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DOCUMENT RESUME ED 262 129 UD 024 466 Hawaiian Studies
DOCUMENT RESUME ED 262 129 UD 024 466 TITLE Hawaiian Studies Curriculum Guide. Grades K-1. INSTITUTION Hawaii State Dept. of Education, Honolulu. Office of Instructional Services. PUB DATE Dec 83 NOTE 316p.; For the Curriculum Guides for Grades 2,3, and 4, see UD 024 467-468, and ED 255 597. "-PUB TYPE Guides Classroom Use - Guides (For Teachers) (052) EDRS PRICE MF01/PC13 Plus Postage. DESCRIPTORS Community Resources; *Cultural Awareness; *Cultural Education; *Early Childhood Education; Grade 1; Hawaiian; *Hawaiians; Instructional Materials; Kindergarten; *Learning Activities; Pacific Americans; *Teacher Aides; Vocabulary IDENTIFIERS *Hawaii ABSTRACT This curriculum guide suggests activities and educational experiences within a Hawaiian cultural context for kindergarten and Grade 1 students in Hawaiian schools. First, a introduction-discusses the contents of the guide, the relations Hip of - the classroom teacher and the kupuna (ljawaiian-speaking elder); the identification and scheduling of Kupunas; and how to use the ide. The remainder of the guide is divided into two major sections. Each is preceded by an overview which outlines the subject areas into which Hawaiian Studies instruction is integrated; the emphases or major lesson topics taken up within each subject, area; the learning objectives addressed by the instructional activities; and a key to the unit's appendices, which provide cultural information to supplement the activities. The activities in Unit I focus on the "self" and the immediate environment. They are said to give children ___Dppor-tumit-ies to investigate and experience feelings and ideas and then to determine whether they are acceptable within classroom and home situations. The activities of Unit II involve the children in experiences dealing with the "'ohana" (family) by having them identify roles, functions, dependencies, rights, responsibilities, occupations, and other cultural characteristics of the 'ohana. -
Caught in the Net
Caught in the Net An analysis of the Guardian’s first venture into online journalism Simen Hunding Strømme Master Thesis in Modern International and Transnational History Department of Archaeology, Conservation and History UNIVERSITY OF OSLO Spring 2020 Caught in the Net An analysis of the Guardian’s first venture into online journalism i © 2020 Simen Hunding Strømme Caught in the Net An analysis of the Guardian’s first venture into online journalism Simen Hunding Strømme www.duo.uio.no ii Abstract This thesis examines the early period of internet journalism in Britain between 1993 and 2001. By undertaking a qualitative case study of London based newspaper, the Guardian, the thesis explores how newspapers started to consider online journalism as not only a new way of doing business, but as a completely new genre of journalism. In 1998, the Guardian was ranked the ninth biggest among twelve national daily newspapers in terms of circulation, but by 2001 its website was the most popular newspaper website in the country. The Guardian’s venture into online journalism began in 1995, when a team of developer known as the New Media Lab was tasked to develop a strategy for online publishing. Over the next few years, several web projects were launched, with varying level of success before pinnacling in a network of websites, Guardian Unlimited in 1999. The increasingly larger focus on the internet as both a tool and platform for publishing, which did not unfold without discontent and critique from advocates of traditional news making, changed the way the Guardian and other newspapers saw their media product and themselves as a company. -
Nicole Northridge Production Designer
Nicole Northridge Production Designer Agents Madeleine Pudney Assistant 020 3214 0999 Eliza McWilliams [email protected] 020 3214 0999 Credits In Development Production Company Notes PEAKY BLINDERS (Series 6) Caryn Mandabach Productions / Netflix 2020 Television Production Company Notes PEAKY BLINDERS (series Caryn Mandabach Dir: Anthony Byrne 5) Productions / Netflix Prod: David Mason 2018 Production Designer JAMESTOWN II Carnival Productions Dirs: Paul Wilmshurst, David Evans Prod: Sue de Beauvoir Production Designer HUMANS II Kudos Dir: Lewis Arnold Prod. Paul Gilbert Production Designer United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes INDIAN SUMMERS II New Pictures Dir: John Alexander, Jonathan Teplitzky, 1930'S DRAMA Paul Wilmshurst Prod: Charlie Pattinson, Paul Rutman, Dan Winch Featuring: Julie Walters and Rachel Griffiths Filmed in Malaysia Production Designer THE DELIVERY MAN Monicker Pictures Dir: Victoria Pile Prod: Victoria Pile, Charlie Leech Featuring: Faye Ripley and Darren Boyd Supervising Art Director Designer: Jonathan Green MAPP & LUCIA Grafton House Dir: Diarmuid Lawrence Productions Prod: Lisa Osborne, Susie Liggat Featuring: Steve Pemberton, Mark Gatiss, Anna Chancellor and Miranda Richardson Art Director Designer: James Lewis HOLBY CITY BBC Dir: Various Inc: Bob Bierman, James Larkin Prod: Sharon Bloom, Peter Bullock Featuring: Laila Rouass, Stella Gonet, Patsy Kensit BIRDSONG Working Title Television -
Discovery III Multimedia Installation V1.2
Land Rover Discovery 3 Extending the multimedia capabilities of the Discovery III An installation guide to add a GVIF interface, a rear view camera and a DVD player to your Discovery III. A www.disco3.co.uk resource Version 1.2 © Copyright discoBizz Disclaimer: this guide is for information and illustration ONLY. Any work you do on your car, either explicitly or implicitly following this guide, is at your own risk and with the understanding the steps followed below have worked for me, in my car, at my own risk and given my own knowledge of the matter and with my own disregard to potential consequences on the vehicle’s warranty. Neither the author, the website WWW.DISCO3.CO.UK, Martin Lewis or and other website forum members mentioned in this document will be held liable for any warranty consequences or any damage of any severity caused on your vehicle as a result of you choosing to follow this fictional procedure. Any trademarks, copyright or references to words or actions of individuals other than the author, are hereby acknowledged to be the property of their respective owners. The author is simply an enthusiast, with no training at all in electrical or mechanical engineering and as such some of the methods and procedures used may be far from best practice in each respective field. N.B. The modifications/additions in this document can be done separately and in varying ways/locations. I have chosen to put everything together as I did most of the work in one go. My vehicle is an HSE model, which means it was already fitted with the factory SatNav screen and the auxiliary audio input in the rear of the centre console, the wires of which I taped into to feed the head unit with the audio output from my AV sources. -
Bodsy's Brake Bible
Land Rover Discovery 3 Bodsy’s Brake Bible Ian Bodsworth Disco3Club.co.uk June 2010 Version 1.2a Change Record DATE Revision Update Notes Made By May 2010 1.2 Amended Torque Figures and bolt Ian Bodsworth sizes, cleaned up photo areas. Updated text. June 2010 1.2a Re-worded EPB adjust procedure, Ian Bodsworth updated EBP Allen key size. Added Change record © Copyright Ian Bodsworth 2010. All descriptions and photo’s contained within remain the property of the Author. Commercial images of products with copyrights acknowledged. E&OE. - Created by Bodsy – D3C Page 2 of 28 Table of Contents 1. Introduction ................................................................................................................................................................. 4 2. Tools that may be required ...................................................................................................................................... 5 3. Jacking Points and Axle Stands ............................................................................................................................... 6 4. How to change the Brake Pads - Front .................................................................................................................. 9 5. How to change the Brake Pads – Rear ................................................................................................................. 13 6. How to change the Brake Disks – Front .............................................................................................................. -
JELLYBEAN JAM Songlist Medleys
JELLYBEAN JAM songlist Medleys (Please note Medleys cannot be broken down in form) 80s- Born To Be Alive, Shake Your Groove Thing, Don’t Leave me This way, Jessie’s Girl, Video Killed The Radio Star, Its Raining Men, You Spin me Round, Love Shack, We Built This City, My Sharona 80s2- Girls Just Wanna Have Fun, Venus, Just Can’t Get Enough, Xanadu, Hungry Like The Wolf , Funky Town. Chicks- Holiday, Step Back in Time, Lets Hear It for the Boy, Express Yourself, Finally, Better the Devil You Know Disco 1 - Blame it on the Boogie, Disco Inferno, Car Wash, Celebration, We are Family, Le Freak. Disco 2 - Jungle Boogie, Upside Down, Can’t Stand the Rain, Get down on it, Funky Music, Everyone's a Winner, Can’t Get Enough of Your Love, Tragedy, Lady Marmalade, Love Is in the Air, Kung Fu Fighting Disco 3 – Give It Up, Long Train Running, That’s the Way I like It, If I Can’t Have You, Don’t Stop Till You Get Enough, Can You Feel It Disco 4 - I will survive, You should be dancing, Got To be real, Young Hearts Run Free, Do Ya think I'm Sexy, September, Hot Stuff, Boogie Wonderland. Jacko- Thriller, Shake Your Body, Billie Jean, Rock with You, Black or White, Wanna Be Starting Something, Bad Abba- Dancing Queen, SOS, Money Money Money, Ring Ring, Mamma Mia Latin – I Go To Rio, Conga, Hot Hot Hot, Copacabana, The Love Boat Mambo- Tequila, Yeh Yeh, Mambo no 5 Motown - Uptight, can’t help myself, same ole song, dancing in the street, aint too proud to beg, joy to the world, get ready , stop, its my party, never can say good bye Movie- Flashdance, fame, -
Loft-Film-Fest-2019-Program.Pdf
GET YOUR TICKETS LOFT FILM FEST SPONSORS FILM FESTIVAL BADGE TITLE SPONSORS General: $180 Loft Members: $150 FILMS General: $12 Loft Members: $10 OFFICIAL FEST SITE LoftFilmFest.org SCREENINGS TAKE PLACE AT The Loft Cinema 3233 E. Speedway Blvd. Tucson, AZ 85716 PRESENTING SPONSORS CONTACT [email protected] (520) 795-0844 FULL SCHEDULE ON PAGES 12-13 LOFT FILM FEST STAFF FESTIVAL EXECUTIVE DIRECTOR OFFICIAL HOTEL OF OFFICIAL BEER OF Peggy Johnson LOFT FILM FEST LOFT FILM FEST FESTIVAL DIRECTORS J.J. Giddings, Jeff Yanc MANAGING DIRECTOR Zach Breneman FESTIVAL PROGRAMMING CONSULTANTS Cassie Ramirez Breneman, Anthony Cutrone, Christine Hill, Debi Chess Mabie, Max McCauslin, SUPPORTING SPONSORS Mike Plante, Ernie Quiroz, Nikki Sanchez, VR Consultant Eric Carr FINANCE DIRECTOR Jonathan Kleefeld MARKETING/DESIGN Ben Mackey, Matt McCoy SPONSORSHIP DIRECTOR Amber Kleefeld PROGRAM SPONSORS DIRECTOR OF EDUCATION & ENGAGEMENT Shawna Dacosta GUEST RELATIONS Anthony Cutrone, Shawna Dacosta, Ben Mackey, Daniela Ontiveros, Emily Quinn DIRECTOR OF THEATRE OPERATIONS FILM SPONSORS Jason Denholm Anonymous, Max McCauslin, Hal Melfi, Patricia & John Whitehill, OPERATIONS MANAGER University of Arizona School of Theatre, Film & Television, Joe Tarver, Brenda Rodriguez Claire Scheuren ASSISTANT MANAGERS Marcel Jeanisse, Madeline McClure, Candace Ripley, IN-KIND DONATIONS Pedro Robles-Hill, A.J. Simon Old Pueblo Trolley , Proud Source H2O THE LOFTY ACHIEVEMENT AWARD The Loft Film Fest is awarding two Lofty Awards this year. The Lofty is presented each year at the Loft Film Fest to an individual whose career and body of work have significantly contributed to the world of cinema, and who continues to The Loft Film Fest was proud to receive a $20,000 Art inspire, entertain and enlighten audiences. -
Storage Systems Main Points
Storage Systems Main Points • File systems – Useful abstractions on top of physical devices • Storage hardware characteristics – Magnetic disks and flash memory File Systems • Abstraction on top of persistent storage – Magnetic disk – Flash memory (e.g., USB thumb drive) • Devices provide – Storage that (usually) survives across machine crashes – Block level (random) access – Large capacity at low cost – Relatively slow performance • Magnetic disk read takes 10-20M processor instructions File System as Illusionist: Hide Limitations of Physical Storage • Persistence of data stored in file system: – Even if crash happens during an update – Even if disk block becomes corrupted – Even if flash memory wears out • Naming: – Named data instead of disk block numbers – Directories instead of flat storage – Byte addressable data even though devices are block- oriented • Performance: – Cached data – Data placement and data structure organization • Controlled access to shared data File System Abstraction • File system – Hierarchical organization (directories, subdirectories) – Access control on data • File: named collection of data – Linear sequence of bytes (or a set of sequences) – Read/write or memory mapped • Crash and storage error tolerance – Operating system crashes (and disk errors) leave file system in a valid state • Performance – Achieve close to the hardware limit* in the average case File System Abstraction • Directory – Group of named files or subdirectories – Mapping from file name to file metadata location • Path – String that uniquely -
©2017 Renata J. Pasternak-Mazur ALL RIGHTS RESERVED
©2017 Renata J. Pasternak-Mazur ALL RIGHTS RESERVED SILENCING POLO: CONTROVERSIAL MUSIC IN POST-SOCIALIST POLAND By RENATA JANINA PASTERNAK-MAZUR A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Music Written under the direction of Andrew Kirkman And approved by _____________________________________ _____________________________________ _____________________________________ _____________________________________ New Brunswick, New Jersey January 2017 ABSTRACT OF THE DISSERTATION Silencing Polo: Controversial Music in Post-Socialist Poland by RENATA JANINA PASTERNAK-MAZUR Dissertation Director: Andrew Kirkman Although, with the turn in the discipline since the 1980s, musicologists no longer assume their role to be that of arbiters of “good music”, the instruction of Boethius – “Look to the highest of the heights of heaven” – has continued to motivate musicological inquiry. By contrast, music which is popular but perceived as “bad” has generated surprisingly little interest. This dissertation looks at Polish post-socialist music through the lenses of musical phenomena that came to prominence after socialism collapsed but which are perceived as controversial, undesired, shameful, and even dangerous. They run the gamut from the perceived nadir of popular music to some works of the most renowned contemporary classical composers that are associated with the suffix -polo, an expression -
Strictly Speaking
Strictly speaking word ‘superlatives’. Well done.” THE RINGER RACE IS ON And who could forget the judges, With the words “Sylvia Young” annually inciting a Week Seven “fraud!” ever narrowing the gap between life tabloid splash, what strategy have this year’s ringers adopted? and a Spitting Image puppet. Darcey Bussell’s new contract states her feet ✤ Helen George Out and proud, waxing lyrical about her childhood bedroom may never touch the ground – or, more plastered with Darcey posters. Prepare for teacher’s pet ballet moves aplenty. worryingly, lifts are deemed her safest contribution to opening dances. Flying ✤ Georgia May Foote What “Cost of living crisis” was to Ed the flag for the female gaze (or suffering Miliband, “Young and on a journey” is to Georgia, who’s found a Poldark withdrawal), she’s already potentially sympathetic narrative and is clinging on for dear life. on the lookout for someone to lavish her breathy “This is not just perving. ✤ Jamelia Will talk us into submission. (Seriously. She This is M&S perving” praise upon. has never had an unexpressed thought.) Duck and cover, Anthony Ogogo. Craig Revel Horwood is now paid ✤ Peter Andre At least 75 per cent concentrated reality TV on a pound-per-pirouette basis (or at this point. If he can’t bury innate ringer-ness beneath sob those new hips are stuck on “Rotate”), stories deployed with military precision, no one can. while Len Goodman has discovered Dickens’ Wikipedia page and is punning ✤ Daniel O’Donnell Don’t discount the possessor of the Irish vote, Catholic accordingly. -
The Future of Two Festivals
The Future of Two Festivals By Gerald Pratley Spring 1993 Issue of KINEMA BERLIN 1992 Flying into Berlin is now so very ordinary. No need to worry about wandering out of the narrow corridor over East Germany leading into the divided city; no fear now of being shot down by a watchful MIG; now the Frankfurt-Berlin train can stop where it likes and motorists can leave the autobahn on the way in. The fear and atmosphere of menace have gone. Checkpoint Charlie has gone; Bernard Samson has come out for the last time. No one will get riddled with bullets trying to cross the Wall because the Wall has disappeared. Was it ever there? Hard to believe as the West Berlin double-deckers pass the Brandenburg Gate and drive straight through to Alexanderplatz. A history of forty years has disappeared, to become a tick in time a hundred years hence. Surprisingly many former West Berliners are not too happy about this sudden unexpected turn of events. And why? Because before the reunification West Berlin was their very own tight little island, their own ”land,” independent, generously funded by the West German government a long way away in Bonn and which had no control over it, free to do what it liked under the protection of the three occupying powers, with everyone drawn together by the need to preserve themselves at all cost from an enemy surrounding it on all sides. But now Berlin is just another big sprawling European city in a big country, now Germany’s capital with a government still years away in Bonn, with growing financial and social problems and with two former populations used to different political ways of life finding it extremely difficult to come together under capitalism. -
Album Backup List
Updated 20/08/2008 Index to My Albums - Quote FULL titles please File Artist Title Notes CD Year 0148 A Hi Fi Serious 128 2002 0296 A Teen Dance Ordinance VBR 2005 0047 A1 Here We Come 1999 0014 A1 A List 2000 0082 A1 Make It Good 2002 0157 Aaliyah One In A Million 128 1996 Hits & Unreleased - The Ultimate 0233 Aaliyah Collection 192 2002 0182 Aaliyah I Care 4 U 128 2002 0024/27 ABBA Gold - Greatest Hits VBR 1992 AD32 ABBA Gold - Greatest Hits CDA 1992 Thank You For The Music (3CD) 0004 ABBA Collectors set 1995 0054 ABBA The Definitive Collection (2CD) VBR 2001 AB39 ABBA The Definitive Collection (2CD) CDA 2001 0104 ABC Absolutely 1990 0118 ABC The Remix Collection 1993 AD39 ABC The Collection CDA 0070 Paula Abdul Greatest Hits Of Paula Abdul 2000 0076 Ace Of Base Ace Of Base 1983 0085 Ace Of Base Happy Nation 1993 0233 Adam & The Ants Dirk Wears White Socks 192 1979 0150 Adam & The Ants Ant Music 192 1980 0002 Adam & The Ants Friend or Foe 1982 0191 Adam & The Ants Antics In The Forbidden Zone 128 1990 0237 Adam & The Ants Very Best Of Adam & The Ants 128 1999 0194 Adam Ant Strip 256 1983 0315 Adam Ant Strip 320 1983 AD27 Adam Ant Hits CDA 0262 Bryan Adams Cuts Like A Knife 192 1990 0262 Bryan Adams Into The Fire 192 1990 0200 Bryan Adams Waking Up The Neighbours VBR 1991 0163 Bryan Adams Unplugged (Live) 128 1997 0189 Bryan Adams On A Day Like Today 320 1998 AD30 Bryan Adams On A Day Like Today CDA 1998 0198 Bryan Adams The Best Of Me VBR 1999 AD29 Bryan Adams The Best Of Me CDA 1999 0114 Bryan Adams Spirit OST 2002 0293 Bryan Adams