Open Your Mind with the Most Diverse Mid-Day in Public Radio
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PUBLIC DISCLOSURE COPY Return of Private Foundation OMB No. 1545-0052 Form 990-PF I or Section 4947(a)(1) Trust Treated as Private Foundation À¾µ¸ Do not enter social security numbers on this form as it may be made public. Department of the Treasury I Internal Revenue Service Information about Form 990-PF and its separate instructions is at www.irs.gov/form990pf. Open to Public Inspection For calendar year 2014 or tax year beginning , 2014, and ending , 20 Name of foundation A Employer identification number THE WILLIAM & FLORA HEWLETT FOUNDATION 94-1655673 Number and street (or P.O. box number if mail is not delivered to street address) Room/suite B Telephone number (see instructions) (650) 234 -4500 2121 SAND HILL ROAD City or town, state or province, country, and ZIP or foreign postal code m m m m m m m C If exemption application is I pending, check here MENLO PARK, CA 94025 G m m I Check all that apply: Initial return Initial return of a former public charity D 1. Foreign organizations, check here Final return Amended return 2. Foreign organizations meeting the 85% test, checkm here m mand m attach m m m m m I Address change Name change computation H Check type of organization:X Section 501(c)(3) exempt private foundation E If private foundation status was terminatedm I Section 4947(a)(1) nonexempt charitable trust Other taxable private foundation under section 507(b)(1)(A), check here I J X Fair market value of all assets at Accounting method: Cash Accrual F If the foundation is in a 60-month terminationm I end of year (from Part II, col. -
Bilaga C Exempel På Abuseärenden
Bilaga C Exempel på abuseärenden Notera att information om avsändare och annan personlig information är borttagen ur dessa exempel. Exempel 1 – Copyright Compliance Notice ID: 22-102071976 Notice Date: 28 Aug 2013 03:56:47 GMT Foreningen For Digitala Fri- Och Rattigheter Dear Sir or Madam: Irdeto USA, Inc. (hereinafter referred to as "Irdeto") swears under penalty of perjury that Paramount Pictures Corporation ("Paramount") has authorized Irdeto to act as its non-exclusive agent for copyright infringement notification. Irdeto's search of the protocol listed below has detected infringements of Paramount's copyright interests on your IP addresses as detailed in the below report. Irdeto has reasonable good faith belief that use of the material in the manner complained of in the below report is not authorized by Paramount, its agents, or the law. The information provided herein is accurate to the best of our knowledge. Therefore, this letter is an official notification to effect removal of the detected infringement listed in the below report. The Berne Convention for the Protection of Literary and Artistic Works, the Universal Copyright Convention, as well as bilateral treaties with other countries allow for protection of client's copyrighted work even beyond U.S. borders. The below documentation specifies the exact location of the infringement. We hereby request that you immediately remove or block access to the infringing material, as specified in the copyright laws, and insure the user refrains from using or sharing with others unauthorized Paramount's materials in the future. Further, we believe that the entire Internet community benefits when these matters are resolved cooperatively. -
SFS-Media-Mason-Bates-Grammy
Press Contacts: Public Relations National Press Representation: San Francisco Symphony Shuman Associates (415) 503-5474 (212) 315-1300 [email protected] [email protected] www.sfsymphony.org/press FOR IMMEDIATE RELEASE / December 6, 2016 (High resolution images available for download from the SFS Media’s Online Press Kit) MICHAEL TILSON THOMAS AND THE SAN FRANCISCO SYMPHONY’S RECORDING OF MASON BATES: WORKS FOR ORCHESTRA NOMINATED FOR 2017 GRAMMY AWARD Recording on Orchestra’s in-house label SFS Media nominated for Best Orchestral Performance SAN FRANCISCO, December 6, 2016 – Music Director Michael Tilson Thomas and the San Francisco Symphony’s live concert recording of works by Bay Area composer Mason Bates was nominated for a 2017 Grammy® Award today in the category of Best Orchestral Performance. Mason Bates: Works for Orchestra was released in March 2016 and features the first recordings of the SFS-commissioned The B-Sides and Liquid Interface, in addition to Alternative Energy. These three works illustrate Bates’s exuberantly inventive music that expands the symphonic palette with sounds of the digital age: techno, drum ‘n’ bass, field recordings and more, with the composer performing on electronica. MTT and the SFS have championed Bates’s works for over a decade, evolving a partnership built on multi-year commissioning, performing, recording, and touring projects. Click here to watch a video about Mason Bates: Works for Orchestra. "I never cease to be astonished by the San Francisco Symphony's impact on American music,” stated Mason Bates this morning. “Their performances of living legends, from Lou Harrison to John Adams, have continually thrilled and educated me. -
0304 Hoopm Gd P149-180.Pmd
A Look at Cal The University of California CAMPUS ADMINISTRATION In his eight years at Cal, Mitchell’s strategic focus has been on ROBERT M. BERDAHL enhancing Cal’s administrative organizational culture to better serve the campus community. He has emphasized strengthening leadership across CHANCELLOR all departments, improving business processes, and optimizing the use of technology through campus-wide implementations such as the Berkeley Dr. Robert M. Berdahl took office in July of Financial System and the Human Resources Management System. 1997 as UC Berkeley’s eighth chancellor with In addition to his administrative responsibilities, Mitchell is a licensed a promise to renew the University’s foundations psychologist and an affiliated professor in the Department of African of excellence. He has established a comprehensive American Studies. He has continued to teach one course each year that master-plan that is guiding work on major seismic is cross-listed in psychology. and infrastructure upgrades to campus buildings, and is addressing the Mitchell joined the administration at Cal in April 1995 after 17 years need for space suitable for modern research and teaching. He has worked of service at UC Irvine where he spent 11 years as vice chancellor-student to successfully rebuild the library collection and has also been active in affairs and campus life and, before that, several years as associate dean supporting two new collaborations. for student and curricular affairs in the UCI College of Medicine. He held A career-long advocate of enhancing and humanizing undergraduate a faculty appointment as associate clinical professor of psychiatry and learning, Berdahl has expanded the highly popular Freshman Seminars in human behavior. -
The Audiophile Voice
Children-Adam_Graves_11-1_master_color.qxd 10/16/2019 4:26 PM Page 2 George Graves Classical Mason Bates Children of Adam Ralph Vaugh Williams Dona Nobis Pacem Richmond Symphony; Steven Smith, Cond. Michelle Areyzaga, soprano; Kevin Deas, bass-baritone Reference Recording / Fresh FR-732 IWAS BORN in Richmond, A, and In the 1970s and early ‘80s, my northward in order to visit even though my family moved to college roommate was still attend - Washington, D.C. to hear the Northern Virginia when I was three ing the university in Richmond, National Symphony Orchestra per - years old (just outside the DC working toward his eventual doctor - form or to attend one of the many “Beltway”), my relatives remained ate in psychology, so my yearly visit weekly concerts of the President’s in Richmond, and we used to visit to my parents also included a visit Army, Navy, Marine Corps or Air them often as I was growing up. to my ex-roommate. Force symphonic bands. I had heard When I graduated college and I had heard my “roomie” com - that Richmond had a civic sympho - moved to California, my father plain on the phone for a number of ny orchestra, and my friend started retired and he and my mother years about what a musical waste - to laugh when I asked him about it. moved back to Richmond. So, as an land Richmond was in those days. “They’re terrible,” was his reply. adult, when I visited my parents, it He often talked about having to “My high school band played bet - was there that I visited them. -
North Carolina Symphony Tours to Washington, D.C
North Carolina Symphony Tours to Washington, D.C. for SHIFT Festival Subject: North Carolina Symphony Tours to Washington, D.C. for SHIFT Festival From: Meredith Laing <[email protected]> Date: Wed, 15 Mar 2017 14:51:15 +0000 To: Meredith Laing <[email protected]> Dear friends, In just two weeks, the North Carolina Symphony will depart for Washington, D.C., to par>cipate in the inaugural year of SHIFT: A Fes+val of American Orchestras. NCS is one of just four U.S. orchestras selected for this na>onal fes>val! We will bring music with direct connec>ons to North Carolina to our na>on’s capital, and the programs will be previewed in Raleigh. Details about the SHIFT fes>val and the preview concerts are below and aFached. Thank you for your support of the North Carolina Symphony as we embark on this adventure with the privilege of represen>ng our state! All the best, Meredith -- Meredith Kimball Laing Director of Communications North Carolina Symphony 3700 Glenwood Avenue, Suite 130 Raleigh, NC 27612 919.789.5484 www.ncsymphony.org Experience the Power of Live Music Join Us for Upcoming Concerts Learn How We Serve North Carolina Read Our Report to the Community Support Your Symphony Make a Donation FOR IMMEDIATE RELEASE CONTACT Meredith Kimball Laing 919.789.5484 [email protected] North Carolina Symphony Tours to Washington, D.C. as One of Four Orchestras Chosen for SHIFT: A Festival of American Orchestras 1 of 5 4/20/17, 4:08 PM North Carolina Symphony Tours to Washington, D.C. -
Listening Patterns – 2 About the Study Creating the Format Groups
SSRRGG PPuubblliicc RRaaddiioo PPrrooffiillee TThhee PPuubblliicc RRaaddiioo FFoorrmmaatt SSttuuddyy LLiisstteenniinngg PPaatttteerrnnss AA SSiixx--YYeeaarr AAnnaallyyssiiss ooff PPeerrffoorrmmaannccee aanndd CChhaannggee BByy SSttaattiioonn FFoorrmmaatt By Thomas J. Thomas and Theresa R. Clifford December 2005 STATION RESOURCE GROUP 6935 Laurel Avenue Takoma Park, MD 20912 301.270.2617 www.srg.org TThhee PPuubblliicc RRaaddiioo FFoorrmmaatt SSttuuddyy:: LLiisstteenniinngg PPaatttteerrnnss Each week the 393 public radio organizations supported by the Corporation for Public Broadcasting reach some 27 million listeners. Most analyses of public radio listening examine the performance of individual stations within this large mix, the contributions of specific national programs, or aggregate numbers for the system as a whole. This report takes a different approach. Through an extensive, multi-year study of 228 stations that generate about 80% of public radio’s audience, we review patterns of listening to groups of stations categorized by the formats that they present. We find that stations that pursue different format strategies – news, classical, jazz, AAA, and the principal combinations of these – have experienced significantly different patterns of audience growth in recent years and important differences in key audience behaviors such as loyalty and time spent listening. This quantitative study complements qualitative research that the Station Resource Group, in partnership with Public Radio Program Directors, and others have pursued on the values and benefits listeners perceive in different formats and format combinations. Key findings of The Public Radio Format Study include: • In a time of relentless news cycles and a near abandonment of news by many commercial stations, public radio’s news and information stations have seen a 55% increase in their average audience from Spring 1999 to Fall 2004. -
Clear Channel and the Public Airwaves Dorothy Kidd University of San Francisco, [email protected]
The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Media Studies College of Arts and Sciences 2005 Clear Channel and the Public Airwaves Dorothy Kidd University of San Francisco, [email protected] Follow this and additional works at: http://repository.usfca.edu/ms Part of the Critical and Cultural Studies Commons, and the Mass Communication Commons Recommended Citation Kidd, D. (2005). Clear channel and the public airwaves. In E. Cohen (Ed.), News incorporated (pp. 267-285). New York: Prometheus Books. Copyright © 2005 by Elliot D. Cohen. This Book Chapter is brought to you for free and open access by the College of Arts and Sciences at USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. It has been accepted for inclusion in Media Studies by an authorized administrator of USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. For more information, please contact [email protected]. 13 CLEAR CHANNEL AND THE PUBLIC AIRWAVES DOROTHY KIDD UNIVERSITY OF SAN FRANCISCO With research assistance from Francisco McGee and Danielle Fairbairn Department of Media Studies, University of San Francisco DOROTHY KIDD, a professor of media studies at the University of San Francisco, has worked extensively in community radio and television. In 2002 Project Censored voted her article "Legal Project to Challenge Media Monopoly " No. 1 on its Top 25 Censored News Stories list. Pub lishing widely in the area of community media, her research has focused on the emerging media democracy movement. INTRODUCTION or a company with close ties to the Bush family, and a Wal-mart-like F approach to culture, Clear Channel Communications has provided a surprising boost to the latest wave of a US media democratization movement. -
Mason Bates Mothership (2011)
MASON BATES MOTHERSHIP (2011) “The joining of horse hair and electrons seems Having raced across the world, the ship slows “The orchestra is seamless, completely complimentary - totally additive down. Electronic beeps provide a docking of the resources of the ensemble” TommyTrumpets signal, inviting a pair of soloists to come aboard the world’s greatest “Always enjoy rocking out to this piece!! Full of the mothership. A door opens with a hydraulic emotion. :-)” Jay Coles hiss and the first visitor’s musical voice takes synthesiser” Mason Bates “That Bassoon part is so badass! What a very cool over, quickly followed by another. True to the piece. Unique, and I like the electronic drums! It really Internet’s democracy, soloists are welcome to adds character.” ian2120 improvise on any instrument to make their own unique contribution. The pattern repeats, with These are just a handful of the 500+ comments the ship racing off to a new location, but the left on YouTube videos of Mothership. The second ‘docking episode’ welcomes visitors Internet has brought a new freedom of with very different personalities. Music and expression, allowing us to connect with other Internet both encompass hugely varied voices. people like never before – across continents, between age groups, and blind of education. As sci-fi as this seems, Mothership actually ‘TommyTrumpets’ could just as easily be your takes its structure from two centuries earlier. next door neighbour as Thomas Adès or Tom In his Second Symphony, Robert Schumann Hiddleston, the Internet having brought about wrote a scherzo with double trio, a form that an utterly democratic forum to consume and Bates takes and updates. -
Season 2016-2017
23 Season 2016-2017 Friday, March 17, at 7:00 Saturday, March 18, at 7:00 The Philadelphia Orchestra Sunday, March 19, at 2:00 David Newman Conductor Paramount Pictures Presents A Lucasfilm Ltd. Production A Steven Spielberg Film in Concert Starring Harrison Ford Karen Allen Paul Freeman Ronald Lacey John Rhys-Davies Denholm Elliott Music by John Williams Executive Producers George Lucas and Howard Kazanjian Screenplay by Lawrence Kasdan Story by George Lucas and Philip Kaufman Produced by Frank Marshall Directed by Steven Spielberg Raiders of the Lost Ark licensed by Lucasfilm Ltd. and Paramount Pictures. This program licensed by Lucasfilm Ltd. and Paramount Pictures. Motion picture, artwork, photos © 1981 Lucasfilm Ltd. All Rights Reserved. Music written by John Williams, Bantha Music (BMI). All rights administered by Warner-Tamerlane Publishing Corp. (BMI). All rights reserved. Used by permission. This program runs approximately 2 hours, 15 minutes. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 25 PRODUCTION CREDITS Raiders of the Lost Ark—Film with Orchestra produced by Film Concerts Live!, a joint venture of IMG Artists, LLC, and the Gorfaine/Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie Richardson Production Manager: Rob Stogsdill Production Coordinator: Rebekah Wood Worldwide Representation: IMG Artists, LLC Supervising Technical Director: Mike Runice Technical Director: Luke Dennis Music composed by John Williams Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Ramiro Belgardt Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for Raiders of the Lost Ark has been adapted for live concert performance. -
EBP-DA | Where I'm Coming From
EBP-DA | www.eastbaypunkda.com Where I'm Coming From A few words of introduction and explanation are probably in persuasiveness, but I have no hesitation in saying that my faults or order with this issue of thelcokout. Longtime and new readersalike shortcomings were at least honest ones. "Like a salmon swimming might be bewildered at what appears to be a heavy streak of upstream,"was how my friendIndiana Slim characterizedmy efforts; geographic ru1d cultural schizophrenia running through its pages. anothercritic described me as "Too smartto keep quiet and toodumb Depending where you start reading, you might think the Lookout is an to shut up." environmental journal from rural northern California, a left-wing That was seven years ago. I assume I'm still making some people rabble-rousing broadside out of Berkeley, a scholarly dissertation on mad, though I haven't had any death threats in a long while. If economics and history based inLondon, or a sardonic and frivolous anything, I get more uncritical praisethan I need. I no longerneed critique of pop culture and punk counterculture from all over and assurance thatI'm a good writer, or that I speakfor a lot of peoplewho under the map. forone reasonor another haven't foundit in themselves, to put words Yes, that's exactly what it is, among other things. Abouthalf of togetl1er tl1e way that I do. That's not to say l don't appreciate this issue was put together in London during the winter of 1991-92, compliments, merely that they've taken on the swneaspect as virulent and the rest emanates aboutequally from Berkeley and the Emerald criticism: unless phrased in trulyexceptional language or containing Triangle. -
Bechtel Engineering Center
UC Berkeley The UC Ready Planning System This PDF was created on 10/4/2018 Building Emergency Plan for Bechtel Engineering Center Contact Persons For This Plan Name Email Work Phone Primary PAULA ZAMORA [email protected] 5106644914 Alternate TRACY SIIRA [email protected] 5106420390 Emergency Assembly Areas Post-Evacuation Designated Waiting Area(s) If In Primary Alternate Need Of Assistance To Evacuate East Esplanade between Davis As posted in stairs and elevators As determined by staff and O'Brien lobbies without ground floor exits Occupants With Emergency Roles Name Emergency Role Home Workgroup BRIAN QUIGLEY Roll Taker Library MICHAEL VILLARREAL Floor Monitor Library REBECCA PARIS Floor Monitor ESS OLIVIA CHAN Floor Monitor ESS SHARON MUELLER Roll Taker ESS LAURA VOGT Roll Taker ESS TRACY SIIRA Building Coordinator (Alternate) ESS UC Berkeley The UC Ready Planning System Building Emergency Plan for Bechtel Engineering Center TABLE OF CONTENTS A. Purpose Of The Emergency Action Plan.................................................................................................3 B. Buildings Covered (in Whole or Part)......................................................................................................3 C. Specific Work Area (Within the Above Buildings) Covered By This Plan................................................3 D. Instructions For Reporting Emergencies.................................................................................................3 E. Instructions For Evacuation.....................................................................................................................4