129,000 Pound Route Public Comments Case# 202006ID6 E
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
8123 Songs, 21 Days, 63.83 GB
Page 1 of 247 Music 8123 songs, 21 days, 63.83 GB Name Artist The A Team Ed Sheeran A-List (Radio Edit) XMIXR Sisqo feat. Waka Flocka Flame A.D.I.D.A.S. (Clean Edit) Killer Mike ft Big Boi Aaroma (Bonus Version) Pru About A Girl The Academy Is... About The Money (Radio Edit) XMIXR T.I. feat. Young Thug About The Money (Remix) (Radio Edit) XMIXR T.I. feat. Young Thug, Lil Wayne & Jeezy About Us [Pop Edit] Brooke Hogan ft. Paul Wall Absolute Zero (Radio Edit) XMIXR Stone Sour Absolutely (Story Of A Girl) Ninedays Absolution Calling (Radio Edit) XMIXR Incubus Acapella Karmin Acapella Kelis Acapella (Radio Edit) XMIXR Karmin Accidentally in Love Counting Crows According To You (Top 40 Edit) Orianthi Act Right (Promo Only Clean Edit) Yo Gotti Feat. Young Jeezy & YG Act Right (Radio Edit) XMIXR Yo Gotti ft Jeezy & YG Actin Crazy (Radio Edit) XMIXR Action Bronson Actin' Up (Clean) Wale & Meek Mill f./French Montana Actin' Up (Radio Edit) XMIXR Wale & Meek Mill ft French Montana Action Man Hafdís Huld Addicted Ace Young Addicted Enrique Iglsias Addicted Saving abel Addicted Simple Plan Addicted To Bass Puretone Addicted To Pain (Radio Edit) XMIXR Alter Bridge Addicted To You (Radio Edit) XMIXR Avicii Addiction Ryan Leslie Feat. Cassie & Fabolous Music Page 2 of 247 Name Artist Addresses (Radio Edit) XMIXR T.I. Adore You (Radio Edit) XMIXR Miley Cyrus Adorn Miguel Adorn Miguel Adorn (Radio Edit) XMIXR Miguel Adorn (Remix) Miguel f./Wiz Khalifa Adorn (Remix) (Radio Edit) XMIXR Miguel ft Wiz Khalifa Adrenaline (Radio Edit) XMIXR Shinedown Adrienne Calling, The Adult Swim (Radio Edit) XMIXR DJ Spinking feat. -
Adidas Originals Unite All Originals Press
Very few DJs can jump from club sets to high-profile festival performances, to Kanye West’s larger- than-life stadium shows with ease. In today’s DJ culture, A-Trak holds a truly unique place. He and partner Nick Catchdubs founded America’s most trendsetting new label, Fool’s Gold, launching the careers of artists such as Kid Sister and Kid Cudi. Fool’s Gold’s mission to merge all aspects of club music was already outlined in Trizzy’s original mixtape manifesto, Dirty South Dance, which set the tone for his own production. He is now one of the most sought-after remixers in electronic music, and his remixes for the likes of the Yeah Yeah Yeahs and Boys Noize have become undeniable mainstays in DJ sets the world over. 2009 saw the release of two critically acclaimed DJ mixes, Infinity +1 and Fabriclive 45, as well as the birth of Duck Sauce, his collaboration with Armand Van Helden. The duo’s radio smash “aNYway” cemented itself as the dance anthem of the year, A-Trak’s first true chart- topper with two videos in international rotation and across-the-board support from Pete Tong to Busy P, David Guetta to 2manydjs. Duck Sauce’s 2010 follow up “Barbra Streisand” was even bigger, a whistling pop sensation that accumulated over 60 million YouTube views of its star-studded video while hitting platinum heights around the globe. They even covered it on X-Factor and Glee! Not bad for a kid whom many viewed as a 90’s turntablism prodigy. -
A WORD-LIST from SOUTH CAROLINA University of South Carolina Dialect Is Generally Understood to Be at Variance with Standard
A WORD-LIST FROM SOUTH CAROLINA F. W. BRADLEY University of South Carolina A. THE NEWSPAPER AS A MEDIUM FOR DIALECT COLLECTING IN SOUTH CAROLINA Dialect is generally understood to be at variance with standard English, and therefore to be avoided. This natural attitude on the part of the public needs to be tempered with some understand ing of the fact that standard usage today is not what it was fifty years ago, nor what it will be fifty years hence, and that what was and what will be íb represented in large part by dialect. Public interest can therefore be evoked by an explanation of some of the changes that language has undergone. The excellent article of Professor George P. Wilson, “The Value of Dialect,” PADS, No. 11, pp. 38-59, carries the message which should be made known as widely as possible to the public. There is our raison d’étre, the justification of our labors, well suited to overcome any prejudice against dialect on the part of the public. However, as we cannot assume that the general public is familiar with this article, we must in a newspaper campaign bring that message and disarm a very real prejudice against words and ex pressions that are not standard. Shakespeare is a name to conjure with in this connection. Many South Carolinians pronounce the word character with the accent on the second syllable. Learned people smile at that. But the smile is at least more tolerant and less scornful when one remembers that the Bard of Avon did so too. -
T H E F I N E L I
THE FINE LINE A student publication Bishop Brady High School Volume VII MAGAZINE Editor Staff James Marceau Maria Bailey Jane Bradley Margaux Guion Anusha Murali Advisor Mrs. Sica Tech Support Mrs. Marinace 2 MAGAZINE Table of Contents Poetry Short Fiction 06 The Loaf - Anusha Murali 10 The Story of Us - James Marceau 07 Summer Lover - Anusha Murali 24 The Ringling Brothers: Barnum, Bailey, and Burn - Maya Heafield 08 All Because Two People Fell in Love - Jane Bradley 30 Great Blasket 1892 - Ana Carroll 09 Survivors - Chris Carmichael 36 Try and Keep the Conversation 16 Wishing Well - Maria Bailey Alive - Jane Bradley 16 Home - Johanna Fitzgibbons 41 Emerald City - Lauren Lamberger 17 Graffiti - Olivia Galvin 18 In A Moment - Ana Carroll 19 Inspired Poetry - Caitlin Mallahan 20 The Beach - Lauren Lamberger 21 ACK - Alex Sacco 22 Cape Cod - Margaux Guion 23 That Was The Summer - Jordan Bergeron 28 I Could Only Think of Him - Jordan Bergeron 29 The House That Stands No More - Samuel Buzzotta 34 Field of Flowers - Jane Bradley 35 Seasons - Margaux Guion 39 I Hate Sonnets by Caitlin Mallahan 40 The Wolf - Maya Heafield 46 Stevie - Mikaela Newman Three Machines 3 by Kyle Cioffi (pastel) Letter from the Editor Dear Readers, hen Mrs. Sica told our E Period Creative Writing class at the beginning of the semester that one of our final goals was to create and publish a literary Wmagazine, I was a little bit skeptical. I didn't believe that we could bring back The Fine Line in all of its former glory. As the year progressed, however, I began to understand that our class was more than capable of completing the task. -
ENERGY MASTERMIX - Playlists Vom 30.04.2020
ENERGY MASTERMIX - Playlists vom 30.04.2020 HELMO 1. Toby Webster - For So Long (HELMO Remix) 2. Ummet Ozcan x Harris & Ford - Fight Back 3. Yves V, Ilkay Sencan Ft. Emie - Not So Bad (Extended Mix) 4. We Are Diamonds (feat. MPH) (Extended Mix) Jack Wins 5. Macklemore & Ryan Lewis - Cant Hold Us (Beowulf Galck & Scarlatelli Bootleg) 6. Chic - Le Freak (Oliver Heldens Remix) 7. Topic, A7S - Breaking Me (RetroVision Remix) 8. JORDAN & BAKER - EXPLODE 2019 (WAVESHOCK REMIX) 9. Nick Talos, Adam Trigger - Don't Wanna Go Home (Zoom.Like Extended Remix) 10. The Black Eyed Peas, J Balvin - RITMO (Bad Boys For Life) (SWACQ Remix) 11. Sage The Gemini - Now and Later (Merk & Kremont Extended Remix) 12. HUGEL - They Know (HELMO Remix) 13. Steff Da Campo x Mordkey - Little Bit Love (EXTENDED MIX) 14. Manuel Lauren - Pulled Up (Extended Mix) 15. Tove Lo, Tiësto & Mesto - Stay High x Can t Get Enough (Ricardo Vega Mashup) 16. Tujamo - Drop It (Extended Mix) 17. DJ Snake & Tchami, Malaa & Mercer - Made In France 18. Chico Rose - Sad (feat. Afrojack) [VIZE Remix] 19. Jerome - Take My Hand (Extended Mix) 20. Keanu Silva - Have You Never Been Mellow (Extended Version) 21. DJ Snake, J. Balvin, Tyga - Loco Contigo (Daniel Merano Alternative Edit) 22. Tom Wax & Ian Oliver - Sonic Empire (gotlucky Remix) 23. Avicii & Funkin Matt - SOS vs Concrete (Ricardo Vega Mashup) 24. Kernkraft 400 - Kernkraft (Röde Remix) 25. The Chainsmokers, ILLENIUM, Lennon Stella - Takeaway (GAMECHANGER Remix) [Extended Mix] 26. Wax Motif - WET (Original Mix) 27. Winona Oak - Break My Broken Heart (MOGUAI Remix) 28. -
THE EVER FONKY LOWDOWN: Libretto
THE EVER FONKY LOWDOWN: Libretto Based on decades of conversations with my brother Ellis. PART ONE Mr. Game, here at your everlasting service. I’m here for your edification, elucidation and your education. Here’s the situation. I run a game of numbers, though I’m not a numbers man. I inspire and sell confidence. Don’t laugh—confidence determines the direction of the markets. And there’s nothing in the world more important than money, especially if it’s yours. We are here tonight, but this is an international hustle, baby. It has played out many times across time and space and is not specific to any language or race. It takes on different flavors according to people’s taste, but always ends up in the same old place. Since we here like to talk about freedom, that subject will set tonight’s pace. I want you to sit back and hear me out. What I show you will eliminate all doubt. I’m a gourmet chef and a short order cook, the author of a best-selling book called, Leap Before You Look. For the first time, tonight, I’m going to give you the opportunity to buy into the method for pursuing what we all call “democratic freedoms”—for yourself and for resolving nasty stressful conflicts with others. I teach it through this timeless game, but you will learn just the same. That’s right, a game played by me, Mr. Game, and you, O, Glorious People, complete with a wildcard which I will choose for you when the time is right. -
Music in Primary Schools
Edith Cowan University Research Online ECU Publications Pre. 2011 2004 Music in primary schools Alan true Wendy Fullerton Follow this and additional works at: https://ro.ecu.edu.au/ecuworks Part of the Curriculum and Instruction Commons True, A., & Fullerton, W. (2004). Music in primary schools. Perth, Australia: Mathematics, Science & Technology Education Centre, Edith Cowan University This Book is posted at Research Online. https://ro.ecu.edu.au/ecuworks/6771 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. ~ 7 2 . 8 7044 TRU Music in Primary Schools Alan True Wendy Fullerton A MASTEC Publication Published by MASTEC: Mathematics, Science & Technology Education Centre Edith Cowan University Perth, Western Australia ISBN 0-7298-0574-3 Reprinted and distributed under copyright by journey (Australia) Pty Ltd, 2006 Desktop Publishing Jack Bana & Alan True Acknowledgements Thanks to Sue Noonan and John Williamson of Edith Cowan University for their suggestions. -
An Analysis of the Press Coverage of the Beat Generation During the 1950S Anna Lou Jessmer [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2012 Containing the Beat: An Analysis of the Press Coverage of the Beat Generation During the 1950s Anna Lou Jessmer [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the Critical and Cultural Studies Commons, Journalism Studies Commons, and the Mass Communication Commons Recommended Citation Jessmer, Anna Lou, "Containing the Beat: An Analysis of the Press Coverage of the Beat Generation During the 1950s" (2012). Theses, Dissertations and Capstones. Paper 427. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. CONTAINING THE BEAT: AN ANALYSIS OF THE PRESS COVERAGE OF THE BEAT GENERATION DURING THE 1950S A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Journalism by Anna Lou Jessmer Approved by Robert A. Rabe, Committee Chairperson Professor Janet Dooley Dr. Terry Hapney Marshall University December 2012 ii Dedication I would like to dedicate my research to my grandfather, James D. Lee. His personal experiences during the Cold War at home and abroad inspired in me a fascination of the era at an early age. iii ACKNOWLEDGMENTS I would like to take a moment to acknowledge in writing, a few individuals without whom this paper would not be complete. I am incredibly and eternally grateful for Professor Robert A. -
The Poetry of Bob Kaufman
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 When I Die, I Won't Stay Dead: The oP etry of Bob Kaufman Mona Lisa Saloy Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Saloy, Mona Lisa, "When I Die, I Won't Stay Dead: The oeP try of Bob Kaufman" (2005). LSU Doctoral Dissertations. 3400. https://digitalcommons.lsu.edu/gradschool_dissertations/3400 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. WHEN I DIE, I WON’T STAY DEAD: THE POETRY OF BOB KAUFMAN A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Mona Lisa Saloy B.A., University of Washington, 1979 M.A., San Francisco State University, 1981 M.F.A, Louisiana State University, 1988 August, 2005 ©Copyright 2005 Mona Lisa Saloy All rights reserves ii For my sister Barbara Ann, who encouraged my educational pursuits, and for Donald Kaufman, who though dying, helped me to know his brother. iii Acknowledgments I must thank the members of my Dissertation committee who allowed my passion to find the real Kaufman to grow, encouraged me through personal trials, and brought to my work their love of African American culture and literature as well as their trust in my pursuit. -
Chart: Top25 VIDEO HOUSE
Chart: Top25_VIDEO_HOUSE Report Date (TW): 2012-10-07 --- Previous Report Date(LW): 2012-09-30 TW LW TITLE ARTIST GENRE RECORD LABEL 1 1 Beat Down Steve Aoki & Angger Dimas Ft. Iggy Azalea House Ultra Music 2 She Wolf (falling To Pieces) (explicit) David Guetta House Virgin Records 3 Don't You Worry Child (live) Ft. John Martin Swedish House Mafia House Polydor Records 4 Sweet Nothing Ft. Florence Welch Calvin Harris House Columbia Records 5 2 Satisfaction Inusa Dawuda & Khetama Ft. Ees House Kingdom Of Music 6 3 Wild N Faith Dawn Richard House Bad Boy Records 7 4 I Can Only Imagine Ft. Chris Brown, Lil Wayne David Guetta House Virgin Records 8 7 Titanium David Guetta Ft. Sia House EMI 9 8 Bounce Calvin Harris Ft. Kelis House Fly Eye-Columbia 10 5 Chasing The Sun The Wanted House Def Jam Records 11 6 Summer Jam R.i.o. Ft. U-jean House Kontor Records 12 13 Antidote Swedish House Mafia Vs. Knife Party House Astralwerks 13 15 Move Your Body Benny Benassi Vs Marshall Jefferson House UltraRecords 14 20 Maximal Crazy Tiesto House Musical Freedom 15 Rock The Boat Bob Sinclar Ft. Pitbull And Dragonfly And Fatman ScoopHouse Vendetta Records 16 10 Rocksteady The Bloody Beetroots House Ultra Music 17 17 Save The World Swedish House Mafia House Astralwerks 18 19 Mr.saxo Beat Alexandra Stan House Ultra Records 19 21 Boomerang Dj Felli Fel Ft. Akon, Pitbull, Jermaine Dupri House Island Def Jam Records 20 9 Girls Girls Girls (wawa Remix) Drums Of London Ft. -
THE ULTRA a Thesis Submitted to the Kent State University Honors
THE ULTRA A thesis submitted to the Kent State University Honors College in partial fulfillment of the requirements for University Honors by Brittany Masters May, 2011 Table of Contents Acknowledgments iv Chapter 1: Day One: Sam 1 Day One: Adam 7 Day One: Alyssa 13 Chapter 2: Day One: Sam 15 Day One: Alyssa 20 Day One: Sam 23 Day One: Adam 31 Chapter 3: Day Two: Sam 32 Day Two: Adam 37 Day Two: Jeff 41 Day Two: Sam 43 Chapter 4: Day Two: Jeff 51 Day Two: Adam 53 Day Two: Alyssa 56 Day Two: Sam 59 Chapter 5: Day Two: Alyssa 66 Day Two: Sam 68 Chapter 6: Day Three: Adam 72 Day Three: Sam 73 Day Three: Jeff 82 Chapter 7: Day Three: Kristi 88 Day Three: Sam 89 Day Four: Adam 93 Day Four: Alyssa 95 Chapter 8: Day Four: Sam 99 Day Four: Jeff 104 Day Four: Alyssa 106 Day Four: Sam 111 Day Four: Jeff 117 Works Cited: 118 iii Acknowledgments I would like to thank everyone on my Honors Thesis Committee for their time, commitment, and hard work. Without the support, guidance, and confidence from my committee, my thesis would not have been possible. First, I would like to thank my thesis advisor, Professor Robert King, for everything he did throughout my writing process. Thank you for all the advice, inspiration, and feedback you provided. Due to your excellent instruction and insight, I am a better, more confident writer. Dr. Leslie Heaphy for her encouragement and prompt answers to all of my questions. -
We Gon' Be Alright?
We Gon’ Be Alright? The Ambiguities of Kendrick Lamar’s Protest Anthem * Noriko Manabe NOTE: The examples for the (text-only) PDF version of this item are available online at: hp://www.mtosmt.org/issues/mto.19.25.1/mto.19.25.1.manabe.php KEYWORDS: Rap music, hip hop, flow, meter, intonation, vocal pitch, protest music, protest chants, African American English ABSTRACT: The best-known track on Kendrick Lamar’s To Pimp a Buerfly, “Alright” has come to be regarded as a protest anthem, fueled by Lamar’s charged performances of the song at the BET Awards and the Grammys, and by accolades from the press that cite its political importance. This article argues that the actual musical track is ambiguous and open to several interpretations. To support this idea, I first explore the process through which the track came into being and how this process may have contributed to the song’s ambiguity. I then examine the message of “Alright,” contextualizing its place in the concept album and in the music video. I closely examine the musical track, analyzing its accent paerns using the metrical preference rules of Lerdahl and Jackendoff (1983) and David Temperley (2001). This analysis of the track implies a 3+5 or 3+2+3 beat reading of 4 the meter in addition to a straight 4. Using the linguistic tool Praat, I analyze the ways in which rappers Fabolous (who originally recorded on the track) and Lamar respond to this meter in their stresses, rhythms, and rhymes. I examine the well-known hook, which Pharrell Williams raps with a striking rise in pitch.