![]() “After a decade of feeling like I’d become a caricature of myself in some ways, he was like: ‘I really want to know what’s going on deep inside of you,’” she says. Kesha credits the zen-like Rubin for creating an environment where she felt comfortable enough to reveal herself emotionally. ‘I’m always cognisant of the litigation even when I’m just telling the truth’ … Kesha is stripped bare on Gag Order. I also realised that there’s an element of people-pleasing in just trying to give people what they want from me.” As the woman who wrote Tik Tok and ‘the party don’t start until I walk in’, I didn’t think anyone needed or wanted that side of my psyche. “I was doing a disservice to the whole of my being. “I realised that I, almost to the point of toxic positivity, was trying to really amplify that side of my personality,” she says, utilising, as she does throughout our interview, the language of therapy and self-help teachings. In stark contrast, the tellingly titled Gag Order – a plain-speaking, minimal record that touches on death, depression, emotional exploitation, control, hope and a battle for the truth – sheds so many layers that only the core remains. But Kesha’s early, defining songs were pushed through a default filter that read as “fun and numb”, a sound she felt compelled to return to on 2020’s muddled High Road, with its partial reclamation of her party girl persona. “When I’m finished, they won’t even know your name,” she sings at one point. Muzzled in interviews for fear of jeopardising her ongoing legal case, she managed to hint at her emotional state on the album’s lead single, Praying. Still signed to Gottwald’s label, Kemosabe Records, an imprint of Sony, she eventually released her third album, the rockier, more inward-looking Rainbow in 2017. Instead of what other people want or expect, this was about what truly needs to be excavated from inside of meĬreatively, Kesha was left in limbo. In 2016, Kesha’s case was dismissed, and Gottwald – who has always denied the allegations – sued for defamation. Later that year she filed a lawsuit against Dr Luke (real name Lukasz Gottwald), claiming he had sexually and emotionally abused her over a 10-year period. Then, in 2014, the party stopped: Kesha dropped the dollar sign from her name and checked herself into rehab for an eating disorder. Critics hated her while her fiercely loyal fans, or Animals, connected to her outsider spirit, and the hits – all of them made with Pink and Katy Perry producer Dr Luke – kept coming. Having blazed a trail through the pop cosmos in late 2009 via messy, hedonistic banger Tik Tok, all smeared glitter, sexual liberation and talk of brushing her teeth “with a bottle of Jack”, Kesha (or Ke$ha as she was then) was the perfect soundtrack for a disfranchised generation pepped up on post-recession nihilism. I share a lot of ugly emotions on this album.” The ones that are more scary, and more vulnerable, and more insecure. “The ones that I want to never talk about, that I never want to share with the greater public. “With this album I actually got to get really intimate and expose the sides of myself that I’m not the most proud of,” she says, shuffling for a comfy spot on her bed, her laptop wobbling as she lays down on her side. It heralds an album quite unlike anything the 36-year-old LA-native, born Kesha Rose Sebert, has released before. “I searched for answers all my life / Dead in the dark, I saw the light,” she sings over wheezing synths and a distant bass rumble that eventually breaks like a clap of thunder. That night inspired Eat the Acid, the deeply hallucinatory, minor-key lead single from her Rick Rubin-produced fifth album, Gag Order. “I was like: ‘What the fuck are you talking about? You’re saying what I’ve been doing therapy for, and meditating for, and searching for, was to have an incredibly surreal, terrifying, nearly psychedelic experience?’ They were all, like: ‘Yep, that’s the goal.’” “I woke up in the morning and called all my healthcare workers and explained what happened, and they all said: ‘Oh that’s a spiritual awakening, congratulations.’” She shakes her head. ![]() One night, after weeks of looking for answers, she started hearing “what some might call God, what some might call your higher consciousness” via a two-hour-long, completely sober encounter she initially mistook for a psychotic break. Having spent the early lockdown months paralysed by anxiety and consumed by the weight of both personal and global trauma, she suddenly felt “overwhelmed by so many things I hadn’t taken the time to stop and think about”. I n April 2020, months after the release of her fourth album, High Road, Kesha had a “beautiful and terrifying” spiritual awakening.
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![]() Just last week, Ed Sheeran battled a heinous copyright trial that essentially hinged on the fact that the singer had mixed his track, “Thinking Out Loud”, into Marvin Gaye’s “Let’s Get It On” at a concert once. ![]() Over The Beatles’ unmistakable concoction of dreamily distorted guitar, shaking tambourines, and tender drums, RZA revelled in the timeless track. The group also performs The Beatles’ “Come Together”, the entire crowd singing the chorus at Wu-Tang’s request. An extended bit later finds the crowd bellowing at the group to highlight the decade they were born in (judging by the reaction, there are people from the ‘70s right up to some Noughties kids inside Spark Arena), which also serves to highlight the enduring popularity of East Coast hip hop. “Ol’ Dirty Bastard loved women… where are all the women at?” one member shouts with a laugh, paying odd homage to their former member who passed away in 2004. ![]() Wu-Tang Clan don’t have as many serious moments, but they make up for it with an abundance of effortless energy, keeping the crowd involved. Midway through the show, the music suddenly ceases, the crowd obediently falls silent, and it’s just Nas and his preternatural spitting, the king holding court. He performs classics from Illmatic – his debut album that turns 30 next year – as if he’s just dreamed up their powerful lyrics on the spot. If they ever mould a Mount Rushmore of Hip Hop, the Brooklynite would have a stronger claim than most to have his face carved on it. Champagne is gleefully sprayed at the crowd multiple times fulsome hugs are exchanged in between almost every track Wu-Tang Clan bond again and again with their fans through powerful shouts of, “Wu-Tang Forever!”Ī post shared by Tony Starks – Wu Tang – anyone worrying that this tour was an exercise in nostalgia, they need only witness Nas’ performance. “We’re in an Auckland state of mind,” Nas says happily at one point, and it’s clear just how much fun everyone on stage is having. They shout out to their hometown several times, always remembering where the music came from even as the NY State of Mind tour has taken them to numerous continents over the past year. ![]() Big screens behind the rappers constantly show visuals of NYC, from instantly iconic skyline views to clips of the city’s grimy subway. The history of Wu-Tang Clan and Nas is the history of hip hop, but it’s also the history of New York City. They also proudly remind the crowd that this year marks the 50th anniversary of hip hop, and it’s impressive just how much of that time both Wu-Tang Clan and Nas have been involved in the genre to be at the forefront of an artform for 30 of its 50 years is a staggering achievement. The Auckland show coincides with Ghostface Killah’s birthday, and a massive cake with a microphone and the Wu-Tang emblem on it is wheeled out as the show comes to a close. They dovetail wonderfully onstage, as if Nas is the long-lost 11th member of Wu-Tang, finally reunited with his rightful group.Īnd as the members of Wu-Tang Clan make clear throughout the night, there’s a lot to celebrate. There’s a reason the co-headlining NY State of Mind tour was nominated for Pollstar’s 2022 Hip Hop Tour of the Year: Wu-Tang Clan and Nas have collated a truly joyous show, an infectious celebration of their packed discographies. Watching most of the crowd last night, warm with adulation for Wu-Tang Clan and Nas, it was obvious that an even heavier thunderstorm wouldn’t have stopped them making it to this one. Fans only found out a handful of hours before that the hip hop legend’s show was going ahead, but a remarkably healthy number still made it to Spark Arena. ![]() Use the color well to change the glow color drag the Radius dial to change the glow thickness or tap the Blur field, then use the keypad to extend the glow effect in a horizontal (X) or vertical (Y) direction.Īdd a drop shadow: Turn on Drop Shadow, then adjust any of the controls below it. Use the color well to change the outline color drag the Width dial to change the outline thickness or tap the Blur field, then use the keypad to smear the outline in a horizontal (X) or vertical (Y) direction.Īdd a color glow: Turn on Glow, then adjust any of the controls below it. Scroll down in the Text tab of the inspector, then do any of the following:Īdd a color outline: Turn on Outline, then adjust any of the controls below it. Tap Inspect in the lower-left corner of the screen, tap at the top of the inspector, then tap Text, Text 1, or Text 2 (under Text Layers). In the viewer, tap the title text you want to modify, then tap it again. To restore the title clip to its default background, tap to the right of Background, then tap Default. In the viewer, the title is now superimposed over any clips underneath it in the timeline. Make the background transparent: Tap to the right of Background, then tap Off. The background changes to Custom Color 1. Make the background a single solid color: Tap to the right of Background, then tap Solid Color. Under Options in the inspector, do any of the following:Ĭhange the background colors: Tap any of the color wells (Custom Color 1, Custom Color 2, and so on), tap a different color in the palette, then tap outside the palette to close it. Tap Inspect in the lower-left corner of the screen, then tap at the top of the inspector. Tap a title clip in the timeline, then drag the playhead over the clip (to see the text in the viewer). In Final Cut Pro for iPad, open a project. Create areas of transparency with masksįor full-screen titles (titles that have an opaque, colored background), you can modify the default colors or make the background transparent.Use the Flow transition to merge jump cuts.Adjust depth of field in Cinematic mode clips.Adjust the focus in Cinematic mode clips.Change the focus in Cinematic mode video. ![]() Start a Final Cut Pro for iPad subscription. ![]() View prices, photos, virtual tours, floor plans, amenities, pet policies, rent specials, property details and. If you believe that your apartment community would like to have Amenify’s services available, feel free to reach out to to let us know. Panorama Apartments generates approximately USD 143717 in revenue annually, and employs around 2. Panorama 1100 University Street, Seattle, WA 98101 (12 Reviews) 5,532/mo Share Feedback Write a Review Leave a Video Review New View Community Timeline Move-In Specials Black Friday Special: No rent until January of 2019 Call for details. 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Their authors might rightly point out that the purpose is implied, but a formal definition requires us to make it plain: Why do we ask students to self-assess? I have long held that self-assessment is feedback ( Andrade, 2010), and that the purpose of feedback is to inform adjustments to processes and products that deepen learning and enhance performance hence the purpose of self-assessment is to generate feedback that promotes learning and improvements in performance. What is missing from each of these definitions, however, is the purpose of the act of self-assessment. This very broad conception might seem unwieldy, but it works because each object of assessment-competence, process, and product-is subject to the influence of feedback from oneself. Taken together, these definitions include self-assessment of one's abilities, processes, and products-everything but the kitchen sink. ![]() ![]() ![]() Self-monitoring “refers to the ability to notice our own actions, curiosity to examine the effects of those actions, and willingness to use those observations to improve behavior and thinking in the future” (p. (2008) defined “concurrent self-assessment” as “ongoing moment-to-moment self-monitoring” (p. (2016a) defined it as a “wide variety of mechanisms and techniques through which students describe (i.e., assess) and possibly assign merit or worth to (i.e., evaluate) the qualities of their own learning processes and products” (p. What is Self-Assessment?īrown and Harris (2013) defined self-assessment in the K-16 context as a “descriptive and evaluative act carried out by the student concerning his or her own work and academic abilities” (p. I will draw those distinctions in terms of the purposes of self-assessment which, in turn, determine its features: a classic form-fits-function analysis. Each of those activities involves some kind of assessment of one's own functioning, but they are so different that distinctions among types of self-assessment are needed. Without exception, reviews of self-assessment ( Sargeant, 2008 Brown and Harris, 2013 Panadero et al., 2016a) call for clearer definitions: What is self-assessment, and what is not? This question is surprisingly difficult to answer, as the term self-assessment has been used to describe a diverse range of activities, such as assigning a happy or sad face to a story just told, estimating the number of correct answers on a math test, graphing scores for dart throwing, indicating understanding (or the lack thereof) of a science concept, using a rubric to identify strengths and weaknesses in one's persuasive essay, writing reflective journal entries, and so on. Defining and Operationalizing Student Self-Assessment My review of the growing body of empirical research offers a critical perspective, in the interest of provoking new investigations into neglected areas. The treatment of theory presented here involves articulating a refined definition and operationalization of self-assessment through a lens of feedback. A lot of research has been done on the subject since then, including at least two meta-analyses hence this expanded review, in which I provide an updated overview of theory and research. The timespan for the original review was January 2013 to October 2016. This review of research on student self-assessment expands on a review published as a chapter in the Cambridge Handbook of Instructional Feedback ( Andrade, 2018, reprinted with permission). ![]() If you want to experience such wonderful features at a discounted price, don’t hesitate to enter your Cisdem coupon code and discount code below at checkout. 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In the wake of Rescuers, the hunt was on for a project that could bring Mickey into the ’90s. The Prince and the Pauper (1990) Image: Walt Disney Animation ![]() But when Rescuers bombed, so did Mickey’s reemergence, leaving the mouse hopelessly old fashioned in the collective mind of mass pop culture. In 1990, George Scribner directed “The Prince and the Pauper,” a charming 30-minute film that starred two classically styled Mickeys, and was shown before The Rescuers Down Under. The mouse’s 60th anniversary in 1988 was nearly as synergistic as in 2018, with a new (albeit temporary) land at Walt Disney World, a primetime special that co-starred Roger Rabbit, and a redesign that turned Mickey into a laid back, just-off-the-set-of- Miami Vice type. It stood to reason that Mickey Mouse, the company’s mascot, and a truly enduring global icon, could use a reinvention too. Aladdin, The Little Mermaid and Beauty and the Beast weren’t merely animated features they were cultural phenomena, collecting critical acclaim, box office glory and multiple Oscars. “That is our legacy.”Įisner and the creative teams restored Disney Animation to the creative and commercial heights not seen since Walt’s heyday. “We have to,” Eisner told Diane Sawyer on 60 Minutes in the summer of 1988, when asked about whether or not the company could continue to afford making animated movies. After two decades of creative stagnation following the death of Walt Disney, Eisner made it a priority to return the company’s animation division to prominence. But months before the film was scheduled to be released, a new management team, led by Michael Eisner, Frank Wells, and Jeffrey Katzenberg, took over the company. The 1984 release of The Black Cauldron, a hugely expensive dud, could have led to the unit’s demise. Welcome to the “lunatic fringe”īy the early 1990s, Walt Disney Feature Animation, as it was known then, had narrowly escaped catastrophe. How “Runaway Brain” came to be, and why it’s been deemed a forbidden object in the years since, is one of the weirder stories in modern Disney history. The short is not locked in the Disney Vault, it’s seemingly buried underneath it in a lead-lined box. Despite being nominated for an Oscar in 1996, playing out of competition at the Cannes Film Festival that May, and being, at the time, the first true Mickey Mouse theatrical short to play for theatrical audiences in more than 40 years has been all but erased from existence. Noticeably absent from the synergistic festivities, however, was the unearthing of the 1995’s “Runaway Brain,” which fans of Disney Animation have longed to see again. Mickey’s entire career was celebrated company-wide for a full year, honoring his debut in “Steamboat Willie” in 1928 through his iconic appearance as “The Sorcerer’s Apprentice” in Walt Disney’s masterpiece Fantasia and more recent accomplishments like the Oscar-nominated short “Get a Horse” and the wildly popular Paul Rudish TV series. ![]() There was a 16,000-foot art exhibition in New York, a primetime TV special on ABC led by Kristen Bell and Dwayne Johnson, and a number of high profile collaborations with brands like Coach, Vans, and Marc Jacobs. In 2018, Disney celebrated Mickey Mouse’s 90th birthday with a cavalcade of cross promotions. They can save all connection-specific setup things such as the connection type, server, terminal behavior, look, etc. Its Stored Sessions feature essential if you are often connected to several sites. PuTTY’s most distinguishing feature is its Configuration interface.When you finish the configuration, click the Open link to your preferred server.PuTTY sets the port by the connection, and If the server is being used as a non-standard port, you can supersede it. Still, you will use SSH as the default most of the time. Telnet, SSH, and Rlogin are distinct protocols with different advantages.To access a remote server, type its IP address or Domain Name into the appropriate box. ![]() You might want to read: Interesting Ways To Decrypt Your Old DVD Collection On Mac Once MacPorts is installed, just run the following command: Sudo port installation of putty and create a desktop shortcut, You can also use Automator to build an application that will run within the Applications folder. It is most likely associated with PuTTY’s need to begin the XQuartz backend hence you should ignore it. There might be a little lag between launching the message and the program. ![]() In the terminal, type putty as a query and hit Enter.Ī configuration box appears, allowing you to select the network connection and other parameters for the PuTTY session.You may run PuTTY in two ways after installing it: When it’s done, make a PuTTY shortcut by running the command line: STEP 4 = Allow the installation process to complete. STEP 3 = When prompted, if you wish to proceed with the installation, type y, and press Enter. STEP 2 = Enter a password and confirm by pressing Enter. ![]() STEP 1 = Launch a terminal (Finder > Go > Utilities > Terminal) and type: To download PuTTY for Mac, here’s what you need to do: One may need to use Homebrew (a package manager for Macs that makes installing multiple kinds of software like Git, Ruby, and Node a simpler process) to install PuTTY this does not include the GUI element of PuTTY.
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