...His involvement in this genre necessarily requires the listener to judge his music against his or her own understanding of the workings of the genre. As Danesi (2012) writes, genres have certain conventions by which audiences recognize them, and particular genres attract particular audiences (p. 32-33). A rap artist, then, necessarily follows certain conventions that allow the artist and the listeners to call the music “rap”. At the same time, a rap artist’s interaction with the established conventions of the genre will determine how he, or she, is perceived by audiences. Macklemore, then, is acknowledged to make music in a historically black genre whose conventions, for many audience members, mandate superficiality and various forms of violence. An interpretation of Macklemore must begin with fixing this artist’s relationship to the genre in which he works, in an attempt to understand his own position in hip-hop and how the audience fixes him in relation to their understanding of rap...
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...This article was downloaded by: [University of California Santa Barbara] On: 13 April 2012, At: 11:44 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Review of Education, Pedagogy, and Cultural Studies Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/gred20 Scared Straight: Hip-Hop, Outing, and the Pedagogy of Queerness Marc Lamont Hill Available online: 20 Jan 2009 To cite this article: Marc Lamont Hill (2009): Scared Straight: Hip-Hop, Outing, and the Pedagogy of Queerness, Review of Education, Pedagogy, and Cultural Studies, 31:1, 29-54 To link to this article: http://dx.doi.org/10.1080/10714410802629235 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.tandfonline.com/page/termsand-conditions This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae, and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions...
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...synchronized swimming and many other forms of athletics. 2. What are the types/kinds of dances? Types of Dance - Categories Here are some of the most popular dance categories and types: Ballroom Dances These dances started appearing first in Italy, during the early years of Renaissance. Popularity of this kind of entertainment quickly swept over the Europe, United States and the World. Although many other simpler and more easily preformed types of dances caused the ballroom dances to lose some of their influence, modern worldwide dancing audience started resurrecting these immortal dances in ever increasing pace. • Waltz - This graceful and slow two person dance was first introduced in mid-19th century and was greatly popularized by the music of the famous composer Johann Strauss. Today this dance represents gold standard and the most famous dance of the ballrooms around the world. • Viennese Waltz - Original form of waltz, first performed at the Italian courts is today remembered as Viennese Waltz....
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...NATIONAL QUALIFICATIONS CURRICULUM SUPPORT Dance Advice and Guidance to Support the Choreographic Process [NATIONAL 5] [pic] This advice and guidance has been produced to support the profession with the delivery of courses which are either new or which have aspects of significant change within the new national qualifications (NQ) framework. The advice and guidance provides suggestions on approaches to learning and teaching. Practitioners are encouraged to draw on the materials for their own part of their continuing professional development in introducing new national qualifications in ways that match the needs of learners. Practitioners should also refer to the course and unit specifications and support notes which have been issued by the Scottish Qualifications Authority. http://www.sqa.org.uk/sqa/34714.html Acknowledgement © Crown copyright 2012. You may re-use this information (excluding logos) free of charge in any format or medium, under the terms of the Open Government Licence. To view this licence, visit http://www.nationalarchives.gov.uk/doc/open-government-licence/ or e-mail: psi@nationalarchives.gsi.gov.uk. Where we have identified any third party copyright information you will need to obtain permission from the copyright holders concerned. Any enquiries regarding this document/publication should be sent to us at enquiries@educationscotland.gov.uk. This document...
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...Cultural Moves AMERICAN CROSSROADS Edited by Earl Lewis, George Lipsitz, Peggy Pascoe, George Sánchez, and Dana Takagi 1. Border Matters: Remapping American Cultural Studies, by José David Saldívar 2. The White Scourge: Mexicans, Blacks, and Poor Whites in Texas Cotton Culture, by Neil Foley 3. Indians in the Making: Ethnic Relations and Indian Identities around Puget Sound, by Alexandra Harmon 4. Aztlán and Viet Nam: Chicano and Chicana Experiences of the War, edited by George Mariscal 5. Immigration and the Political Economy of Home: West Indian Brooklyn and American Indian Minneapolis, by Rachel Buff 6. Epic Encounters: Culture, Media, and U.S. Interests in the Middle East,1945–2000, by Melani McAlister 7. Contagious Divides: Epidemics and Race in San Francisco’s Chinatown, by Nayan Shah 8. Japanese American Celebration and Conflict: A History of Ethnic Identity and Festival, 1934–1990, by Lon Kurashige 9. American Sensations: Class, Empire, and the Production of Popular Culture, by Shelley Streeby 10. Colored White: Transcending the Racial Past, by David R. Roediger 11. Reproducing Empire: Race, Sex, Science, and U.S. Imperialism in Puerto Rico, by Laura Briggs 12. meXicana Encounters: The Making of Social Identities on the Borderlands, by Rosa Linda Fregoso 13. Popular Culture in the Age of White Flight, by Eric Avila 14. Ties That Bind: The Story of an Afro-Cherokee Family in Slavery and Freedom, by Tiya Miles 15. Cultural Moves: African Americans and the Politics of...
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...START ME UP 11 Here’s what I learned from five great businesses I’ve worked for: • Always surround yourself with Inspirational Players • Zig when others zag • Get out of the office and into the street • Live on the edge • Nothing is Impossible CHAPTER 2: TIME CHANGES EVERYTHING 23 The journey from products to trademarks, from trademarks to brands. A quick look at why brands are running out of juice as they confront the Attention Economy CHAPTER 3: EMOTIONAL RESCUE 37 Why I believe emotional connections can transform brands. If you spend your days reviewing data, read every word of this chapter. Twice. INSIGHTS: Maurice Lévy, Publicis Groupe CHAPTER 4: ALL YOU NEED IS LOVE 49 Taking brands to the next level depends on one four-letter word: L-O-V-E. INSIGHTS: Sean Fitzpatrick, sportsman; Tim Sanders, Yahoo! CHAPTER 5: GIMME SOME RESPECT 59 Love will change the way we do business, but only if it is built on Respect. No Respect, no Love. Simple. Let’s celebrate what Respect has achieved CHAPTER 6: LOVE IS IN THE AIR 65 Okay, so how do you create Loyalty Beyond Reason? INSIGHTS: Alan Webber, Fast Company magazine CHAPTER 7: BEAUTIFUL OBSESSION 73 So what are Lovemarks? They inspire Loyalty Beyond Reason through their obsession with Mystery, Sensuality, and Intimacy. Here are our first ideas about putting them into action. INSIGHTS: Jim Stengel, Procter & Gamble CHAPTER 8: ALL I HAVE TO DO IS DREAM Understand how...
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...LAFLEY CHAPTER 1: START ME UP Here’s what I learned from five great businesses I’ve worked for: • Always surround yourself with Inspirational Players • Zig when others zag • Get out of the office and into the street • Live on the edge • Nothing is Impossible 9 11 CHAPTER 2: TIME CHANGES EVERYTHING The journey from products to trademarks, from trademarks to brands. A quick look at why brands are running out of juice as they confront the Attention Economy 23 CHAPTER 3: EMOTIONAL RESCUE Why I believe emotional connections can transform brands. If you spend your days reviewing data, read every word of this chapter. Twice. INSIGHTS: Maurice Lévy, Publicis Groupe 37 CHAPTER 4: ALL YOU NEED IS LOVE Taking brands to the next level depends on one four-letter word: L-O-V-E. INSIGHTS: Sean Fitzpatrick, sportsman; Tim Sanders, Yahoo! 49 CHAPTER 5: GIMME SOME RESPECT Love will change the way we do business, but only if it is built on Respect. No Respect, no Love. Simple. Let’s celebrate what Respect has achieved 59 CHAPTER 6: LOVE IS IN THE AIR Okay, so how do you create Loyalty Beyond Reason? INSIGHTS: Alan Webber, Fast Company magazine 65 CHAPTER 7: BEAUTIFUL OBSESSION So what are Lovemarks? They inspire Loyalty Beyond Reason through their obsession with Mystery, Sensuality, and Intimacy. Here are our first ideas about putting them into action. INSIGHTS: Jim Stengel, Procter & Gamble 73 CHAPTER 8: ALL I HAVE TO DO IS DREAM Understand how Mystery...
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...FA ND OM UNB OUND —-1 —0 —+1 561-47344_ch00_1P.indd i 7/27/11 6:21 PM -1— 0— +1— 561-47344_ch00_1P.indd ii 7/27/11 6:21 PM FAN DO M U N BOUND Otaku Culture in a Connected World Edited by MIZUKO ITO DAISUKE OKABE IZUMI TSUJI —-1 —0 —+1 New Haven & London 561-47344_ch00_1P.indd iii 7/27/11 6:21 PM Published with assistance from Copyright © 2012 by Yale University. All rights reserved. Subject to the exception immediately following, this book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. The author has made an online version of this work available under a Creative Commons Attribution-Noncommercial 3.0 License. It can be accessed through the author’s Web site at http:www.itofisher.com/mito. Yale University Press books may be purchased in quantity for educational, business, or promotional use. For information, please e-mail sales.press @ yale.edu (U.S. office) or sales @ yaleup.co.uk (U.K. office). Designed by James J. Johnson Set in Janson Roman and Helvetica type by Westchester Book Group, Danbury, CT Printed in the United States of America [[CIP info to come]] A catalogue record for this book is available from the British Library. This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence...
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...feels like gate-crashing an exclusive club. At least, that’s the sensation I experience as I climb a spiral staircase in a building near Place Vendôme – the grand Parisian square that is home to the Ritz. César Ritz opened his celebrated hotel on 1 June 1898, and its rich patrons attracted the attentions of Cartier, Boucheron, Van Cleef & Arpels, and the other jewellery and luxury goods boutiques that crowd the square. This particular building is the headquarters of a publishing firm, but its location is entirely appropriate. Over the past ten years, Assouline has published a series of glossy books, each minutely dissecting the history of a legendary designer label. With offices in Paris, London and New York, it has become a luxury brand in its own right. I reckon that here, at least, I should get my first insight into what makes a fashion icon. As so often on these occasions, the claustrophobic staircase and labyrinthine corridors of the old building lead to a large office, with a bright picture window overlooking the potted trees and shrubs in the courtyard. Martine Assouline, an elegant French woman, sits me down at a glossy slab-like table and considers her response to my question. ‘At the moment we are in a period where the brand has an exaggerated importance,’ she tells me. ‘Designers like Tom Ford, John Galliano and Marc Jacobs injected new life into fashion. They fused（柱身） it with the music and film industries in a manner that seemed very new, very attractive. This...
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...CHAPTER I INTRODUCTION Rock Music in the Philippines is performance arts composed in various genre and styles. The rock music of the Philippines is a mixture of indigenous foreign countries. The United States occupied the Islands in 1898 until 1946, and introduced American blues folk music, Rock &Blues, and rock and roll became popular. In the late 1950s, native performers adapted Tagalog lyrics for North American rock and roll music, resulting in the seminal origins of Philippine rock. The most notable achievement in Philippine rock of the 1960s was the hit song "Killer Joe," which propelled the group "Rocky Fellers" which reached number sixteen on the American radio charts. Up until the 1970s, popular rock musicians began writing and producing in English. In the early 1970s, rock music began to be written using local languages, with bands like the Juan Dela Cruz Band being among the first popular bands to do so. Mixing tagalog, and English lyrics. Background of the Study Joseph William Feliciano Smith born on December 25, 1947 is a Filipino singer-songwriter, drummer, and guitarist. More commonly known alternately as Joey Smith or Pepe Smith, he is an icon of original Filipino rock music or "Pinoy Rock". His father, Edgar William Smith, was a United States Airforce, and his mother, Conchita Feliciano, was from Angeles, Pampanga, where the huge Clark Air Force base was located. Joey spent his first years in Angeles, often visiting...
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...A TEACHER’S GUIDE TO THE SIGNET CLASSICS EDITION OF G EORG E B E R N A R D S HAW ’S PYGMALION By LAURA REIS MAYER BUNCOMBE COUNTY SCHOOLS, ASHEVILLE, NORTH CAROLINA S E R I E S E D I T O R S JEANNE M. MCGLINN, Ph.D., University of North Carolina at Asheville and W. GEIGER ELLIS, Ed.D., University of Georgia, Professor Emeritus 2 A Teacher’s Guide to the Signet Classics Edition of George Bernard Shaw’s Pygmalion TABLE OF CONTENTS An Introduction .......................................................................................3 Synopsis of the Play .................................................................................3 Prereading Activities .................................................................................6 During Reading Activities ......................................................................13 After Reading Activities .........................................................................21 About the Author of this Guide .............................................................29 About the Editors of this Guide .............................................................29 Full List of Free Teacher's Guides...........................................................30 Click on a Classic ..................................................................................31 Copyright © 2007 by Penguin Group (USA) For additional teacher’s manuals, catalogs, or descriptive brochures, please email academic@penguin.com or write...
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...Blues vs Country music According to Etta James in an interview with American Chronicle: "The Blues and country are first cousins ... What I look for in a song is for the story to be for real. I like a blood and guts kind of thing. That's what you find in the lyrics of country music." Blues and country music both developed in the 19th century in the Southern United States. They share a similar history. For this reason, they share many of the same musical and lyrical characteristics. Read more: How to Compare Blues & Country Music | eHow.com http://www.ehow.com/how_5888119_compare-blues-country-music.htInstructions 1. * 1 Learn the history behind blues and country music. They are both forms of American folk music influenced by earlier styles brought overseas. Blues music grew out of field hollers and chants sung by African slaves. Irish and Scottish balladeers borrowed the guitar and banjo of blues and thus created "country". According to Reebee Garofalo in "Rockin' Out: Popular Music in the USA", "Terms like country and blues are only used to separate the same kind of music made by blacks and whites ... designations like race and hillbilly intentionally separated artists along racial lines and conveyed the impression that their music came from mutually exclusive sources." Country is an offshoot of blues. They are essentially the same thing. In the PBS special, "Rhythm, Country and Blues," country is referred to as "white man's blues." * 2 Listen to...
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...Graduate School of Development Studies POP POLITICS: Popular culture as a democratic space for active citizenship among Filipino youth A Research Paper presented by: Marie Angelie Resurreccion Philippines in partial fulfillment of the requirements for obtaining the degree of MASTERS OF ARTS IN DEVELOPMENT STUDIES Specialization: Children and Youth Studies (CYS) Members of the examining committee: Dr. Linda Herrera [Supervisor] Prof. Dr. Ben White [Reader] The Hague, The Netherlands November, 2009 Disclaimer: This document represents part of the author’s study programme while at the Institute of Social Studies. The views stated therein are those of the author and not necessarily those of the Institute. Research papers are not made available for circulation outside of the Institute. Inquiries: Postal address: Institute of Social Studies P.O. Box 29776 2502 LT The Hague The Netherlands Kortenaerkade 12 2518 AX The Hague The Netherlands +31 70 426 0460 +31 70 426 0799 Location: Telephone: Fax: ii Contents Acknowledgments List of Figures List of Acronyms Abstract Key Words Chapter 1 Introduction 1.1 The Filipino Youth and Media in Recent Philippine History The Marcos Regime: Youth in the Streets The 1986 People Power: The Culmination of Protests The Post-1986 Youth: Disengaged or Disillusioned? People Power II: The Rise of GenTxt Postscript 2001: ‘People Power Fatigue?’ Media and Technology: Expanding Youth Spaces 1.2 Research Objectives and...
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...firstBarrientos has rate: native speakers in charge, no more than six stuwritten for the dents per group. Philadelphia “Conbersaychunal,” he says, allowing the fat vow- 2 Inquirer for more than els of his accented English to collide with the sawedtwenty years. off consonants. I tell him that will be fi ne, that I’m familiar with 3 Barrientos was born in Guatethe conversational setup, and yes, I’ve studied a bit mala and raised of Spanish in the past. He asks for my name and I in El Paso, Texas. Her first novel, Frontera Street, was supply it, rolling the double r in Barrientos like a pro. published in 2002, and her second, That’s when I hear the silent snag, the momentary Family Resemblance, was pubhesitation I’ve come to expect at this part of the exlished in 2003. Her column “Unchange. Should I go into it again? Should I explain, conventional Wisdom” runs every the way I have to half a dozen others, that I am Guaweek in the Inquirer. This essay originally appeared in the collectemalan by birth but pura gringa by circumstance? tion Border-Line Personalities: A Do I add the humble little laugh I usually attach New Generation of Latinas Dish to the end of my sentence to let him know that of on Sex, Sass & Cultural Shifting. course I see the irony in the situation? We selected this reading because This will be the sixth...
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...camera angles, striking film noir–style lighting, nonlinear storytelling, montages, and long deep-focus shots were considered technically innovative for the era. Over time, Citizen Kane became revered as a masterpiece, and in 1997 the American Film Institute named it the Greatest American Movie of All Time. “Citizen Kane is more than a great movie; it is a gathering of all the lessons of the emerging era of sound,” film critic Roger Ebert wrote.1 CHAPTER 6 ○ MOVIES 185 (c) Bedford/St. Martin's bedfordstmartins.com 1-457-62096-0 / 978-1-457-62096-6 MOVIES A generation later, the space epic Star Wars (1977) changed the culture of the movie industry. Star Wars, produced, written, and directed by George Lucas, departed from the personal filmmaking of the early 1970s and spawned a blockbuster mentality that formed a new primary audience for Hollywood— teenagers. It had all of the now–typical blockbuster characteristics like massive promotion and lucrative merchandising...
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