Thursday, March 12, 2020
Among the School Children Notes Essays Among the School Children Notes Paper Among the School Children Notes Paper Among School Children Author William Butler Yeats (1865Ã¢â¬â1939) First Published 1927; collected in The Tower, 1928 Type of Poem Meditation The Poem William Butler Yeatss Among School Children' is written in eight eight-line stanzas that follow a precise rhyme scheme. Along with the straightforward title, stanza I establishes the immediate context of the action in deliberately prosaic language. The speaker is visiting a schoolroom, and a kind old nun,' his guide for the day or perhaps the classroom teacher, is answering his matter-of-fact questions in a rapid, matter-of-fact way. The tone and mood of the poem take a sharp turn in the couplet ending the first stanza, however; the speaker suddenly sees himself through the childrens eyes as they In momentary wonder stare upon/ A sixty-year-old smiling public man. The speaker is almost certainly Yeats himself; as a member of the Irish Senate, Yeats, just turned sixty, did in fact visit schools as a part of his official duties. Seeing himself through the childrens eyes inspires a reverie. He thinks of a child, a girl, whom he knew in his own childhood or youth. The facts are not quite clear, for the reader is told of a childish day' but also of youthful sympathy. Nevertheless, the young female is generally identified as Maud Gonne, with whom the poet first became acquainted and fell in love when she was in her late teens and he was in his twenties. The reverie ends, but his eyes light upon one of the children, who looks amazingly like Maud when she was that age: She stands before me as a living child. Seeing her as she looked then reminds him of what she looks like now, after the passage of nearly forty years. Her present image' is of someone whom life has wasted and exhausted; she is Hollow of cheek' as if she drank the wind' and ate a mess of shadows for [her] meat. Thoughts of her then and now lead to thoughts of himself then and now. The years have not been kind in his case either, and, back in the present in the schoolroom, he decides that it is best to keep u p a brave front and smile on all that smile. Yet he cannot shake the thought that human life appears to be a process of diminishment and gradual dispossession, if not outright defeat. He imagines what a mother- perhaps his own- would think, just having given birth, could she see that infant after he has lived through sixty or more winters. Would she, he wonders, think the result worth the pain of her labor and of all her coming anxieties over her helpless infants welfare? In the final three stanzas, the personal note that has pervaded the poem is dropped as the speaker explores in rapid order the breadth and scope of all human thought and endeavor- from Plato to Aristotle and Pythagoras, from nuns to mothers to youthful lovers- seeking some solace for the tragic unraveling of dreams and hopes that human life seems to be. In a sudden burst of anger, the speaker excoriates all those images that people set before their minds eyes to goad themselves and others into succeeding only at failing, and he tries instead to see human life as it is truly lived. The vision that emerges is one in which neither devotion to others (motherhood) nor devotion to God (the nun) nor devotion to fulfilling selfhood (Maud Gonne) can alone be enough, for Labour is blossoming or dancing. It is an ongoing process, not any final product. Therefore, one cannot isolate the individual from the passing moment by trying to imagine that at any one instant there is some greater or lesser being there; like the chestnut tree, a human life is all one piece, so one should be wary of trying to know the dancer from the dance. Forms and Devices Yeatss is a poetry rich in complex webs of both personal and public symbols and allusions, and Among School Children' is no exception. An example of this complexity can be found by examining the source of something as apparently superficial as the rhyme scheme. Ottava rima was introduced into English prosody by the early nineteenth century poet George Gordon, Lord Byron, who used it to great comic effect in poems such as his sa tiric masterpiece, Don Juan (1819Ã¢â¬â1824). The Yeats poem is hardly satiric and is comic only by the broadest definition of the term, as one uses it when speaking of Dantes The Divine Comedy (c. 1320). Like Dante, whose great poem begins with the otherwise unremarkable discovery that he has lost his way, Yeats uses a rather commonplace incident- a public officials visit to a classroom while touring a school- to explore the larger meaning and purpose of human life in general. Because of the complexity of Yeatss technique, making such connections is not as farfetched as one might suspect. A symbol, like the allusion to outside texts and sources of information, can point in any number of directions, but it will always make a connection. The poet must connect private and public symbols and allusions in a careful order and to some greater thematic purpose. Yeatss use of the myth of Leda and the swan offers a fine example. In the ancient Greek myth, Zeus came as a swan to rape the mortal Leda; from that union came Helen of Troy. Yeatss Ledaean body,' however, is something more than a knowledge of the myth alone can betoken. In his poem Leda and the Swan,' he sees in the myth a comment on the dangerous consequences of mixing divine elements with something as fragile as human nature. Furthermore, in other poems, Yeats identifies Maud Gonne with Helen of Troy as representatives of that beauty which is destructive. That Leda also brings to mind childbearing and childrearing in a poem that focuses on children, childhood, labor, and birth suggests still further possibilities of meaning and illustrates that the apparent opacity of the poem is actually the result of combining a wide literary heritage with a compelling richness and nterconnectedness of thought, feeling, and experience. Themes and Meanings The central themes of Among School Children' are best exemplified in the central action: A sixty-year-old official is visiting with elementary school children. The age-old poetic themes of innocence versus experience, naivete versus wisdom, and youth versus age permeate every stanza of the poem. Yeats, who in h is youthful work frequently dealt with incidents of passing and loss, virtually became obsessed with those themes as he became older and faced his own mortality in more real, less abstract terms. By this point in his career, Yeats was examining the consequences and effects of times passage not only on the human body but also on the human spirit- both for the individual and for the race as a whole- invariably basing his meditations on personal experience. In Yeatss hands, these timeless themes take on a profound significance, because while he views human life as tragic, his vision is not nihilistic. He never does actually enunciate what purpose human life may serve, but he does believe that there is a purpose. Among School Children' illustrates how the individual might frustrate that purpose by imagining either that he is the master of his own destiny or that there is no such thing as destiny. Maud Gonne serves as a prime example of this frustration of purpose. The poet, who is condemned to remember the brightness and promise of her youth, must live with the meaningless fruits of her actions now that the heartbreak and frustrations of her commitment to revolutionary Irish poli tical causes have taken their toll both on herself and others. By cutting her fulfillment short, she has cut all the rest of humankind short. Nor will Yeats exclude himself and others from the same condemnation. All fail in their choices and actions to face squarely the one insurmountable reality: Flesh ages, spirits flag, and human dreams wither. He thus accuses himself of having given up or given in (I Ã¢â¬ ¦ had pretty plumage once' but now am a comfortable kind of old scarecrow') and accuses nuns and mothers, as much as the Helens and Mauds of the world, of betraying the innocent, childlike spirit that fosters dreams and compels human choices. People unwittingly create false images of what it is to be human, thereby creating false hopes and expectations. Yeats suggests that since there is no choice but to move forward, one should imagine the fullness of each moment as having an inextricable harmony with all others. Life is like a dance that does exist independent of a dancer but has no shape or form without the dancers.
Tuesday, February 25, 2020
Home Schooling - Essay Example Looking at the nature of homeschooling it can be noticed that it seriously needs regulation. The regulation comes with challenges. The regulation of homeschooling has over the years had various critics criticizing its necessity. As much as there are various points that successfully explain the lack of necessity for homeschooling, there are arguments with bigger intensity explaining the need for regulating homeschooling. The arguments mainly proves the necessity of regulation of homeschooling to ensure its productivity. Discussion One reason why home schooling should be regulated is because of the high rate at which its rising and the high possibility of it being abused. Some parents might take advantage of homeschooling to serve their own interests. This is a possibility in cases where parents are trying to hide some aspects of their current or past lives. For instance, violent parents might take advantage of homeschooling to hide the inhuman things that they do to their children. Th is way they will be able to hide the bruises that result from the mistreatment that they subject their children to. This will create a scenario where the children will be having their basic rights violated, but no one will come to their rescue because no one knows. This can also be used by parents with criminal records to serve their own interest (Kunzman, 2009). However, it is clearly evident that this can have very minimal effect on the overall effectiveness of the productivity of homeschooling. Homeschooling should also be regulated because of the quality of education that all individuals are entitled to. Researches have it that, without proper regulation, the quality of education given to homeschooling students can easily be compromised. As much as there is always a fixed curriculum to be followed by both homeschool and public school teachers, it is hard to tell whether the homeschool teachers effectively cover the curriculum. This will mean that, in the end, the students would not have attained the intellectual maturity that is expected of a student that has gone through the United States of AmericaÃ¢â¬â¢s education system (McMullen, 2002). The ultimate result of this sub quality education is that the students will not be able to keep up with the students going through the standard type of education both at higher levels of education and in various professions. Students who have gone through homeschooling through their high school years are less expected to major in the natural sciences than the non-homeschooled students, and that more attention has to go to this because of the growing number of homeschooled students in the United States of America. Homeschooled students are not exposed to professional science teachers and labs and so do not have as many options, with their growing number this could be a threat the education system (Phillips, 2010). This will definitely call for regulation because the increase in the number of people being homeschooled will, therefore, mean that there is a significant decrease in the number of professionals in natural science, a factor that might affect the country economically, politically and socially. Taking a look at the motives that parents usually have when
Sunday, February 9, 2020
Political Economy of the European Union - Essay Example It has build up a role inforeign policy, and represents its members in theWorld Trade Organization, atG8summits and at theUnited Nations. Twenty-one EU nations are part ofNATO. It has also taken up a responsibility in justice and home affairs, which includes the elimination of passport control between many member nations under theSchengen Agreement. (Alan, 2007) The EU functions through a hybrid mechanism ofintergovernmentalismandsupranationalism. In particular areas it relies on agreement among the member states. However, it also possesses supranational bodies, thus is competent to make judgments without agreement between each and every national governments. Among the prominent institutions and bodies of the EU are theEuropean Commission, theEuropean Parliament, theCouncil of the European Union, theEuropean Council, theEuropean Court of Justice,and theEuropean Central Bank. In every five years, the Parliament is elected by the EU citizens. Origins of the EU go back to the formation of theEuropean Coal and Steel Community,formed among six countries in 1951 and theTreaty of Romein 1957. Thereafter the EU has expanded in size via accession of new associate states, and in authority by adding new policy areas to its remit. (Richard, 2006) Subsequent to theSecond World War, efforts made towards European integration were viewed as a get away approach from the intense forms of nationalism, which had ravaged the continent.Theformation of the European Coal and Steel Community was among one such attempt to bring together Europeans. While having the unassuming aim of federal control of the formerly national coal and steel industries of its member nations, it was stated to be "a first step in the federation of Europe".The founding members of the Community wereBelgium,France,Italy,Luxembourg, theNetherlandsandWest Germany. Thereafter the history of Europe saw the establishment of European Economic Community(EEC) ascertaining acustoms unionand theEuropean Atomic Energy Community(Euratom) for cooperation in developingnuclear energy. In 1967, the Merger Treaty provided for the amalgamation of these communities collectively referred to as European Communities, which popularly were termed as European Community. (Ben, 2000) In 1973 incorporation of Denmark,Irelandand theUnited Kingdom enlarged the communities. In 1979, thefirst autonomous electionsto the European Parliament were held. The 80s saw the incorporation of Greece,SpainandPortugal. In 1990, the previousEast Germanyembodied the Community under newly united Germany. The European Union was officially instituted when theMaastricht Treatywas enacted upon on 1 November 1993. Presently, the European Union comprises 27independentsovereignnationsknown as member states: Austria,Belgium,Bulgaria,Cyprus, theCzech Republic,Denmark,Estonia,Finland,France,Germany,Greece, Hungary,Ireland,Italy,Latvia,Lithuania,Luxembourg,Malta, theNetherlands,Poland,Portugal,Romania, Slovakia,Slovenia,Spain,Sweden, and theUnited Kingdom. (Alan, 2007) The EU is habitually portrayed as being separated into three divisions of responsibility, calledpillars. The original European Community principles form the first pillar, while the second beingCommon
Thursday, January 30, 2020
Keeping the Canon Dim and Dull Essay American novelist Nicholas Sparks ranks among the #1 best sellers of today with 14 novels in 13 years; four of them adapted in film and put his authorship in a bigger mainstream. With Kevin Costner as Garrett Blake in Message in a Bottle (1999), Mandy Moore as Jamie Sullivan in A Walk to Remember (2002), and Richard Gere as Dr. Paul Flanner in Nights to Rodanthe (2008), it became far easier for the name to leave a commercial mark and drop some familiarity among young and old alike. But can commercial success lift a writerÃ¢â¬â¢s distinction in the literary world? What exactly makes a canon? To put it simply, is Nicholas Sparks a canon writer? The word canon itself becomes trite these days with the plethora of websites from Lord of the Rings to Harry Potter that treat just any bit of hype to be a canon. Both created history in bestseller and box office but none of the two is Ã¢â¬Å"universallyÃ¢â¬ considered as a literary canon although LotR is considered to father the modern fantasy stories. According to Stevens, literary canons are not just worthy of serious academic attention; they have also become Ã¢â¬Å"celebrated namesÃ¢â¬ holding some measure of universal acclaim. They are too many in history, Shakespeare and his magnum opera would be the most obvious to mention. Of course, who does not know the Dickensonian Ebenezer Scrooge, Oliver Twist, David Copperfield or even Fagin? In the romantic genre, Jane Austen could captivate you body and soul with Pride and Prejudice and Emma. So where exactly does Nicholas Sparks fall? Before anything else, it is important to note that there is no written policy on the establishment of a literary canon. A work is canonized only when it is included in the literary works that are studied and respected by literary or academic critics. Since literature is evolving and is perceived differently at the context of time and the criticÃ¢â¬â¢s subjective experience, the canonization then is generally subjective in nature and thus transcends time. For example, Jane Austen who is much celebrated for her comedy of manners and intellectual repartees remained close to anonymous until given a posthumous academic recognition in the 20th century. It might be a blunder to compare Sparks to Austen but a comparison is necessary to establish the argument Ã¢â¬â does Sparks belong to the canon poll? Since there is not a precise appraisal to making the canon mark, let us then examine his works at the context of its impact on literature and culture, while studying its literary style and end. Nicholas Sparks writes love stories, most often contain tragic endings and set the tragedy-in-fate archetype he is infamous for. He considers it a completely different genre and forbids to be labelled a romance writer. Ã¢â¬Å"I dont write romance novels, any more than Tom Clancy writes legal thrillersÃ¢â¬ , he said in an interview covered by bookreporter. com. The Romance Writers of America explains it this way: Ã¢â¬Å"Two basic elements comprise every romance novel: a central love story and an emotionally-satisfying and optimistic ending. Ã¢â¬ (Simpson) Given this description, Sparks could either be doing one of the two; benchmarking a love story genre or falling into the romance novel trap half foot. Unlike the majority of writers who fashion their characters first and create the conflict that suit the characters just second, Sparks admit to be doing the otherwise. Though his characters are inspired by real people (Jamie Sullivan was inspired by the death of her sister Danielle), he made them more compelling by making their conflicts larger than life. The flop in such a technique is apparent to any sophisticated reader or writer wannabe Ã¢â¬â instead of the characters giving the plot the edge and leading it to a compelling climax, the characters become mere pawns to the writerÃ¢â¬â¢s intent. There will be little to no relevant character development. The reader will struggle to identify a character to remember, the plot will overshadow it all, especially when it is so tragic, it leaves you wishing for a different twist. This is contradictory to most tragic love stories, classical in literature. In FaulknerÃ¢â¬â¢s A Rose for Emily (short story), though the end is foretold in the beginning, what draws you is the narrative that so ardently expressed the issues, both internal and external, in vivid detail. In the end, the reader will come to understand that the death of one character does not necessarily define the tragedy in the story Ã¢â¬â but how the character evolved so as to reach that cheerless conclusion. Message in a Bottle (1998), A Walk to Remember (1999) and Nights at Rodanthe (2002) all exemplify this flat disaster. The Notebook (1996) has some good moments particularly with its compelling narrative in the beginning, but still, the characterization failed to maintain the force given the very predictable outcome. For always, Sparks brings us to a TIME when people were not troubled by major social conflicts or to a simple, smaller PLACE where his characters live detached from conflicts and distractions of modern day. Sparks however, stands on his novels being realistic. It can be observed that most of his women Ã¢â¬â Allie Nelson (The Notebook), Theresa Osborne (Message in a Bottle), Denise Holton (The Rescue) and Elizabeth Green (The Lucky One) to name a few, were divorcees or single mothers trying to have a hold on life and finding their self in love once again. The situation per se is indeed realistic especially in this time. What made them stranger than fiction though is how they confronted these realistic struggles in a way, only a pen could smudge. For instance in The Notebook, AllieÃ¢â¬â¢s love for Noah was rekindled with not much plot support. The mother confessed of her ploy to separate them and the key to the reunion was easily established. In Message in a Bottle, Theresa embarked on a detective search for Garrett out of mere curiosity. Given that Theresa is a journalist, has a child and just finds herself caught in an unexpected divorce, it would be very uncharacteristic for her to feel real sappy and romantic over somebody she clearly did not know, and who matter-of-fact declared his love for someone else. Clearly, all these characters and sub-plots turned out not because they evolved like how humans are supposed to, but because that is how exactly the writer intended it to be. Taking into the iceberg principle of 10/90, 10% was real while the submerged 90% was a loosely based romance archetype. In fact, the plots of the 13 novels were prototyped from The Notebook, his first. That is why, only hardcore romance suckers would get whatever thrill there is while the more sophisticated readers who are looking for more sense and substance find the subsequent readings redundant and predictable. Although The Notebook and A Walk to Remember books were set in 1932 and 1958 respectively, it did not contain any historical account or social issues relevant to the setting specified. Unlike with Gabriel Marquez of One Hundred Years of Solitude, whose diversity of structure and literary plot showed the postmodernism for which he belongs, Sparks seems lost in principle and time. He is not a realist, not an impressionist, not a neo-classicist and does not claim to be a romantic. His works lack social and historical relevance and thus have no place in a serious academic discussion. For one, there is no need for a brow-knitting analytical criticism. In fact, your brows would knit effortlessly for lack of needed smarts than for over thinking. To get the sparks going, a reader only needs to have his / her tear glands all set, with the tissue or hanky at hand and the ride is on. Things can get pretty predictable so in order to avoid any failed expectation; do not expect anything at all. With Nicholas Sparks, the best thing you could get out of your seven bucks is a good cry and a great kiss. So what made Nicholas Sparks one of the most bankable writers at the moment? Personally, I see his first three works to be the primary determinant. The Notebook was a good spank for an undying love. Message in a Bottle was a curious case after the first hit. A Walk to Remember captivated a whole new, much younger audience. But all the rest that followed bored us to tears or to death. With each novel written and published just mere months after the other, it is clear that more than creating works of literary art, Nicholas Sparks is better hauled for the money. I am not saying it is a bad choice but it is not a direction for creating literary mark like Hemingway or Faulkner long achieved. Or maybe, we can blame Hollywood for taking a toll on the evolution or decline of American literature. With most of the writers choosing the more marketable screenplay career and with people going visual, it is indeed easier to go with the current and deliver the visual imagery the audience is looking for. Or maybe, just like the many writers that their time rejected, the future might hold a place for Nicholas Sparks and prove this personal deduction to be false. Only time could tell. For now, much credit is given to the stars that made SparksÃ¢â¬â¢ masterpieces more compelling than the lines they convey and continue to burn NicholasÃ¢â¬â¢ name in Amazon, or in the bookshops near you. References Simpson, Donna Lea. Ã¢â¬Å"What Defines the Romance NovelÃ¢â¬ . suite101. com. 12 November 2007. http://romancefiction. suite101. com/article. cfm/what_defines_a_romance_novel, accessed 25 April 2009 Stevens, Charlotte. The Literary Canon. The Literary Encyclopedia. 10 January 2007. [http://www. litencyc. com/php/stopics. php? rec=trueUID=158, accessed 25 April 2009. ] Bookreporter. com. Ã¢â¬Å"Nicholas SparksÃ¢â¬ . 1996-2009. http://www. bookreporter. com/authors/au-sparks-nicholas. asp, accessed 25 April 2009.
Wednesday, January 22, 2020
Appalachian Musicians And Singers and The Songs They Write Ã Ã Ã Ã Ã Growing up in Appalachia and around its music has made a great impact on my life. I can remember, as if it were yesterday sitting on grandpa's front porch with my family singing along with Hillbilly songs on the radio. Along with entertaining the music eased the tensions of living a meager existence in Appalachia. By relating with these song writers and the stories in there songs we somehow find our life less tedious and more bearable. Most country and gospel Appalachian song writers find the words to there songs in the day to day experiences of there lives. Ã Ã Ã Ã Ã One of the most prominent and popular types of music to come out of the Appalachian region is gospel music. Writing about the religious experiences one felt at the alter or the hope of seeing a lost family member in the here after has been the subject of many Appalachian gospel song. Singers and song writers like Tennessee Ernie Ford and Ernest Tub have left us with joy in our harts and tears in our eyes. Singing and listening to songs like The Old Rugged Cross has carried over from generation to generation in Appalachia. Ã Ã Ã Ã Ã Another branch of Appalachian music that encircle around religion is bluegrass. One of the best known Bluegrass artists (Bill Monroe)Known also as the father of bluegrass music, dedicated a portion of every performance to a gospel bluegrass harmony number. Bluegrass became popular in the region for a number of reasons. Not the least of which was the inexpensiveness of home made instruments.(Ergood and Kuhre 189) The relatively small size made the instruments easily transported from home to home. Ã Ã Ã Ã Ã The variance of topics in Appalachian music can not be numbered. The subject of a song can be anything from the pine trees on the highest mountain to the cool water in the stream at the bottom of the lowest holler or any thing in between. Anything seen heard or felt might have a song written about it. Another brand of Appalachian music honky tonk music was made popular by a man named Hiram (Hank) Williams. Songs about cheating harts and Honky Tonkin might no have been popular with the churches, but they were with the Appalachian workers in the city bars that couldn't be down home with there loved ones. Hank Williams, although not mentioned in our text had a high pitched pining sound that was common among Appalachian singers. Blue grass instruments carried over into this style of Appalachian music. Hillbilly as it is referred to in slang
Monday, January 13, 2020
On the 14th of February 1946, a talented artist was born to the Hines family. Gregory Hines started dancing with his older brother Maurice at the age of barely three years. Approximately two years after that, the Hines siblings made professional appearances in nightclubs across the country. Aside from the fact that the Hines brothers came from a family of performers, they were also practically exposed to tap dancing legends at that time namely Honi Coles, Sandman Sims, the Nicholas Brothers, and Teddy Hale, watching them at the backstage of Apollo Theatre. 1 GregoryÃ¢â¬â¢s career in tap dancing went on for a while with his brother and dad as they had international tours and show exposures on Ã¢â¬Å"The Tonight Show. Ã¢â¬ Little did he know that his next decisions would lead him to a long, exciting ride in his artistic growth. Gregory and his brother had relational and professional tensions that have piled up and, coupled with the declining interest of the public for tap dancing, the artist decided to leave his dancing group in 1973 to move to California. There, he formed the jazz-rock band called Severance. He was the bandÃ¢â¬â¢s songwriter, guitarist, and singer. His band split up before the end of the 70Ã¢â¬â¢s though and Gregory has to return to New York and resume on his dancing career. The Hines brothers got reunited to do a tribute to American ragtime composer and pianist, Eubie Blake in a production entitled, Eubie! This opened an opportunity for Gregory to get a Tony Award nomination. Several nominations would follow suit for his performances in CominÃ¢â¬â¢ Uptown (1979) and Sophisticated Ladies (1981). Hines also conquered the television world, which proved his versatility in acting. This earned him film credits having appeared in History of the World: Part I (1981), The Cotton Club (1984), and White Nights (1985). It was in television that GregoryÃ¢â¬â¢s talent was first recognized with an Emmy Award for his television feature, Gregory Hines: Tap Dance in America. 2 Then comes the next highlight to his careerÃ¢â¬âa Tony Award at last! Hines portrayed the older version of Jelly Roll Morton on a Broadway show entitled JellyÃ¢â¬â¢s Last Jam. In this show, he co-starred with Sammy Davis Jr. , his idol in the field. He has looked up to this great entertainer so much that when the latter was dying of throat cancer, he was there to visit. During the funeral of Sammy, Gregory spoke on how he felt like his idol believes that he can continue on from where Davis has left off. 3 Gregory Hines continued to be active in the entertainment industry from the stage, to television, to music, and even to film directing. His latest works would include an LP entitled, Gregory Hines, which was produced by no less than Luther Vandross. He also had television appearances in the popular contemporary comedy, Will and Grace. However, like all others, good things come to an end. Gregory Hines died in 2003 at the early age of 57. 4 With his death caused by liver cancer, he was then engaged to Negrita Jayde. 5 Tragic it may seem, but the bright side to it is, Gregory has not left this world colorless and meaningless. An article quote says it all: Ã¢â¬Å"Gregory Hines, the genial, suave dancer, singer and actor who for many personified the art of classical tap in the 1980Ã¢â¬â¢s and 90Ã¢â¬â¢s . . . Ã¢â¬ 6 References Britannica. Gregory Hines. Retrieved March 2, 2009, from http://www. britannica. com/EBchecked/topic/901439/Gregory-Hines Dunning, Jennifer. (2003). Gregory Hines, Versatile Dancer and Actor, Dies at 57. Retrieved March 2, 2009, from http://query. nytimes. com/gst/fullpage. html? res=9D05E4DF1031F932A2575BC0 A9659C8B63 Tap Legacy Foundation. (2007). Gregory Hines Tribute Site. Retrieved March 2, 2009, from http://www. taplegacy. org/gh/bio/bio. html Wikipedia. (2009, March 1). Gregory Hines. Retrieved March 2, 2009, from http://en. wikipedia. org/wiki/Gregory_Hines
Sunday, January 5, 2020