Inarguably a major recording act, Tennessee Ernie Ford (1919-1991) sold an estimated 90 million albums worldwide, and charted 17 Top Ten country singles and four Top Ten pop singles over a 35-year recording career. And he played significant - and pioneering - roles in radio and television broadcasting. All the secular-themed studio recordings from the first dozen years in the career of one of the most important crossover acts in the history of American popular music. Five CDs containing 154 tracks and a 120-page book with newly written essays, track-by-track album notes, a discography, label scans, and many rare photographs and illustrations. Early country hits including the chart-topping Mule Train (1949) and Ford's pioneering 'hillbilly boogie' smash The Shotgun Boogie (1950), as well as Ford's first major crossover hit, the 1950 duet (with Kay Starr) I'll Never Be Free. It also includes classics such as Rock City Boogie (with the Dinning Sisters, 1951) and Blackberry Boogie (1952) as well as overlooked delights as the train song Tennessee Local (1952), his 1952 interpretation of Willie Mabon's rhythm and blues hit I Don't Know. This boxed set includes two never-before-released songs (Slow Down and Small World), numerous Ford singles and album tracks not previously reissued on CD, and several rarities, including Ford's 1955 recitations of Davy Crockett tales, as well as Ford's 1958 public service jingles to promote the U. S. Marine Corps 'Toys for Tots' charitable program. / https://dc.etsu.edu/etsu_books/1150/thumbnail.jpg

"During World War II newspapermen found many of their assignments centered on the 'fighting fronts' of the various campaigns. Among this group was Ernie Pyle, who became especially well-known, closely followed, and warmly admired for his accounts of army life. Through his graphic reporting Pyle endeared himself to civilians at home whose relatives and friends were at these outposts, and to military personnel abroad who felt that Pyle was telling their story and was writing for them, as they could not, their letters home. One of these soldiers, this writer, became interested in the writings of Pyle, while serving in the Asiatic-Pacific Theater during World War II. In fact, the writer was a member of the 77th Infantry Division, which Ernie Pyle was visiting when he was killed. Because of this interest the writer, in his search for a topic for a Master's paper that would foster bibliographic competency, thought worthwhile a consideration of the life and works of Ernie Pyle. Such a study was believed to be of possible value to librarians and students as well as a practical exercise in bibliography and library research for a prospective librarian"--Introduction. / Carbon copy of typescript. / "February, 1957." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Ruth H. Rockwood, Professor Directing Paper. / Includes bibliographical references.

Excerpt: In 1955, Tennessee Ernie Ford (born Ernest Jennings Ford on February 13, 1919, in Bristol, Tennessee) was an established recording star who could claim several major country hits as well as a few minor pop hits to his name.

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En nedåtgående trend hos svenska elevers matematikkunskaper föranleder behov av att finna lösningar för att bryta denna trend. Studien som presenteras här har som syfte att undersöka hur man via läroboken kan underlätta lärarens undervisningsplanering, och möjlighet till att formativt bedöma eleverna, samtidigt som elevens möjlighet till ett mer självständigt lärande förbättras. Först utförs en litteraturstudie för att sammanfatta väsentliga begrepp och didaktiska aspekter, för att sedan följa upp med att presentera några tidigare forskningsresultat vad gäller matematiklärobokens utförande och användande av idag. Resultatet från denna litteraturgenomgång verifieras och kompletteras i nästa steg via kvalitativa intervjuer av både lärare och elever på högskolan och gymnasiet. Även en del egna observationer via deltagande i undervisning ger ytterligare data till undersökningen. Genom att skapa insikter kring vad som förbättrar elevers lärande, samt hur aktörerna bl.a. upplever läroboken av idag, är tanken att kunna presentera ett underlag för konstruktion av läroböcker som förbättrar elevens lärande och intresse i matematik. Resultatet visar på att de flesta av läroböckerna i matematik har flera brister vad gäller det pedagogiska utförandet och hur de följer styrdokumentens anvisningar. Läroboken har en viktig roll för undervisningens kontinuitet och ännu viktigare är lärarens ämneskompetens. Resultatet visar dessutom på att elevernas åsikter kring hållbar skolutveckling fokuseras på fler lärare samt lösta exempel i läroboken, medan lärarna fokuserar mer på digitala hjälpmedel. Slutsatsen är att det ska vara elevens egen lärande konstruktion som ska vara det centrala i samband med författande av läroböcker i matematik. Detta innebär att feedback från elever som t ex. studerar första året på högskoleingenjörsutbildningen kan erbjuda ett viktigt bidrag i uppdatering av läroböcker. Dessutom innebär det en tydligare följning av styrdokumentens anvisningar samt att elevernas förkunskaper ska beaktas i läroböckernas innehåll och progression mellan ämnesavsnitten. / A downward trend of Swedish pupils' mathematical knowledge leads to the necessity finding ways, which may reverse this trend. The study presented here aims to explore ways through how textbooks can facilitate teacher education planning, and the ability to formatively assess students while students opportunity for a more independent learning improves. First, a literature review to summarize the essential concepts and didactic aspects is made, and then followed up by presenting some previous research in terms of mathematics textbook design and use of today. The results of this literature review are verified and completed in the next step through qualitative interviews of both teachers and students at college and high school. Even some of my own observations through participation in education provides additional data to the study. By providing insights into what improves student learning, and how actors experiencing textbook of today, the idea is to present a basis for the design of textbooks that enhances student learning and interest in mathematics. The results show that most of the textbooks in mathematics has several shortcomings in the educational performance and how they follow the policy documents instructions. The textbook has an important role in teaching and even more important is the teacher's subject competence. The results also show that students' views on sustainable school improvement are focused mainly on teachers and solved examples in the textbook, while the teachers focus more on digital tools. The conclusion is that it should be the student's own learning that should be central in the writing of textbooks in mathematics. This means that feedback from students such as studying the first year of Bachelor of education can provide an important contribution in updating textbooks. It also means that a clearer tracking of policy documents and instructions to students prior knowledge should be considered in textbook content and progression between subject sections.

O objetivo da tese é discutir e analisar filmes realizados entre 1967 e 1971 que, ainda no estrito campo do cinema, estabeleciam franco diálogo com as experiências mais recentes das vanguardas nas artes visuais. Os dois eixos da investigação se referem a produções de duas vertentes cinematográficas contemporâneas que se consolidaram em Nova York e no Rio de Janeiro sob os rótulos de \"Cinema estrutural\" e de \"Cinema marginal\", respectivamente. Ambas tendências, qualificadas como \"cinema experimental\", surgiam no rastro de vanguardas artísticas com fortes desdobramentos nas artes visuais, no que ficou conhecido como minimalismo nos Estados Unidos e o um \"pós-tropicalismo\" ou marginália no Brasil. Nos filmes que podem ser tomados como mais representativos desta relação - Wavelength (1967), de Michael Snow; Serene Velocity (1970), de Ernie Gehr; Mangue Bangue (1971), de Neville d\'Almeida e Lágrima-Pantera, a Míssil (1971), de Júlio Bressane - busca-se analisar as principais operações formais a partir de questões e posicionamentos provindos de tendências das artes visuais ao lado de discussões teóricas cinematográficas, principalmente aquelas relativas à vanguarda no cinema. No segundo eixo, aproxima-se as contemporâneas experiências de Hélio Oiticica no cinema e em demais meios audiovisuais. Acompanhada desta análise formal buscamos situar estas obras no percurso de seus autores e no contexto artístico e cultural no qual se inseriam. Propõe-se assim, ao final, observar os paralelos e contrastes entre essas experiências e as razões de suas descontinuidades. / The main purpose of the thesis is to discuss and analyse films from the late 60\'s and early 70\'s that, althought in the strict field of cinema, established a frank dialogue with the most recent experiences of the avant-garde. The two axes of the investigation refer to productions of two contemporary cinematographic strands that took place in New York and Rio de Janeiro known respectively as \"Structural film\" and \"Cinema marginal\". Both tendencies, usually considered in the same field of an \"experimental cinema\", emerged after and in direct association with the artistic avant-garde tendencies with strong ramifications in visual arts, like what became known as minimalism in the US and the \"post-tropicalism\" or marginália in Brazil. In the films that can be taken as the most representatives of this link - Wavelength (1967), by Michael Snow; Serene Velocity (1970), by Ernie Gehr; Mangue Bangue (1971), by Neville d\'Almeida and Lágrima-Pantera, a Míssil (1971), by Júlio Bressane - we seek to analyse its main formal operations based on questions and standings derived from contemporary visual arts tendencies next to theoretical discussions especifically cinematografic, especially those related to avant-garde cinema. On the second axis, the closeness with the contemporary experiences of Hélio Oiticica in film and in other audiovisual media is one of the focus. Accompanied by this formal analysis we also seek to situate these works in the path of their authors and in its artistic, cultural and political context in which they were placed. It is thus proposed, at the end, to observe the parallels e contrasts between these experiences and the reasons of their discontinuities.

O objetivo da tese é discutir e analisar filmes realizados entre 1967 e 1971 que, ainda no estrito campo do cinema, estabeleciam franco diálogo com as experiências mais recentes das vanguardas nas artes visuais. Os dois eixos da investigação se referem a produções de duas vertentes cinematográficas contemporâneas que se consolidaram em Nova York e no Rio de Janeiro sob os rótulos de \"Cinema estrutural\" e de \"Cinema marginal\", respectivamente. Ambas tendências, qualificadas como \"cinema experimental\", surgiam no rastro de vanguardas artísticas com fortes desdobramentos nas artes visuais, no que ficou conhecido como minimalismo nos Estados Unidos e o um \"pós-tropicalismo\" ou marginália no Brasil. Nos filmes que podem ser tomados como mais representativos desta relação - Wavelength (1967), de Michael Snow; Serene Velocity (1970), de Ernie Gehr; Mangue Bangue (1971), de Neville d\'Almeida e Lágrima-Pantera, a Míssil (1971), de Júlio Bressane - busca-se analisar as principais operações formais a partir de questões e posicionamentos provindos de tendências das artes visuais ao lado de discussões teóricas cinematográficas, principalmente aquelas relativas à vanguarda no cinema. No segundo eixo, aproxima-se as contemporâneas experiências de Hélio Oiticica no cinema e em demais meios audiovisuais. Acompanhada desta análise formal buscamos situar estas obras no percurso de seus autores e no contexto artístico e cultural no qual se inseriam. Propõe-se assim, ao final, observar os paralelos e contrastes entre essas experiências e as razões de suas descontinuidades. / The main purpose of the thesis is to discuss and analyse films from the late 60\'s and early 70\'s that, althought in the strict field of cinema, established a frank dialogue with the most recent experiences of the avant-garde. The two axes of the investigation refer to productions of two contemporary cinematographic strands that took place in New York and Rio de Janeiro known respectively as \"Structural film\" and \"Cinema marginal\". Both tendencies, usually considered in the same field of an \"experimental cinema\", emerged after and in direct association with the artistic avant-garde tendencies with strong ramifications in visual arts, like what became known as minimalism in the US and the \"post-tropicalism\" or marginália in Brazil. In the films that can be taken as the most representatives of this link - Wavelength (1967), by Michael Snow; Serene Velocity (1970), by Ernie Gehr; Mangue Bangue (1971), by Neville d\'Almeida and Lágrima-Pantera, a Míssil (1971), by Júlio Bressane - we seek to analyse its main formal operations based on questions and standings derived from contemporary visual arts tendencies next to theoretical discussions especifically cinematografic, especially those related to avant-garde cinema. On the second axis, the closeness with the contemporary experiences of Hélio Oiticica in film and in other audiovisual media is one of the focus. Accompanied by this formal analysis we also seek to situate these works in the path of their authors and in its artistic, cultural and political context in which they were placed. It is thus proposed, at the end, to observe the parallels e contrasts between these experiences and the reasons of their discontinuities.

The field of image synthesis has seen significant progress recently, including great strides with generative models like Generative Adversarial Networks (GANs), Diffusion Models, and Transformers. These models have shown they can create high-quality images from a variety of text prompts. However, a comprehensive analysis that examines both their performance and possible biases is often missing from existing research. In this thesis, I undertake a thorough examination of several leading text-to-image models, namely Stable Diffusion, DALL-E Mini, Lafite, and Ernie-ViLG. I assess their performance in generating accurate images of human faces, groups, and specified numbers of objects, using both Frechet Inception Distance (FID) scores and R-precision as my evaluation metrics. Moreover, I uncover inherent gender or social biases these models may possess. My research reveals a noticeable bias in these models, which show a tendency towards generating images of white males, thus under-representing minorities in their output of human faces. This finding contributes to the broader dialogue on ethics in AI and sets the stage for further research aimed at developing more equitable AI systems. Furthermore, based on the metrics I used for evaluation, the Stable Diffusion model outperforms the others in generating images from text prompts. This information could be particularly useful for researchers and practitioners trying to choose the most effective model for their future projects. To facilitate further research in this field, I have made my findings, the related data, and the source code publicly available. / Master of Science / In my research, I explored how cutting-edge computer models, namely Stable Diffusion, DALL-E Mini, Lafite, and Ernie-ViLG, can create images from text descriptions, a process that holds exciting possibilities for the future. However, these technologies aren't without their challenges. An important finding from my study is that these models exhibit bias, e.g., they often generate images of white males more than they do of other races and genders. This suggests they're not representing our diverse society fairly. Among these models, Stable Diffusion outperforms the others at creating images from text prompts, which is valuable information for anyone choosing a model for their projects. To help others learn from my work and build upon it, I've made all my data, findings, and the code I used in this study publicly available. By sharing this work, I hope to contribute to improving this technology, making it even better and fairer for everyone in the future.

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Already regarded as one of the top teams in Negro League baseball, the Kansas City Monarchs became known as a powerhouse unit in the 1930s and 40s. They rolled into towns with lights, amazing athletes, and competitive play. They won championship after championship during these years as Kansas City baseball fans strongly supported them. As they became an integral part of the city, the Monarchs' success, open-seating policy, and jazzy home openers fostered a large following of mixed-race fans. The local black newspaper, the Kansas City Call, held them up on a pedestal, while sportswriters for the mainstream Kansas City Star/Times downplayed the Monarchs' accomplishments and influence in the community. This thesis focuses on the relationship the Call had with the best team in black baseball through the context of its treatment of games, players, league officials, and team owners, as well as other patterns and tactics. Analysis of the Star/Times coverage is also considered to show variances in coverage between one city's race-divided newspapers. Negro League baseball and the African American newspapers that covered the teams grew out of and illustrated the segregation laws and prejudices feelings that existed in the United States during most of the twentieth century. Over time, especially when the sports world moved into the post-integration period, the Call's bolstering of the Monarchs deteriorated as the paper's promotion of democracy steered its sportswriters away from a baseball organization that symbolized segregation. The different types of coverage by the Call throughout the twenty-year study can be described as all-out promotion, balance, and abandonment. In the 1950s nostalgia and conflict existed, as the Call's sportswriters became torn on how to cover a team that was once the pride of the black community, but now represented inequality. In an attempt to remedy this torment, the Call tried to convince black baseball officials to remove the “Negro League” stigma by signing players of all races in order to mirror the more democratic Major Leagues. The white press, meanwhile, ignored the bigger issues of black baseball as one Negro League team after another died in the 1950s. The Star/Times peripheral coverage of the Monarchs provides context to the social issues and discriminatory practices at play in Missouri. As this thesis outlines the coverage of the Monarchs through the Black and White newspapers of Kansas City, previous research is substantiated and challenged to provide a fuller account of Jim Crow's effects.