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ED390648.Pdf
DOCUMENT RESUME ED 390 648 SE 056 959 AUTHOR Poole, Michael TITLE Beliefs and Values in Science Education. Developing Science and Technology Education. REPORT NO ISBN-0-335-15645-2 PUB DATE 95 NOTE 146p. AVAILABLE FROM Open University Press, Suite 101, 1900 Frost Road, Bristol, PA 19007 (hardcover: ISBN-0-335-15646-0; paperback: ISBN-0-335-15645-2). PUB TYPE Reports Evaluative/Feasibility (142) Books (010) EDRS PRICE MF01/PC06 Plus Postage. DESCRIPTORS *Beliefs; *Cultural Influences; Elementary Secondary Education; Foreign Countries; Moral Values; Science Curriculum; Science Instruction; Social Values; Student Attitudes; Technology; *Values ABSTRACT This book asserts that beliefs and values are integral to the scientific enterprise and the theory and practice of education and hence science education, and that it is desirable to explore such matters in the classroom. It aims at helping science teachers demonstrate how spiritual, moral, social, and cultural factors affect science. Chapter 1, "Everybody Needs Standards," begins by looking at ways in which beliefs and values are located within science and within education and moves on to fundamental matters about the bases of belief systems. Chapter 2, "What Science Cannot Discover, Mankind Cannot Know?" considers how beliefs about the nature of the scientific enterprise have affected popular views about the status of science, and the particular educational task this presents. The ways in which beliefs and values affect the language of science, its models, and metaphors, is the theme of chapter 3, "Every Comparison Has a Limp." Chapter 4, "Wanted! Alive or Dead," addresses issues of environmental beliefs and models. Chapcer 5, "In the Beginning," deals with teaching about the Earth in space and traces out current interest in metaphysical as well as physical questions about origin. -
Something's Got to Give
B reakthrough Breakthrough Britain II Britain II Something’s Got to Give: The state of Britain’s voluntary and community sector SOMETHING’S GOT TO GIVE The state of Britain’s voluntary and community sector December 2013 £25.00 The Centre for Social Justice 4th Floor, Victoria Charity Centre, 11 Belgrave Road The Centre for Social Justice London SW1V 1RB ISBN: 978 0 9573587 6 8 www.centreforsocialjustice.org.uk @CSJThinktank contents Contents About the Centre for Social Justice 2 Preface 3 Members of the CSJ Voluntary Sector Working Group 5 Special thanks 10 Chairman’s foreword 11 Executive summary 14 Introduction 23 1 The state of the sector 31 1.1 A snapshot of the sector’s finances 32 1.2 Weak charitable giving 34 1.3 Concentration of resources 36 1.4 The causes people give to 37 1.5 Changing nature of the sector 39 1.6 The place of trusts and foundations 39 1.7 Conclusion 41 2 Commissioning public services from the voluntary sector 43 2.1 Historic trends 44 2.2 Current trends 45 2.3 The private sector 47 2.4 The commissioning relationship between the state and the voluntary sector 50 2.5 Conclusion 62 3 Social action 63 3.1 Voluntary sector cold spots 63 3.2 Government initiatives 69 3.3 Volunteering 78 3.4 Faith-based organisations 82 3.5 Conclusion 85 4 Social investment 87 4.1 Progress so far 89 4.2 The potential for social investment 92 4.3 Challenges to growth 93 4.4 The scope of social investment 101 4.5 Conclusion 102 5 Conclusion 103 Something’s Got to Give | Contents 1 About the Centre for Social Justice The Centre for Social Justice (CSJ) aims to put social justice at the heart of British politics. -
Mick Taylor © Felix Aeppli 07-2020 / 08-2021
Blues Breaker Mick Taylor © Felix Aeppli 07-2020 / 08-2021 5001 January 17, 1949 (not 1948) Born in Welwyn Garden City, Hertfordshire: Michael Kevin (not James) Taylor. 5001A 1963 Hatfield, Hertfordshire, or London: THE STRANGERS, MEET THE STRANGERS (One-sided 10" acetate, 1963): 1. A Picture Of You (Beveridge, Oakman), 2. The Cruel Sea (Maxfield), 3. It’ll Be Me (Clement), 4. Saturday Night At The Duck Pond (Owen, based on a section from Tchaikovsky's Swan Lake) MT, Alan Shacklock: guitar; Malcolm Collins: vocals (1, 3); John Glass (later Glascock): bass; Brian Glass (later Glascock): drums. 5001B 1964 Hatfield, Hertfordshire, or London: THE JUNIORS, Single (Columbia DB 7339 [UK], Aug. 1964); MADE IN ENGLAND VOL. 2 – BRITISH BEAT SPECIAL 1964 - 69 (LCD 25-2, CD [France], Spring, 2000): 1. There’s A Pretty Girl (Webb), 2. Pocket Size (White) MT, Alan Shacklock: guitar; Malcolm Collins: vocals; John Glass (later Glascock): bass; Brian Glass (later Glascock): drums. 5002 May, 1967 Probably London THE GODS (THOR, HERMES, OLMPUS, MARS), Single (Polydor 56168 [UK], June, 1967): 1. Come On Down To My Boat Baby (Farrell, Goldstein), 2. Garage Man (Hensley) NOTES: Cuts 1, 2: MT’s participation in this session is very much open to speculation and his own interviews on the subject are full of contradictions; most likely MT had taken part in some live shows, but he never was in THE GODS’ actual line-up (Lee Kerslake: guitar; Ken Hensley: organ, vocals; John Glascock: bass, back-up vocals; Brian Glascock, perhaps alternating with Lee Kerslake: drums); – Nor is MT identical with MICK TAYLOR playing guitar and singing on a Single (CBS 201770 [UK], June, 1965), London Town, Hoboin’ (both Taylor - produced by Jimmy Duncan and Peter Eden); or involved in Cockleshells (Taylor), a track recorded by MARIANNE FAITHFULL (NORTH COUNTRY MAID, Decca LK 4778 [UK], Feb. -
Chrysalis Records to House New Music Again As a Frontline Label
Bulletin YOUR DAILY ENTERTAINMENT NEWS UPDATE FEBRUARY 26, 2020 Page 1 of 14 INSIDE Chrysalis Records to House • K-Pop Music New Music Again as a Frontline Label Festival in LA Postponed Over BY RICHARD SMIRKE Coronavirus Fears • Bob Iger Leaving Chrysalis Records, one of the U.K.’s seminal indepen- throughout the ‘70s and ‘80s, including Jethro Tull, Disney, Bob Chapek dent labels, is to be relaunched as a frontline label, Procol Harum, Blondie, Pat Benatar, Huey Lewis and Named New CEO releasing new music for the first time in more than the News, Ultravox, Spandau Ballet, Sinead O’Connor, two decades. The Specials and numerous others. • FBI Indicts Man for The London-based label’s first signing is Brit The label was sold to EMI in 1991 who continued Ticketfly Hack That Compromised 27M Award-winning British singer-songwriter Laura Mar- to run it as a standalone imprint, achieving huge do- Accounts ling, formerly of Virgin EMI, whose last album, 2017’s mestic success with British pop star Robbie Williams, Semper Femina, was released independently through before being folded into EMI Records. • AIRE Radio Kobalt’s label services division. Lascelles’ first reign at Chrysalis ran from 1994 to Networks Signs J Alvarez to Newly- Her first album for the newly reborn Chrysalis 2011, when it was sold to BMG. Warner subsequently Created Marketing Records will be released later this year in partnership bought the business as part of the deal for Parlophone Platform, Artistas360 with Partisan Records as a co-branded global release. Records. Lascelles and Robin Millar’s Blue Raincoat Further signings will be announced in the coming Music company acquired the mothballed label in • Ryman Hospitality’s months, Chrysalis CEO tells Bill- 2016, returning it to independent ownership. -
Fab Distribution
F.A.B. DISTRIBUTION NEW RELEASE for the week of Feb 19, 2021 PRIORITIES & HIGHLIGHTS >> Pre-Order Now! ATARIS "Look Forward To Failure (EP)” (FAT WRECK) FAT581 10" March 12 street date. First time on vinyl! "Look Forward To Failure" is a 6 track EP, originally released in 1998. The EP was the first appearance of feature fan favourite "San Dimas High School Football Rules", a song that would later appeared on "Blue Skies, Broken Hearts...Next 12 Exits". The version of "My Hotel Year" that appears on this EP is the electric version and contains an extra verse at the end. The version that ended up on "Blue Skies" was acoustic and shortened. BOWERBIRDS "becalmyounglovers" (PSYCHIC PSY010 CD BOWERBIRDS "becalmyounglovers (teal)” (PSYCHIC PSY010LPC1 LP April 30 street date. "becalmyounglovers" is as much a return as it is a farewell. Phil Moore's first Bowerbirds album since 2012 is an artifact of transition, a domino effect of doors closing and Moore stumbling headfirst into the uncertainty of what comes after a life fundamentally changes. Like a polaroid slowly swimming into focus, "becalmyounglovers" reconciles the memories of yourself in relation to another person, and then what's unearthed when you're left to face your identity alone - and which one of those selves is true? Written and recorded mainly in an isolated cabin hand built by Moore and his ex-partner, out in Siler City, North Carolina, "becalmyounglovers" chronicles a long-term relationship's death rattle, inevitable breakup, and its immediate aftermath - and Moore's getting to understand himself better in the process. -
Rolling Stones - Connection
Rolling Stones - Connection Relevant Recent Additions To “The Ultimate Guide” © Felix Aeppli 2019-07-23 0.225A 1972 SINGLE, LONDON/KING RECORDS Q-4 (JAPAN) A Little Queenie (Berry) B Love In Vain (Johnson) Side A: Recorded at Madison Square Garden, New York City, November 28, 1969 (early show). Side B: Recorded at Civic Center, Baltimore, Maryland, November 26, 1969. NOTES: Side A: Special edition featuring an edited intro. 0.229B FEBRUARY 11, 1973 WESTERN SPRINGS STADIUM, AUCKLAND, NEW ZEALAND 1 Brown Sugar 4 Gimmie Shelter Song 1 (lip-synched): Circulated on video (professional multi-camera recording). Songs 1, 4 (both incomplete [4 lip-synched]), Line 14: Shown in an unidentified New Zealand news clip, February, 1973. 1142C 1983 New York City: MICK JAGGER & DAVID LEE ROTH, THE INSIDE TRACK # 15 (D.I.R. Broadcasting, no catalogue number, May, 1983): 1. Mick Jagger Interview by Lisa Robinson. 3422A 2018 or early 2019 Probably New York City: KR interview for “John Lee Hooker: The Boogie Man” (directed by Todd Austin; BBC Four, April 26, 2019). 3422B 2018 or early 2019 KR’s house in Weston, Connecticut: KR interview for “Remastered - Devil At The Crossroads” (Robert Johnson documentary, directed by Brian Oaks; Netflix streaming, April 26, 2019 [US]). 6107B February 5, 2003 Stan Levey’s home, Los Angeles: “Stan Meets Charlie” (directed by Arthur Shelby Pritz; YouTube/Shearman Oaks video stream, May 24, 2019) CW, Jim Keltner, Harvey Kubernik, Stan & Angela Levey in conversation; also CW interview (recorded at a later date). 8182A April 21, 1993 Ceremony at the Eglise Collegiale and Party at the Restaurant La Colombe d’Or, St. -
DENNIS MUIRHEAD Accredited Mediator Trained by ADR Chambers
MPA MEDIATION SERVICE MEDIATOR: DENNIS MUIRHEAD Accredited Mediator trained by ADR Chambers "Dennis mediated a dispute for me that was blurred by the emotional interests of the other party. His ability to clarify and rationalise the situation meant he could diffuse these emotions and ultimately succeed in identifying a commercially viable resolution for both parties." Music Industry Investor Dennis Muirhead has been an accredited Mediator trained by ADR Chambers experienced in music industry and general commercial matters since 2002. He read law at the University of Adelaide and practised in South Australia for three years You may know him as the co-founder of the law firm Simons Muirhead & Burton , established in London in 1972. There he practised criminal law as an advocate specialising in drugs law and capital offences, also in defamation, immigration and the music industry. From 1977-1979 he was Counsel assisting the South Australian Royal Commission into the non-medical use of Drugs Dennis has chaired two leading drugs charities ( City Roads Crisis Intervention and ISDD now Drugscope ) , also the Fulham Legal Advice Centre and the Metropolitan Police Juvenile Mediation Scheme Islington Steering Committee 1972-1998. In 1982, Dennis established Muirhead Management and Muirhead Music to manage record producers, engineers, artists and in music publishing. He was probably the first person globally to manage record producers, in particular four times Grammy Award winning producer Hugh Padgham , (XTC, Peter Gabriel, Split Enz, The Police, Sting, Phil Collins, Genesis, Julia Fordham, Paul McCarthy, Melissa Etheridge), Eddy Offord (Yes, ELP, John Lennon and Lindisfarne), Robin Millar (Sade, Patricia Kass) and Nick Patrick (Russell Watson) amongst many others. -
Wonderful Life and Before Essay #1 in the Series the Music of Black (Colin Vearncombe) by Andrew Keeling
Wonderful Life and before Essay #1 in the series The Music of Black (Colin Vearncombe) by Andrew Keeling 1. Background 2 2. Wider Background 3 3. The Early Music 4 Human Features 4 More Than The Sun 5 4. Wonderful Life - 1 6 5. Wonderful Life – 2 8 Wonderful Life 13 Everything’s Coming Up Roses 15 Paradise 16 Sweetest Smile 17 It’s Not You, Lady Jane 18 Hardly Star-Crossed Lovers 19 6. Coda 19 Musical Examples 21 Foreword I didn’t know much about Black (Colin Vearncombe) before wriDng this essay. Probably like many people I was aware of his mid-1980s hit, Wonderful Life although only through a television commercial. Although I’d played in Blackpool new wave ouPit Thruaglas Darkly, by the Dme Black came to prominence I’d decided to return to university in a part-Dme capacity to study for a music degree – knowing that the creaDve musical developments of the early 1980s had largely disappeared – eventually pursuing postgraduate degrees at the University of Liverpool and the University of Manchester. The reason I menDon this, is that by the mid-1980s I was distanced from mainstream culture along with the nostalgia associated with the period. Paradoxically, this opened-up an objecDve approach where musical judgements could be made without being shrouded by subjecDve memories of music and period. By mid-2016, my daughter had invited my wife and I to leave the UK and live in Ireland, the same Dme as Colin Vearncombe died tragically in a car accident. LiXle did I know then that the songwriter also lived on the ‘emerald isle’. -
Sade Diamond Life Mp3, Flac, Wma
Sade Diamond Life mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Funk / Soul Album: Diamond Life Country: US Released: 1985 Style: Smooth Jazz, Soul-Jazz MP3 version RAR size: 1369 mb FLAC version RAR size: 1642 mb WMA version RAR size: 1857 mb Rating: 4.9 Votes: 607 Other Formats: MP3 APE VQF MP4 AIFF ASF WAV Tracklist Hide Credits Smooth Operator A1 4:54 Written-By – St. John*, Adu* Your Love Is King A2 3:57 Written-By – Adu*, Matthewman* Hang On To Your Love A3 5:58 Written-By – Adu*, Matthewman* Frankie's First Affair A4 4:33 Written-By – Adu*, Matthewman* When Am I Going To Make A Living A5 3:25 Written-By – Adu*, Matthewman* Cherry Pie B1 6:16 Written-By – Hale*, Denman*, Adu*, Matthewman* Sally B2 5:19 Written-By – Adu*, Matthewman* I Will Be Your Friend B3 4:39 Written-By – Adu*, Matthewman* Why Can't We Live Together B4 5:27 Written-By – Thomas* Companies, etc. Recorded At – Power Plant Studios Mastered At – Frankford/Wayne Mastering Labs Pressed By – Columbia Records Pressing Plant, Carrollton, GA Manufactured By – Portrait Manufactured By – CBS Inc. Phonographic Copyright (p) – CBS Inc. Copyright (c) – CBS Inc. Credits Bass – Paul S Denman* Design [Sleeve] – Graham Smith Drums – Paul Cooke Drums, Percussion – Dave Early Engineer – Ben Rogan Engineer [Production] – Mike Pela Keyboards – Andrew Hale Mastered By [Runout Etch] – HERbIE JR* Percussion – Martin Ditcham Photography By – Chris Roberts Producer – Robin Millar Saxophone, Guitar – Stuart Matthewman Trumpet – Gordon Matthewman, Terry Bailey Vocals – Sade Adu Notes Same as https://www.localhost/Sade-Diamond-Life/release/4572050 but BFR 39581 is the catalog number for this reissue. -
Richardjamesburgessdoctorald
STRUCTURAL CHANGE IN THE MUSIC INDUSTRY: THE EVOLVING ROLE OF THE MUSICIAN RICHARD JAMES BURGESS A submission presented in partial fulfilment of the requirements of the University of Glamorgan/Prifysgol Morgannwg for the degree of Doctor of Philosophy March 2010 ii Copyright © 2010 by Richard James Burgess All Rights Reserved ii 1 Structural Change in the Music Industry The Evolving Role of the Musician Abstract The recording industry is little more than one hundred years old. In its short history there have been many changes that have redefined roles, enabled fortunes to be built and caused some to be dissipated. Recording and delivery formats have gone through fundamental conceptual developments and each technological transformation has generated both positive and negative effects. Over the past fifteen years technology has triggered yet another large-scale and protracted revision of the business model, and this adjustment has been exacerbated by two serious economic downturns. This dissertation references the author’s career to provide context and corroboration for the arguments herein. It synthesizes salient constants from more than forty years’ empirical evidence, addresses industry rhetoric and offers methodologies for musicians with examples, analyses, and codifications of relevant elements of the business. The economic asymmetry of the system that exploits musicians’ work can now be rebalanced. Ironically, the technologies that triggered the industry downturn now provide creative entities with mechanisms for redress. This is a propitious time for ontologically reexamining music business realities to determine what is axiological as opposed to simply historical axiom. The primary objective herein is to contribute to the understanding of applied fundamentals, the rules of engagement that enable aspirants and professionals alike to survive and thrive in this dynamic and capricious vocation. -
The Cord Weekly (November 21, 1985)
the CORD weekly OFS Referendum vote today Wilfrid Laurier University, Waterloo, Ontario Volume 26, Number 13 Thursday, November 21, 1985 Youth vote was crucial for Timbrell by Bruce Arculus "I'm sure that Pulmonary Resuscitation) and wine- help of Lynne Woolstencroft, a Martin's state- Conestoga stu- Offord echoed dents will welcome the opportunity tasting. Conestoga teacher and prominent ments, he will approach — and said TORONTO The president of to get involved in the political pro- Denzil Mennen-Wong, chairman local Tory, in getting the adminis- college new year to nego- the PC campus associations says the in the of the credentials committee, said tration to agree to a membership with cess, regardless of party affilia- he's "frustrated" only two of the 16 tiate them for the formation of tion," the campus associations must drive. the Offord said. college campus clubs supporting club. "clean up their act or the party Dennis Timbrell were allowed dele- executive will be forced to set new gate status at last weekend's Tory guidelines for them.'' leadership convention. PC party president David "Well, that's politics. There's no McFadden said it was a "minor sense in being bitter about it," said issue that any political party could Nick Offord. find themselves in." The 42 votes would have given Several members of the Wilfrid Timbrell, who finished 19 votes Laurier PC club formed a Cones- behind Larry Grossman, the vic- toga College PC club in August, tory in Saturday's vote. terming it "Operation Coconut," Offord said Grossman's victory coconut being a derogatory phrase will leave campus clubs "somewhat referring to Conestoga. -
WHITFIELD STREET STUDIOS, LONDON: Tel: +44 207 636 3434 So We Have a Plan for a Major Six figure Refit of That from the G Plus
Resolution 3.4 May/June 04 28/4/04 11:31 PM Page 22 facility throughout my adult life. Dealing with people much more unfortunate than me allows me to put my own Whitfield Street Studios little disability into the right perspective. I’m not averse to taking risks. What’s the worst that’s going to Robin Millar, producer and man-about-the-music-business, has bought Whitfield Street happen? Remember, the worst has happened to me before. I’ve lost all my money — twice. Both from Studios and has grand plans to run it as a five-star facility. JIM EVANS reports on the adventures and I have no regrets at all about either. Losing all your money and picking yourself up again recreation of a standard. is an adventure in itself.’ Sitting in the control room of Studio 2 in Whitfield USIC HAS BEEN RECORDED, engineered, run businesses in management, publishing and luxury Street, he reflects. ‘This studio was doomed, edited, mixed, mastered and overdubbed at car hire. During the 1980s he acquired control of two condemned, Most of it was closed, the rest of it was MLondon’s Whitfield Street Studios since 1972 major London studios, Morgan, which became the about to close, it was going to be torn apart and turned and more than a few famous names and an eclectic Power Plant, and Maison Rouge in Fulham. ‘At that time into an office block. I look on the situation not as to how spread of artists and producers have made use of the I became over-ambitious and started my own record does this affect Robin Miller, but can Robin Miller keep facilities there.