers,” which requires thinking about the choices authors have made in terms of content, format, and word choice. Unit Standards and Objectives Standard #1: Citizen Schools students will prepare a clear written communication. Standard #2: CCSS.RI.6.1: Cite textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. Standard #3: CCSS.RI.6.2: Determine a central idea of a text and how it is conveyed through details. Standard #4: CCSS.RI.6.4: Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings Standard #5: CCSS.RI.6.6: Determine an author’s point of view or purpose in a text and explain how it is conveyed in the text. Lesson Objectives: ● SWBAT identify the big idea of a text. ● SWBAT identify two details that support the big idea of a text. ● SWBAT provide a brief summary of the text. ● SWBAT read like a writer by thinking about why the author made the choices s/he did, and what the author is trying to get the reader to think, feel, or understand while they are reading. -
Morgan Wallen's 'Dangerous' Spends Fourth Week at No. 1 on Billboard
BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; ENTERTAINMENTBrett Young ‘Catc NEWSh UPDATE’-es Fifth AirplayFEBRUARY 8, 2021 Page 1 of 25 Leader; Travis Denning Makes History INSIDE Morgan Wallen’s ‘Dangerous’ Spends Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music GroupFourth Nashville), debuts at No. Week1 on Billboard’s lion at audience No. impressions, 1 upon 16%). Billboard Top Country• Olivia AlbumsRodrigo’s chart dated April 18. In its first week (ending April 9), it earned‘Drivers 46,000 License’ equivalent album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cordingLeads to Hot Nielsen 100 for Music/MRC 4th Data. 200 Albumsand total Country Airplay ChartNo. 1 as “Catch” (Big Machine Label Group) ascends SouthsideWeek, The marks Weeknd Hunt’s second No. 1 on the 2-1, increasing 13% to 36.6 million impressions. chart &and CJ fourth Hit Top top 10 10. It follows freshman LP BY KEITH CAULFIELD Young’s first of six chart entries, “Sleep With- Montevallo• Super ,Bowl which Synch arrived at the summit in No - out You,” reached No. 2 in December 2016. He vember 2014 and reigned for nine weeks. To date, followed with the multiweek No. 1s “In Case You Report: Sony/ATV Morgan Wallen’s Dangerous: The Double Album holds demand streams of the album’s songs), album sales Montevallo has earned 3.9 million units, with 1.4 Didn’t Know” (two weeks, June 2017), “Like I Loved Walking on Air at No.