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Foster Or Group Home Care for Youth on Probation
FOSTER OR GROUP HOME CARE FOR YOUTH ON PROBATION August 2016 The Criminology Research Group The University of Montana, Missoula Patrick McKay Dusten Hollist Jessica Mayrer TABLE OF CONTENTS Introduction .................................................................................................................................................................................................... 1 Definitions ........................................................................................................................................................................................................ 1 Literature Review......................................................................................................................................................................................... 2 Family Foster Care Versus Group Home Care ........................................................................................................................ 2 Family Foster Care Outcomes .......................................................................................................................................................... 4 Mental and Physical Health ......................................................................................................................................................... 4 Education ................................................................................................................................................................................................ 5 -
Congregate Living Ordinance JOINT COMMITTEE PUBLIC WORKSHOP - SEPTEMBER 9, 2019
Social Service & Congregate Living Ordinance JOINT COMMITTEE PUBLIC WORKSHOP - SEPTEMBER 9, 2019 SIMPLE EFFICIENT THOUGHTFUL WWW.KEENEBUILDINGBETTER.COM Process for Zoning Amendment •Public workshop (Joint Committee) • September 9 • October 15 • Other? TONIGHT’s MEETING •Public Hearing (City Council) •PLD Committee makes recommendation to City Council •Council votes on Ordinance What is Zoning? .Divides the City into districts .Prescribes what can happen and where .Regulates placement, spacing & size of land & buildings RESIDENTIAL DISTRICTS COMMERCIAL & MIXED USE DISTRICTS Rural District Permitted Uses Dwelling, Single-Family Accessory Dwelling Unit PWC Manufactured Housing Park & Manufactured Housing Subdivisions Bed & Breakfast / Inn SEWC Group Home PWC Gravel Pits SE Home Occupation Incidental to Main Residential Use PWC Kennel PWC Outdoor Recreational Activity as a Business PWC Towers for Transmission, Communication, and/or Cellular Telephone Transmission SE Veterinary Establishment PWC Cemetery Noncommercial Outdoor Recreation Activity PWC Greenhouses or Nurseries for Raising of Flowers & Other Horticultural Products (Including raising of such products for sale on the premises) Harvesting of Forestry Products Raising & Selling of Farm Animals and/or Products Institutional Use SEWC Outdated Uses • Asphalt plant • Tannery • Rendering plant • Explosives manufacturing • Sanitarium • Convalescent home • Home for the aged LODGINGHOUSE GROUP HOME Current Regulations R LD LD-1 MD HD HD-1 O A CBL CB COM I IP HC Health Care Facility P Lodginghouse SE P Group Home P SE SE SE P P Institutional Use* SE SE SE SE SE SE SE P P P SE SE R = Rural MD = Medium Density O = Office CBL = Central Business Limited I = Industrial LD = Low Density HD = High Density A = Agriculture CB = Central Business IP = Industrial Park LD-1 = Low Density 1 HD-1 = High Density 1 COM = Commerce HC = Health Care *Subject to Street Listing in Zoning Ordinance Proposed Uses Congregate Living: Social Service: . -
Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York NEWSLETTER Volume XXXIV, No
Institute for Studies In American Music Conservatory of Music, Brooklyn College of the City University of New York NEWSLETTER Volume XXXIV, No. 2 Spring 2005 Jungle Jive: Jazz was an integral element in the sound and appearance of animated cartoons produced in Race, Jazz, Hollywood from the late 1920s through the late 1950s.1 Everything from big band to free jazz and Cartoons has been featured in cartoons, either as the by soundtrack to a story or the basis for one. The studio run by the Fleischer brothers took an Daniel Goldmark unusual approach to jazz in the late 1920s and the 1930s, treating it not as background but as a musical genre deserving of recognition. Instead of using jazz idioms merely to color the musical score, their cartoons featured popular songs by prominent recording artists. Fleischer was a well- known studio in the 1920s, perhaps most famous Louis Armstrong in the jazz cartoon I’ll Be Glad When for pioneering the sing-along cartoon with the You’ re Dead, You Rascal You (Fleischer, 1932) bouncing ball in Song Car-Tunes. An added attraction to Fleischer cartoons was that Paramount Pictures, their distributor and parent company, allowed the Fleischers to use its newsreel recording facilities, where they were permitted to film famous performers scheduled to appear in Paramount shorts and films.2 Thus, a wide variety of musicians, including Ethel Merman, Rudy Vallee, the Mills Brothers, Gus Edwards, the Boswell Sisters, Cab Calloway, and Louis Armstrong, began appearing in Fleischer cartoons. This arrangement benefited both the studios and the stars. -
3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (Guest Post)*
“3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (guest post)* De La Soul For hip-hop, the late 1980’s was a tinderbox of possibility. The music had already raised its voice over tensions stemming from the “crack epidemic,” from Reagan-era politics, and an inner city community hit hard by failing policies of policing and an underfunded education system--a general energy rife with tension and desperation. From coast to coast, groundbreaking albums from Public Enemy’s “It Takes a Nation of Millions to Hold Us Back” to N.W.A.’s “Straight Outta Compton” were expressing an unprecedented line of fire into American musical and political norms. The line was drawn and now the stage was set for an unparalleled time of creativity, righteousness and possibility in hip-hop. Enter De La Soul. De La Soul didn’t just open the door to the possibility of being different. They kicked it in. If the preceding generation took hip-hop from the park jams and revolutionary commentary to lay the foundation of a burgeoning hip-hop music industry, De La Soul was going to take that foundation and flip it. The kids on the outside who were a little different, dressed different and had a sense of humor and experimentation for days. In 1987, a trio from Long Island, NY--Kelvin “Posdnous” Mercer, Dave “Trugoy the Dove” Jolicoeur, and Vincent “Maseo, P.A. Pasemaster Mase and Plug Three” Mason—were classmates at Amityville Memorial High in the “black belt” enclave of Long Island were dusting off their parents’ record collections and digging into the possibilities of rhyming over breaks like the Honey Drippers’ “Impeach the President” all the while immersing themselves in the imperfections and dust-laden loops and interludes of early funk and soul albums. -
NSR 006 CELPH TITLED & BUCKWILD Nineteen Ninety Now CD
01. The Deal Maker 02. Out To Lunch (feat. Treach of Naughty By Nature) 03. Eraserheads (feat. Vinnie Paz of Jedi Mind Tricks) 04. F*ckmaster Sex 05. Swashbuckling (feat. Apathy, Ryu & Esoteric) 06. I Could Write A Rhyme 07. Hardcore Data 08. Mad Ammo (feat. F.T. & R.A. The Rugged Man) 09. Tingin' 10. There Will Be Blood (feat. Sadat X, Grand Puba, A.G., O.C. & Diamond) 11. Miss Those Days 12. Step Correctly 13. Wack Juice 14. Styles Ain't Raw (feat. Apathy & Chino XL) 15. Where I Are 16. Time Travels On (feat. Majik Most & Dutchmassive) Nineteen Ninety Now is finally here and a Hip Hop renaissance is about to begin! The art form is brought KEY SELLING POINTS: full-circle through this groundbreaking collaboration • Long awaited debut album from Celph Titled, who between underground giant Celph Titled and production already has gained a huge underground following as a legend Buckwild of D.I.T.C. fame! Showing that the core member of Jedi Mind Tricks' Army of the Pharaohs crew and his own trademark Demigodz releases. Also lessons from the past can be combined with the as a part of Mike Shinoda's Fort Minor project and tour, innovations of the present, these two heavyweight his fanbase has continued to grow exponentially artists have joined forces to create a neo-classic. By • Multi-platinum producer Buckwild from the legendary Diggin’ In The Crates crew (D.I.T.C.) has produced having uninhibited access to Buckwild’s original mid-90s countless classics over the last two decades for artists production, Celph Titled was able to select and record ranging from Artifacts, Organized Konfusion, and Mic to over 16 unreleased D.I.T.C. -
Die Panther Und Der Löwe
# 2000/18 dschungel https://jungle.world/artikel/2000/18/die-panther-und-der-loewe Common und Jeru The Damaja Die Panther und der Löwe Von Tobias Rapp Damit sich alles ändert, hat sich Common viele Freunde gesucht, damit alles bleibt wie es ist, kämpft Jeru The Damaja alleine. Eines der wichtigsten Dinge im HipHop ist die eigene Posse. Die Jungs, mit denen man zur Schule gegangen ist, mit denen man die Vorliebe für bestimmte Turnschuh-Marken oder Schallplattenläden teilt, die Jungs, die mit einem abhängen und die einem die Joints bauen. So sieht es zumindest in der Frühphase einer Rapper-Karriere aus, und je länger sie dauert, desto wichtiger werden die Leute, mit denen man sich umgibt. Andere Rapper kommen dazu, Produzenten, Leute aus dem Business, Dealer, auf die Verlass ist, Groupies in jeder Stadt, das volle Programm. All diese Menschen sind nicht nur wichtig für die soziale Rückkoppelung, man braucht sie auch, damit man aus der Gruppe hervortreten kann, um zu sagen, was man zu sagen hat, und danach wieder in sie zurückzutreten. Auf der Rückseite von »Like Water For Chocolate«, dem neuen Album von Common, grüßt dieser buchstäblich Hunderte von friends & allys, jeder Gruß ist versehen mit einer kleinen Bemerkung. Nimmt man »Heroz 4 Hire« zur Hand, das neue Album von Jeru The Damaja, sucht man vergeblich nach irgendwelchen Eintragungen, Jeru grüßt nur sich selbst. Das war einmal anders. Beide begannen ungefähr zur gleichen Zeit ihre Karriere, in den frühen Neunzigern. Common nannte sich damals noch Common Sense, sorgte für kein besonders großes Aufsehen, sondern war einer der zahllosen Rapper, die auf den Marktplatz spaziert kamen, einer von denen, für die sich vor allem HipHop-Aficionados interessierten. -
Karaoke Book
10 YEARS 3 DOORS DOWN 3OH!3 Beautiful Be Like That Follow Me Down (Duet w. Neon Hitch) Wasteland Behind Those Eyes My First Kiss (Solo w. Ke$ha) 10,000 MANIACS Better Life StarStrukk (Solo & Duet w. Katy Perry) Because The Night Citizen Soldier 3RD STRIKE Candy Everybody Wants Dangerous Game No Light These Are Days Duck & Run Redemption Trouble Me Every Time You Go 3RD TYME OUT 100 PROOF AGED IN SOUL Going Down In Flames Raining In LA Somebody's Been Sleeping Here By Me 3T 10CC Here Without You Anything Donna It's Not My Time Tease Me Dreadlock Holiday Kryptonite Why (w. Michael Jackson) I'm Mandy Fly Me Landing In London (w. Bob Seger) 4 NON BLONDES I'm Not In Love Let Me Be Myself What's Up Rubber Bullets Let Me Go What's Up (Acoustative) Things We Do For Love Life Of My Own 4 PM Wall Street Shuffle Live For Today Sukiyaki 110 DEGREES IN THE SHADE Loser 4 RUNNER Is It Really Me Road I'm On Cain's Blood 112 Smack Ripples Come See Me So I Need You That Was Him Cupid Ticket To Heaven 42ND STREET Dance With Me Train 42nd Street 4HIM It's Over Now When I'm Gone Basics Of Life Only You (w. Puff Daddy, Ma$e, Notorious When You're Young B.I.G.) 3 OF HEARTS For Future Generations Peaches & Cream Arizona Rain Measure Of A Man U Already Know Love Is Enough Sacred Hideaway 12 GAUGE 30 SECONDS TO MARS Where There Is Faith Dunkie Butt Closer To The Edge Who You Are 12 STONES Kill 5 SECONDS OF SUMMER Crash Rescue Me Amnesia Far Away 311 Don't Stop Way I Feel All Mixed Up Easier 1910 FRUITGUM CO. -
Media Ecologies: Materialist Energies in Art and Technoculture, Matthew Fuller, 2005 Media Ecologies
M796883front.qxd 8/1/05 11:15 AM Page 1 Media Ecologies Media Ecologies Materialist Energies in Art and Technoculture Matthew Fuller In Media Ecologies, Matthew Fuller asks what happens when media systems interact. Complex objects such as media systems—understood here as processes, or ele- ments in a composition as much as “things”—have become informational as much as physical, but without losing any of their fundamental materiality. Fuller looks at this multi- plicitous materiality—how it can be sensed, made use of, and how it makes other possibilities tangible. He investi- gates the ways the different qualities in media systems can be said to mix and interrelate, and, as he writes, “to produce patterns, dangers, and potentials.” Fuller draws on texts by Félix Guattari and Gilles Deleuze, as well as writings by Friedrich Nietzsche, Marshall McLuhan, Donna Haraway, Friedrich Kittler, and others, to define and extend the idea of “media ecology.” Arguing that the only way to find out about what happens new media/technology when media systems interact is to carry out such interac- tions, Fuller traces a series of media ecologies—“taking every path in a labyrinth simultaneously,” as he describes one chapter. He looks at contemporary London-based pirate radio and its interweaving of high- and low-tech “Media Ecologies offers an exciting first map of the mutational body of media systems; the “medial will to power” illustrated by analog and digital media technologies. Fuller rethinks the generation and “the camera that ate itself”; how, as seen in a range of interaction of media by connecting the ethical and aesthetic dimensions compelling interpretations of new media works, the capac- of perception.” ities and behaviors of media objects are affected when —Luciana Parisi, Leader, MA Program in Cybernetic Culture, University of they are in “abnormal” relationships with other objects; East London and each step in a sequence of Web pages, Cctv—world wide watch, that encourages viewers to report crimes seen Media Ecologies via webcams. -
Smifnwessun Jeru 17.12.11 DRESDEN Pressetext
krasscore concerts presents SMIF N WESSUN & JERU THA DAMAJA „90ies Rap X-Mas Special pt.2“ date: Sa. 17.12.2011 venue: Scheune Alaunstr. 36/40 01099 Dresden acts: Smif N Wessun (Brooklyn / NYC) Jeru tha Damaja (Brooklyn / NYC) special: AFTER-SHOW-PARTY mit DJ Access (New DEF / Dresden) Einlass: 21:00 Beginn: 22:00 Eintritt: 18 € im VVK (incl. After-Show-Party!) ohne Gebühren: in allen Harlem Stores, Supreme, Titus und Späti (Striesen) zzgl. VVK-Geb.: VVK bundesweit an allen VVK-Stellen, online unter www.krasscore.com/tickets und in Dresden z.B. bei Dresden Ticket, KoKa Florentinum & Schillergalerie allen SZ-Treffpunkten (Altmarktgalerie, Elbe Park, Karstadt, Seidnitz Center) & Sax-Ticket www.krasscore.com Seit 2001 kümmert sich die Crew von krasscore concerts um die Belange der Rap-Fans in Dresden & Umgebung. Seit letztem Jahr ist es nun fast schon Tradition, dass sich alle Ami-Rap Fans am letzten Samstag vor Weihnachten auf ein Highlight in dieser Sparte freuen können. Denn am 17.12. werden nach Group Home, Dilated Peoples, Lootpack, Black Milk, Sean Price, Brand Nubian, Camp Lo, Das EFX, Masta Ace und vielen anderen amerikanischen Rap- Größen endlich auch SMIF N WESSUN die Bühne der Scheune rocken - und das zum ersten Mal überhaupt in Dresden! Um die Sache richtig abzurunden, konnte der ebenfalls aus Brooklyn stammende JERU THA DAMAJA gewonnen werden, der nach über neun Jahren Pause Dresden erneut beehren wird. Und da Weihnachten nun mal die Zeit der Geschenke ist, möchte sich das Team von krasscore bei allen Gästen für die teilweise jahrelange Treue bedanken, weshalb die Karten für das X-mas-HipHop-Spektakel im Supreme & den Harlem Stores lediglich 18 Euro kosten. -
Williams, Justin A. (2010) Musical Borrowing in Hip-Hop Music: Theoretical Frameworks and Case Studies
Williams, Justin A. (2010) Musical borrowing in hip-hop music: theoretical frameworks and case studies. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11081/1/JustinWilliams_PhDfinal.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. -
Underground Rap Albums 90S Downloads Underground Rap Albums 90S Downloads
underground rap albums 90s downloads Underground rap albums 90s downloads. 24/7Mixtapes was founded by knowledgeable business professionals with the main goal of providing a simple yet powerful website for mixtape enthusiasts from all over the world. Email: [email protected] Latest Mixtapes. Featured Mixtapes. What You Get With Us. Fast and reliable access to our services via our high end servers. Unlimited mixtape downloads/streaming in our members area. Safe and secure payment methods. © 2021 24/7 Mixtapes, Inc. All rights reserved. Mixtape content is provided for promotional use and not for sale. The Top 100 Hip-Hop Albums of the ’90s: 1990-1994. As recently documented by NPR, 1993 proved to be an important — nay, essential — year for hip-hop. It was the year that saw 2Pac become an icon, Biz Markie entangled in a precedent-setting sample lawsuit, and the rise of the Wu-Tang Clan. Indeed, there are few other years in hip- hop history that have borne witness to so many important releases or events, save for 1983, in which rap powerhouse Def Jam was founded in Russell Simmons’ dorm room, or 1988, which saw the release of about a dozen or so game-changing releases. So this got us thinking: Is there really a best year for hip-hop? As Treble’s writers debated and deliberated, we came up with a few different answers, mostly in the forms of blocks of four or five years each. But there was one thing they all had in common: they were all in the 1990s. Now, some of this can be chalked up to age — most of Treble’s staff and contributors were born in the 1980s, and cut their musical teeth in the 1990s. -
Ls 5 2 7 4 8/1 1 / 9 5 MI K E OSB O R N E WB R U 88 BE
Ls5274 8/11/95 MIKE OSBORNE WBRU 88 BENEVOLENT SI PROVIDENCE RI 02906 CLUB NOUVEAU RIp-It Records A Deleon Of Bar-Be' Jet Enterteinfnent Group. Inc. vc_rythins I black flaturing tfl.(_ hit ins,1 as 1.«IL It QIP-IT QE:20112D6 • 715 N. Ferncreck Ave. • Olando. FL 5280_ • (407) 898-2009 AUGUST II, 1995 VOLUME XIX NUMBER 23 Cover Story Impromp2 24 s e clt Publisher's Page 5 News 6 Music Report I 0 Music Reviews 16 Yesteryear/Starview 46 csalluLarirwase Jazz Notes I 5 BRE Flix 18 Video Visions 20 Hip Hop Era 21 In Other Media 22 Gospel 23 last Word 46 cilkvarties 19r. iress ea• miii Singles Chart 12 Album Chart 14 The Sweetest Sixteen New Music 9 Jan Chart 15 Not even a full year has passed since Brandy's self-titled debut album on Atlantic hit the market, ne./3 icsrua w eipmsa rt s and this sixteen-year-old is at the top of the R&B heap. She beat out such multi-platinum artists as Carolinas 27 Mid Atlantic 29 Janet Jackson, Mary J. Blige, and Anita Baker at the Lady Of Soup Awards. She strolled away with four Ohio Valley 30 of the coveted statuettes, winning in every category she was nominated. On top of all of this, Brandy North East 31 Mid South 33 was named spokeswoman for the 1995 Sears/Seventeen Peak Performance Scholarship Program and Mid West 35 Tour. The program's aim is to empower and help young women achieve their personal goals. South East 39 West 41 Here's to the little lady of soul.