Reagan's Immigration Crisis and America's First
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“From the Cracks in the Sidewalks of NYC”: The
“From the Cracks in the Sidewalks of N.Y.C.”: The Embodied Production of Urban Decline, Survival, and Renewal in New York’s Fiscal-Crisis-Era Streets, 1977-1983 by Elizabeth Healy Matassa B.A. in Italian and French Studies, May 2003, University of Delaware M.A. in Geography, May 2006, Louisiana State University A Dissertation submitted to The Faculty of The Columbian College of Arts and Sciences of The George Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy January 31, 2014 Dissertation directed by Suleiman Osman Associate Professor of American Studies The Columbian College of Arts and Sciences of the George Washington University certifies that Elizabeth Healy Matassa has passed the Final Examination for the degree of Doctor of Philosophy as of August 21, 2013. This is the final and approved form of the dissertation. “From the Cracks in the Sidewalks of N.Y.C.”: The Embodied Production of Decline, Survival, and Renewal in New York’s Fiscal-Crisis-Era Streets, 1977-1983 Elizabeth Healy Matassa Dissertation Research Committee: Suleiman Osman, Associate Professor of American Studies, Dissertation Director Elaine Peña, Associate Professor of American Studies, Committee Member Elizabeth Chacko, Associate Professor of Geography and International Affairs, Committee Member ii ©Copyright 2013 by Elizabeth Healy Matassa All rights reserved iii Dedication The author wishes to dedicate this dissertation to the five boroughs. From Woodlawn to the Rockaways: this one’s for you. iv Abstract of Dissertation “From the Cracks in the Sidewalks of N.Y.C.”: The Embodied Production of Urban Decline, Survival, and Renewal in New York’s Fiscal-Crisis-Era Streets, 1977-1983 This dissertation argues that New York City’s 1970s fiscal crisis was not only an economic crisis, but was also a spatial and embodied one. -
Conor Mcpherson's Girl from the North Country
Xavier University Exhibit Faculty Scholarship English Winter 2018 The aM rriage of Heaven and Hell: Conor McPherson’s Girl from the North Country Graley Herren Xavier University Follow this and additional works at: https://www.exhibit.xavier.edu/english_faculty Part of the English Language and Literature Commons, Music Commons, and the Theatre and Performance Studies Commons Recommended Citation Herren, Graley, "The aM rriage of Heaven and Hell: Conor McPherson’s Girl from the North Country" (2018). Faculty Scholarship. 584. https://www.exhibit.xavier.edu/english_faculty/584 This Article is brought to you for free and open access by the English at Exhibit. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Exhibit. For more information, please contact [email protected]. Graley Herren • The Marriage of Heaven and Hell: Death and Rebirth in Conor McPherson’s Girl from the North Country In February 2015, the Irish American playwright John Patrick Shanley con- ducted a revealing interview with his Dublin counterpart Conor McPherson for American Theatre magazine. Asked about his preoccupation with the supernat- ural, McPherson intimated, “I remember when I was a little kid, I was always interested in ghosts and scary things. If I want to rationalize it, it’s probably a search for God.” This quest led him to theater. “There’s something so religious about the theatre,” he stated. We’re all sitting there in the dark, and there’s some- thing about how the stage glows in the darkness, which is such a beautiful pic- ture of human existence. What’s really interesting is the darkness that surrounds the picture. -
They Hate US for Our War Crimes: an Argument for US Ratification of the Rome Statute in Light of the Post-Human Rights
UIC Law Review Volume 52 Issue 4 Article 4 2019 They Hate U.S. for Our War Crimes: An Argument for U.S. Ratification of the Rome Statute in Light of the ost-HumanP Rights Era, 53 UIC J. MARSHALL. L. REV. 1011 (2019) Michael Drake Follow this and additional works at: https://repository.law.uic.edu/lawreview Part of the Human Rights Law Commons, International Humanitarian Law Commons, and the Military, War, and Peace Commons Recommended Citation Michael Drake, They Hate U.S. for Our War Crimes: An Argument for U.S. Ratification of the Rome Statute in Light of the Post-Human Rights Era, 53 UIC J. MARSHALL. L. REV. 1011 (2019) https://repository.law.uic.edu/lawreview/vol52/iss4/4 This Comments is brought to you for free and open access by UIC Law Open Access Repository. It has been accepted for inclusion in UIC Law Review by an authorized administrator of UIC Law Open Access Repository. For more information, please contact [email protected]. THEY HATE U.S. FOR OUR WAR CRIMES: AN ARGUMENT FOR U.S. RATIFICATION OF THE ROME STATUTE IN LIGHT OF THE POST-HUMAN RIGHTS ERA MICHAEL DRAKE* I. INTRODUCTION ......................................................... 1012 II. BACKGROUND ............................................................ 1014 A. Continental Disparities ......................................... 1014 1. The International Process in Africa ............... 1014 2. The National Process in the United States of America ............................................................ 1016 B. The Rome Statute, the ICC, and the United States ................................................................................. 1020 1. An International Court to Hold National Leaders Accountable ...................................................... 1020 2. The Aims and Objectives of the Rome Statute .......................................................................... 1021 3. African Bias and U.S. -
Latin Mix 440 Songs, 1.1 Days, 2.34 GB
Page 1 of 14 Latin Mix 440 songs, 1.1 days, 2.34 GB Name Time Album Artist 1 Cangrejito Playero 2:25 Acapulco Tropical Hits Acapulco Tropical 2 La Hojita 3:17 Acapulco Tropical Hits Acapulco Tropical 3Mala Mujer 3:49Acapulco Tropical Hits Acapulco Tropical 4 Sabor a Durazno 2:38 Acapulco Tropical Hits Acapulco Tropical 5 Vicky 2:35 Acapulco Tropical Hits Acapulco Tropical 6 Adios, Adios 3:33 Ahora Si Raza!!! Ya Llego!!! Banda Lamento Show De Durango 7Ai Se Eu Te Pego 2:46Ai Se Eu Te Pego Michel Telo 8 Amada Querida 3:38 Amada Querida Banda Los Lagos 9 La Vida Es Una Carnaval 4:39 Amores Perros (Soundtrack from the… Celia Cruz 10 Hay Que Saber Perder 2:18 Antonio Aguilar Antonio Aguilar 11 Dos Almas 2:34 Antonio Aguilar Antonio Aguilar 12 Mis Ojos Me Denuncian 2:15 Antonio Aguilar Antonio Aguilar 13 Falsa 2:39 Antonio Aguilar Antonio Aguilar 14 Condicion 2:26 Antonio Aguilar Antonio Aguilar 15 Whenever, Wherever (Latin Version) 3:14 April Fools Mix 2002 Shakira 16 Waiting For Tonight (SPANISH) 4:07 August 2001 Blowout Hits Jennifer Lopez 17 Sola 2:54 The Bad Boy Hector Bambino 'El Father' 18 Balada (Tche Tcherere Tche Tche) 3:22 Balada (Tche Tcherere Tche Tche) Gusttavo Lima 19 Balada (Tche Tcherere Tche Tche) (Clu… 3:46 Balada (Tche Tcherere Tche Tche) Gusttavo Lima 20 Mi Corazoncito 4:00 BaniParty.Com Aventura 21 Mi Primer Dia Sin Ti 4:29 Big Bang Los Enanitos Verdes 22 The Anthem (CLEAN) 4:05 The Boatlift (Edited) Pitbull 23 Oye Como Va 4:20 Bootleg 2 Compilation Carlos Santana 24 Magalenha 3:42 Bootleg 5 - Compilation Sergio Mendes -
Prison Privatization in the United States: a New Strategy for Racial Control
PRISON PRIVATIZATION IN THE UNITED STATES: A NEW STRATEGY FOR RACIAL CONTROL by Gertrudis Mercadal A Dissertation Submitted to the Faculty of Dorothy F. Schmidt College of Arts and Sciences in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, Florida August 2014 Copyright by Gertrudis Mercadal 2014 ii PRISON PRIVATIZATION IN THE UNITED STATES: A NEW STRATEGY FOR RACIAL CONTROL by Gertrudis Mercadal This dissertation was prepared under the direction of the candidate’s dissertation advisor, Dr. Farshad Araghi, Department of Sociology, and has been approved by the members of her supervisory committee. It was submitted to the faculty of the Dorothy F. Schmidt College of Arts & Letters and was accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy. SUPERVISORY COMMITTEE: ______________________________ Farshad Araghi, Ph.D. Dissertation Advisor ______________________________ Susan Love Brown, Ph.D. _____________________________ Simon Glynn, Ph.D. ___________________________________ Michael J. Horswell, Ph.D. Director, Comparative Studies Program ___________________________________ Heather Coltman, DMA Dean, Dorothy F. Schmidt College of Arts & Letters ___________________________________ __________________ Deborah L. Floyd, Ed.D. Date Interim Dean, Graduate College iii ACKNOWLEDGEMENTS The author wishes to express her sincere love and gratitude to her husband, André Sabbagh, and her mother, Lucy Cottone Palencia, for their encouragement and patience during the writing of this manuscript. The author also wishes to thank the members of her advisory committee for their valuable time and advice during the development of this work, most especially Dr. Farshad Araghi for his insightful guidance and thoughtful mentorship during the years of research and writing of this dissertation. -
Joan Baez Imitates Bob Dylan
Twentieth-Century Music 18/2, 249–279 © The Author(s), 2021. Published by Cambridge University Press. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi: 10.1017/S1478572221000013 Matrices of ‘Love and Theft’: Joan Baez Imitates Bob Dylan MIMI HADDON Abstract This article uses Joan Baez’s impersonations of Bob Dylan from the mid-1960s to the beginning of the twenty-first century as performances where multiple fields of complementary discourse con- verge. The article is organized in three parts. The first part addresses the musical details of Baez’s acts of mimicry and their uncanny ability to summon Dylan’s predecessors. The second con- siders mimicry in the context of identity, specifically race and asymmetrical power relations in the history of American popular music. The third and final section analyses her imitations in the context of gender and reproductive labour, focusing on the way various media have shaped her persona and her relationship to Dylan. The article engages critical theoretical work informed by psychoanalysis, post-colonial theory, and Marxist feminism. Introduction: ‘Two grand, Johnny’ Women are forced to work for capital through the individuals they ‘love’. Women’s love is in the end the confirmation of both men’s and their own negation as individ- uals. Nowadays, the only possible way of reproducing oneself or others, as individuals and not as commodities, is to dam this stream of capitalist ‘love’–a ‘love’ which masks the macabre face of exploitation – and transform relationships between men and women, destroying men’s mediatory role as the representatives of state and capital in relation to women.1 I want to start this article with two different scenes from two separate Bob Dylan films. -
HAMMER Exhibitions
UCLA HAMMER MUSEUM Non Profit US Postage Summer 200 3 PAID Los Angeles Permit 202 MUSEUM INFORMATION Admi ssion $5 Adults; $ 3 Seniors (65+) and UCLA ·Al umni Associationm embers with ID; Free Museum members, UCLA faculty/ staff, Students with I.D. and visitors 17 and under. Free Thursdays for all visitors. Summer Hou rs Tuesday, Saturday and Sunday 12 - 7 pm; Wednesday, Thursday and Friday 12 - 9 pm Closed Mondays, July 4t h, Thanksgiving, Christmas, and New Years Day. Tours Groups of ten or more are by appointment only. Adult groups with reservations receive a discounted ad mission of S3 per person. Franklin D. Murphy Sculpture Garden group tours available upon request. For reservations, call (310) 443-7041. Museum Par king Parking is available under the Museum. Discounted parking with Museum stamp is $2.75 for the first three hours plus $1.50 for each additional 20 minutes. S3 flat rate per entry after 6:30 pm on Thursday. 6. Parking is available on levels Pl and P3. Occidental Petroleum Corporation has par tially endowed the Museum and construct ed the Occidental Petroleum Cultural Center Building, which houses the Museum. Cover image: Ch ristian Marclay,Guitar Drag, 2000, video. Courtesy the artist and Paula Cooper Gallery, NY. 10899 Wils hire Boule va rd L os Angel e s, Califo rn ia 900 24 USA For additional program information: VOICE: (310) 443-7000ITT: (310) 443-7094 Website: www.hammer.ucla.edu - HAMMER Eunice and Hal David Collection Gift turing Barbara Ehrenreich with Julianna Malveaux and The world-famous lyricist Hal David and his wife Eunice Suzan-Lori Parks with Todd Boyd. -
Journalism Awards
FIFTIETH FIFTIETHANNUAL 5ANNUAL 0SOUTHERN CALIFORNIA JOURNALISM AWARDS LOS ANGELES PRESS CLUB th 50 Annual Awards for Editorial Southern California Journalism Awards Excellence in 2007 and Los Angeles Press Club A non-profit organization with 501(c)(3) status Tax ID 01-0761875 Honorary Awards 4773 Hollywood Boulevard Los Angeles, California 90027 for 2008 Phone: (323) 669-8081 Fax: (323) 669-8069 Internet: www.lapressclub.org E-mail: [email protected] THE PRESIDENT’S AWARD For Impact on Media PRESS CLUB OFFICERS Steve Lopez PRESIDENT: Chris Woodyard Los Angeles Times USA Today VICE PRESIDENT: Ezra Palmer Editor THE JOSEPH M. QUINN AWARD TREASURER: Anthea Raymond For Journalistic Excellence and Distinction Radio Reporter/Editor Ana Garcia 3 SECRETARY: Jon Beaupre Radio/TV Journalist, Educator Investigative Journalist and TV Anchor EXECUTIVE DIRECTOR: Diana Ljungaeus KNBC News International Journalist BOARD MEMBERS THE DANIEL PEARL AWARD Michael Collins, EnviroReporter.com For Courage and Integrity in Journalism Jane Engle, Los Angeles Times Bob Woodruff Jahan Hassan, Ekush (Bengali newspaper) Rory Johnston, Freelance Veteran Correspondent and TV Anchor Will Lewis, KCRW ABC Fred Mamoun, KNBC-4News Jon Regardie, LA Downtown News Jill Stewart, LA Weekly George White, UCLA Adam Wilkenfeld, Independent TV Producer Theresa Adams, Student Representative ADVISORY BOARD Alex Ben Block, Entertainment Historian Patt Morrison, LA Times/KPCC PUBLICIST Edward Headington ADMINISTRATOR Wendy Hughes th 50 Annual Southern California Journalism Awards -
Unique Identifier Who Killed the LA River?
Unique identifier Who Killed the LA River? Singing They say you gotta to learn, but there’s no-one to teach me, they can’t preach jungle to survive on the streets. Girl God, I know about the ocean, I know there’s a Pacific Ocean, I know there’s a Lake Hollywood. Girl I can honestly say I have never even heard of the LA River. Background singing Voice Over Hard to imagine living in a city and not knowing that it has a river, but it’s just as hard to imagine that this is a real river. Woman It was man-made, not well, well yeah, I guess it’s a real river, but it’s man-made. Background singing Woman The river is the reason we’re here and we’ve got no recognition of that in this culture. Background singing Voice Over Some residents believe that a misunderstood and abused river deserves some justice. Patt Morrison, LA Times I came here from the mid-West; when you say ‘a river’ in the mid-West you mean a large, flowing body of water that seems to do its thing year round. And here I was in Los Angeles at the age of sixteen, bravely criss-crossing in a car this concrete ditch, and one day I looked to my right and there was a sign that said ‘Los Angeles River’, and I looked down and saw this vast wasteland, this yawning gulch of concrete, and I thought this can’t be, this cannot be a river. -
A Small Slice of the Chicago Eight Trial
A Small Slice of the Chicago Eight Trial Ellen S. Podgor* The Chicago Eight trial was not the typical criminal trial, in part because it occurred at a time of society’s polarization, student demonstrations, and the rise of the House Un-American Activities Committee. Charges were levied against eight defendants, who were individuals that represented leaders in a variety of movements and groups during this time. This Essay examines the opening stages of this trial from the lens of a then relatively new criminal defense attorney, Gerald Lefcourt. It looks at his experiences before Judge Julius Hoffman and highlights how strong, steadfast criminal defense attorneys can make a difference in protecting key constitutional rights and values. Although judicial independence is crucial to a system premised on due process, it is also important that lawyers and law professors stand up to misconduct and improprieties. INTRODUCTION ............................................................................. 821 I. PROXIMITY AND SETTING .......................................................... 824 A. The Landscape ............................................................. 824 B. Attorney Gerald Lefcourt’s Role .................................. 828 II. ATTORNEY WITHDRAWALS AND SUBSTITUTIONS .................... 834 III. LESSONS LEARNED—RESPONDING TO MISPLACED JUDICIAL CONDUCT .............................................................................. 836 CONCLUSION ................................................................................ -
Funding Youth Violence Programs: Should the Strings Be Cut? Hearing Before the Subcommittee on Youth Violence of the Committee on the Judiciary
DOCUMENT RESUME ED 435 783 UD 033 189 TITLE Funding Youth Violence Programs: Should the Strings Be Cut? Hearing before the Subcommittee on Youth Violence of the Committee on the Judiciary. United States Senate, One Hundred Fourth Congress, Second Session on Proposed Legislation Authorizing Funds for Programs of the Juvenile Justice and Delinquency Prevention Act (March 12, 1996). INSTITUTION Congress of the U.S., Washington, DC. Senate Committee on the Judiciary. REPORT NO Senate-Hrg-104-259 ISBN ISBN-0-16-054200-6 PUB DATE 1997-00-00 NOTE 208p.; Serial No. J-104-69. AVAILABLE FROM U.S. Government Printing Office, Superintendent of Documents, Congressional Sales Office, Washington, DC 20402. PUB TYPE Legal/Legislative/Regulatory Materials (090) EDRS PRICE MF01/PC09 Plus Postage. DESCRIPTORS *Adolescents; Crime; *Delinquency; *Federal Aid; Federal Government; *Federal Programs; Government Role; Hearings; *Juvenile Justice; Legislators; Outreach Programs; *Violence IDENTIFIERS Congress 104th; *Juvenile Justice Delinquency Prevention Act 1974 ABSTRACT This hearing discussed proposed legislation authorizing funds for programs of the Juvenile Justice and Delinquency Prevention Act. Opening statements by senators Fred Thompson, Joseph R. Biden, Herbert Kohl, Orrin G. Hatch, Charles E. Grassley, and Alan K. Simpson introduced the issue. Presentations involved two panels. The first consisted of Steve A. Carson, Chief of Police, LaFollette, TN; Byron Oedekoven, Sheriff, Campbell County, WY; Ray Luick, Administrative Officer, Wisconsin Office of -
Life and Times" Video Recordings
http://oac.cdlib.org/findaid/ark:/13030/c8qr4zn7 No online items KCET-TV Collection of "Life and Times" video recordings Taz Morgan William H. Hannon Library Loyola Marymount University One LMU Drive, MS 8200 Los Angeles, CA 90045-8200 Phone: (310) 338-5710 Fax: (310) 338-5895 Email: [email protected] URL: http://library.lmu.edu/collections/archivesandspecialcollections/ ©2013 Loyola Marymount University. All rights reserved. KCET-TV Collection of "Life and CSLA-37 1 Times" video recordings KCET-TV Collection of "Life and Times" video recordings Collection number: CSLA-37 William H. Hannon Library Loyola Marymount University Los Angeles, California Processed by: Taz Morgan Date Completed: October 2013 Encoded by: Taz Morgan 2013 Loyola Marymount University. All rights reserved. Descriptive Summary Title: KCET-TV Collection of "Life and Times" video recordings Dates: 1991-2007 Collection number: CSLA-37 Creator: KCET (Television station : Los Angeles, Calif.) Collection Size: 3,472 videotapes (332 boxes) Repository: Loyola Marymount University. Library. Department of Archives and Special Collections. Los Angeles, California 90045-2659 Languages: Languages represented in the collection: English Access Collection is open to research under the terms of use of the Department of Archives and Special Collections, Loyola Marymount University. Duplication of program tapes for research use is required in accordance with departmental policy regarding the formats of the videotapes of this collection: "Certain media formats may need specialized third party vendor services. If the department does not own a researcher access copy (DVD copy), the cost of reproduction, to be paid fully by patron, will include 1) any necessary preservation efforts upon the original, 2) a master file to be retained by Archives and Special Collections, 3) a researcher viewing copy to be retained by Archives and Special Collections, and 4) the patron copy.