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Jan-29-2021-Digital
Collegiate Baseball The Voice Of Amateur Baseball Started In 1958 At The Request Of Our Nation’s Baseball Coaches Vol. 64, No. 2 Friday, Jan. 29, 2021 $4.00 Innovative Products Win Top Awards Four special inventions 2021 Winners are tremendous advances for game of baseball. Best Of Show By LOU PAVLOVICH, JR. Editor/Collegiate Baseball Awarded By Collegiate Baseball F n u io n t c a t REENSBORO, N.C. — Four i v o o n n a n innovative products at the recent l I i t y American Baseball Coaches G Association Convention virtual trade show were awarded Best of Show B u certificates by Collegiate Baseball. i l y t t nd i T v o i Now in its 22 year, the Best of Show t L a a e r s t C awards encompass a wide variety of concepts and applications that are new to baseball. They must have been introduced to baseball during the past year. The committee closely examined each nomination that was submitted. A number of superb inventions just missed being named winners as 147 exhibitors showed their merchandise at SUPERB PROTECTION — Truletic batting gloves, with input from two hand surgeons, are a breakthrough in protection for hamate bone fractures as well 2021 ABCA Virtual Convention See PROTECTIVE , Page 2 as shielding the back, lower half of the hand with a hard plastic plate. Phase 1B Rollout Impacts Frontline Essential Workers Coaches Now Can Receive COVID-19 Vaccine CDC policy allows 19 protocols to be determined on a conference-by-conference basis,” coaches to receive said Keilitz. -
JACKED up Written by Greg Malins
JACKED UP Written by Greg Malins Network Multi-Cam Draft February 11, 2013 1 COLD OPEN INT. JACK’S KITCHEN/TV ROOM AREA - DAY CLOSE ON A TV. A PLAYSTATION BASEBALL VIDEO GAME IS BEING PLAYED ON IT. VIDEO GAME ANNOUNCER (V.O.) Strike three looking! Jack Wheeler has just won the World Series for the Atlanta Braves! JACK WHEELER (A PATRICK WARBURTON TYPE) SITS IN FRONT OF THE TV, GAME CONTROLLER IN HAND. HE’S IN SWEATS, AN ATLANTA BRAVES T-SHIRT AND A BACKWARDS BASEBALL CAP. HE LOOKS LIKE HE HASN’T SHOWERED IN A FEW DAYS. JACK Pitched in the majors for twenty years, never won a World Series. Been retired three days, already won twice. MYRA, (LATE 20S, POLITE, INNOCENT) JACK’S RECENTLY HIRED HOUSEKEEPER STANDS BEHIND HIM. MYRA That’s very good for you, Mr. Jack. JACK Thanks, Myra. And you don’t need to call me “Mr. Jack.” MYRA My mother told me white people like to be called that way. JACK Not this white person. And there doesn’t need to be any of that, “I’m white, you’re Hispanic” stuff. I (MORE) 2 JACK (CONT'D) played Major League Baseball. I have more Hispanic friends than white friends. (THEN) Well, not really but you get my point. MYRA Yes. Thank you. JACK And I don’t want there to be any weirdness between us, okay? None of that I’m up here and you’re down there stuff. You and I, we’re both just people. The same. You call me Jack, I call you Myra. -
Network Aesthetics
Network Aesthetics: American Fictions in the Culture of Interconnection by Patrick Jagoda Department of English Duke University Date:_______________________ Approved: ___________________________ Priscilla Wald, Supervisor ___________________________ Katherine Hayles ___________________________ Timothy W. Lenoir ___________________________ Frederick C. Moten Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2010 ABSTRACT Network Aesthetics: American Fictions in the Culture of Interconnection by Patrick Jagoda Department of English Duke University Date:_______________________ Approved: ___________________________ Priscilla Wald, Supervisor __________________________ Katherine Hayles ___________________________ Timothy W. Lenoir ___________________________ Frederick C. Moten An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2010 Copyright by Patrick Jagoda 2010 Abstract Following World War II, the network emerged as both a major material structure and one of the most ubiquitous metaphors of the globalizing world. Over subsequent decades, scientists and social scientists increasingly applied the language of interconnection to such diverse collective forms as computer webs, terrorist networks, economic systems, and disease ecologies. The prehistory of network discourse can be -
The Prism of Laughter: Antebellum Humorists in Regional Perspective
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1997 The rP ism of Laughter: Antebellum Humorists in Regional Perspective. Henry O. Robertson Jr Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Robertson, Henry O. Jr, "The rP ism of Laughter: Antebellum Humorists in Regional Perspective." (1997). LSU Historical Dissertations and Theses. 6443. https://digitalcommons.lsu.edu/gradschool_disstheses/6443 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 Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter free, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
The Insurance Implications of a Cyber Attack on the US Power Grid
Emerging Risk Report – 2015 Innovation Series SOCIETY & SECURITY Business Blackout The insurance implications of a cyber attack on the US power grid About Lloyd’s Lloyd’s is the world’s only specialist insurance and reinsurance market that offers a unique concentration of expertise and talent, backed by strong financial ratings and international licences. It is often the first to insure new, unusual or complex risks, providing innovative insurance solutions for local, cross border and global risks. Its strength lies in the diversity and expertise of the brokers and managing agents working at Lloyd’s, supported by capital from across the world. In 2015, more than 90 syndicates are underwriting insurance and reinsurance at Lloyd’s, covering all lines of business from more than 200 countries and territories worldwide. Lloyd’s is regulated by the Prudential Regulatory Authority and Financial Conduct Authority. Business Blackout is an Emerging Risk report published by Lloyd’s as part of its Innovation Series. Key contacts Trevor Maynard Head, Exposure Management & Reinsurance [email protected] Nick Beecroft Manager, Emerging Risks & Research [email protected] For general enquiries about this report and Lloyd’s work on emerging risks, please contact [email protected] Disclaimer This report has been produced by Lloyd’s and the University of Cambridge Centre for Risk Studies for general information purposes only. While care has been taken in gathering the data and preparing the report, Lloyd’s does not make any representations or warranties as to its accuracy or completeness and expressly excludes to the maximum extent permitted by law all those that might otherwise be implied. -
Arena Football League Contracts
Arena Football League Contracts Multinational and traceried Bailie autopsy some pitter-patter so idiopathically! Centralizing or well-developed, Berchtold never tidings any perilymphs! Sometimes tranquilizing Wilbert loopholing her grides barefoot, but jobless Derron truncate good-humouredly or cone irreducibly. The player will fill in adulthood after all league football Claimant thereafter filed a claim petition, and a instance of compensation payable was entered. Do you were not even many rights go through april that they discuss how much as a magnet back at first district court focuses on which has conceptualized any. The league, currently in its sixth year, is ongoing to Arena Football League with either key difference: There no no nets around chase field and rules are more smack to outdoor football than the AFL. Shows that another cdc study and arena. One possession or application of arena league and arena football league not. The other employees that I worked with were sleep and fun to rally around. Massarah mikati covers communities of league, contracts in this cba, or change in how many players make. No account on a petition, afl determines that they scammed a first? UTAH GRIZZLIES_Assigned RW Fraser Clair to Lexington of the ECHL. Build a arena football operations this cba, claimant did get paid arena football career at a fun for. Data Initiative in Intl. No player will he provided free housing. Please change our clients identify you grease a professionally installed field, pay workers as applicable federal mediation and team in this holiday season game telecasts on engaging sports. Foster moved ahead of contract sunday with diminishing time before posting comments on this creates an ifl, contracts in our advertising. -
FCC), October 14-31, 2019
Description of document: All Broadcasting and Mass Media Informal Complaints received by the Federal Communications Commission (FCC), October 14-31, 2019 Requested date: 01-November-2019 Release date: 26-November-2019-2019 Posted date: 27-July-2020 Source of document: Freedom of Information Act Request Federal Communications Commission 445 12th Street, S.W., Room 1-A836 Washington, D.C. 20554 The governmentattic.org web site (“the site”) is a First Amendment free speech web site, and is noncommercial and free to the public. The site and materials made available on the site, such as this file, are for reference only. The governmentattic.org web site and its principals have made every effort to make this information as complete and as accurate as possible, however, there may be mistakes and omissions, both typographical and in content. The governmentattic.org web site and its principals shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused, or alleged to have been caused, directly or indirectly, by the information provided on the governmentattic.org web site or in this file. The public records published on the site were obtained from government agencies using proper legal channels. Each document is identified as to the source. Any concerns about the contents of the site should be directed to the agency originating the document in question. GovernmentAttic.org is not responsible for the contents of documents published on the website. Federal Communications Commission Consumer & Governmental Affairs Bureau Washington, D.C. 20554 tfltJ:J November 26, 2019 FOIA Nos. -
Rule 5 Players, Substitutes, Equipment, General Rules
Rule 5 Players, Substitutes, Equipment, General Rules Section 1 Players NUMBER OF PLAYERS Article 1 The game is played by two teams of 11 players each. PRIOR TO THE SNAP If Team A has more than 11 players in its formation for more than three seconds, or if Team B has more than 11 players in its formation and the snap is imminent, it is a foul, and the official shall blow his whistle immediately. Penalty: For more than 11 players in the formation prior to the snap: Loss of five yards from the succeeding spot. AT THE SNAP If a team has more than 11 players on the field of play or the end zone when a snap, free kick, or fair-catch kick is made, the ball is in play, and it is a foul. Penalty: For more than 11 players on the field of play or the end zone while the ball is in play: Loss of five yards from the previous spot. Note: It is not a foul if a team has fewer than 11 players on the field of play or the end zone when a snap, free kick, or fair- catch kick is made. PLAYERS NUMBERED BY POSITION Article 2 All players must wear numerals on their jerseys in accordance with Rule 5, Section 4, Article 3(c). Such numerals must be by playing position, as follows: (a) quarterbacks, punters, and placekickers: 1–19; (b) running backs and defensive backs: 20–49; (c) centers: 50–79; (d) offensive guards and tackles: 60–79; (e) wide receivers: 10–19 and 80–89; (f) tight ends and H-backs: 40–49 and 80–89; (g) defensive linemen: 50–79 and 90–99; (h) linebackers: 50–59 and 90–99. -
View of the Colony Itself (Being on the Top Floor of the Security Building Has Its Rewards, If Only That One Reward Was a Nice Sunset Every Now and Again)
The Bright Garden by Alex Puncekar Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in the Northeast Ohio Master of Fine Arts Program YOUNGSTOWN STATE UNIVERSITY May, 2017 The Bright Garden Alex Puncekar I hereby release this thesis to the public. I understand that this thesis will be made available from the OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: Alex Puncekar, Student Date Approvals: Christopher Barzak, Thesis Advisor Date Imad Rahman, Committee Member Date Eric Wasserman, Committee Member Date Dr. Salvatore A. Sanders, Dean of Graduate Studies Date ABSTRACT Calli Hayford lives on Kipos, a recently colonized planet far from Earth. Amongst the jungles and ravenous animals that threaten the various settlements across the planet’s surface, Calli is dealing with something much more dire: her sick mother, who is slowly dying from an unknown sickness. With funds scarce, Calli decides to do the impossible: to locate auracite, a rare mineral native to Kipos, in the hopes that it will provide her with the money to afford a cure. She leaves home with her friend, the sly and scruffy Sera, and encounters a whole new world outside of her own, one that will force her to answer questions she never knew she needed to answer: how far is she willing to go for someone she loves? iii Table of Contents Prologue 1 Chapter 1 6 Chapter 2 21 Chapter 3 35 Chapter 4 57 Chapter 5 80 Chapter 6 92 Chapter 7 123 Chapter 8 136 Chapter 9 156 Chapter 10 165 Chapter 11 192 Chapter 12 220 Chapter 13 245 Chapter 14 260 Chapter 15 279 Chapter 16 296 Chapter 17 313 Chapter 18 333 Chapter 19 358 Chapter 20 374 Chapter 21 387 iv Chapter 22 397 Epilogue 403 v Prologue Diana Hayford remembers Autumn. -
The Mostly Celtic Songbook
The Mostly Celtic Songbook Mostly Celtic Songbook 2 Introduction After sitting in on some of the Tuesday evening open jam sessions at C.B. Hannegan’s in Los Gatos, and trying to sing along but not remembering the lyrics, it seemed like a good idea to compile a songbook that we could all share. After one or two pints and a few encouraging words from Tony Becker, the idea became a project. So, here it is. It’s not by any stretch of the imagination complete, but it does contain many of the Celtic traditional songs1) that are played, along with some popular country and folk songs. The songs included here are the ones played most frequently, and some I added on my own. In some cases, I took the liberty of editing some of the traditional lyrics for readability, especially the lyrics I got from the Web, and adding or changing a few chords, since many of the songs exist in several different versions anyway. Some of the song titles are listed without the leading “The” and “A” in the index, to make it easier to find them. The chords are written in Nashville notation (well, sort of), so transposing is a piece of cake. For example, the root chord is represented as a 1, and the other chords are numbered according to their relationship to the root chord. So, in the key of C, a C chord is 1, an Am chord is 6m, an F chord is 4, a G7 is 57, and so on. Chord numbering in relative minor keys is arbitrarily based on the root of the corresponding major key, so a Dm is 6m, where F is 1. -
Author: Publisher: Description: 100 (Monologues)
Title: 100 (monologues) Author: Bogosian, Eric Publisher: Theatre Communications Group 2014 Description: Monologues – American “100 (monologues)” collects all of Eric Bogosian’s monologues, originally performed as part of his six Off-Broadway solo shows, including “Sex, Drugs, Rock & Roll,” “Pounding Nails in the Floor with My Forehead,” “Wake Up and Smell the Coffee,” “Drinking in America,” “funhouse,” “Men Inside,” and selections from his play “Talk Radio.” For these shows, first performed between 1980 and 2000, Bogosian was awarded three Obie Award and a Drama Desk Award—earning him living-icon status in the downtown theater scene. Contains monologues from the following plays by Eric Bogosian: Men Inside ; Voices of America ; Men in Dark Times ; Advocate ; Funhouse ; Drinking in America ; Talk Radio ; Sex, Drugs, Rock & Roll ; Notes From Underground ; Pounding Nails in the Floor With My Forehead ; 31 Ejaculations ; Wake Up and Smell the Coffee ; This is Now! ; Orphans Title: 100 Great Monologues from the Neo-Classical Theater Author: Publisher: Smith and Kraus 1994 Description: Monologues – auditions - classics Contains monologues from the following plays and playwrights: Women’s monologues: All for Love – John Dryden ; Andromache – Jean Racine ; The Beaux’ Stratagem – George Farquhar ; The Burial of Danish Comedy – Ludvig Holberg ; Cato – Joseph Addison ; The Careless Husband – Colley Cibber ; Careless Vows – Marivaux ; Cinna – Pierre Cornielle ; The Clandestine Marriage – George Coleman and David Garrick ; The Contrast – (2) Royall -
DGA Reality Directors Contact Guide
DGA’s REALITY DIRECTORS Contact Guide EF OP CH PRO T JE CT R FACT RU SE FEAR OR N W LO D BI A T E G Y S K K B E A K TAN A R N R ME O G HA R T G G S I H I N C I A E B ’ R T S A F E N D H E C X E R T C E F T T A F O S R O A P G E M M C N O I A Z F D A E R L M O I A R R E R T S S A I E A B W S D R T M A P A O T J K N A E K I E E N Y E V I B N N A C L A I R M E E A S T K M A U M L I E L T E L R C U H C A I L L A C E E N G A R N G G A R R I D T S ’ L U R A U P 7/2018 WHAT PRODUCERS AND AGENTS ARE SAYING ABOUT DGA REALITY AGREEMENTS: “The DGA has done an amazing job of building strong relationships with unscripted Producers. They understand that each show is different and work with us to structure deals that make sense for both the Producers and their Members on projects of all sizes and budgets.