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Historic Hire for Down Syndrome Community of Central Texas
Down in the Heart DSACT of Texas Down Syndrome Association of Central Texas Asociacion de Sindrome Down del Centro de Texas Volume 7, Issue 4 Historic Hire for Down Syndrome Inside this Issue: Community of Central Texas Historic Hire Pg. 1-2 After an extensive search process for the Down Syndrome Association of Central Texas’ first Executive Director, the Board has selected Cleofas Rodriguez Jr., an New Parent Corner Pg. 2 outstanding individual who fits not only our current needs, but our vision of growth for the future. Encourage Speech Pg. 2-3 Mr. Rodriguez has 15 years experience in non-profit management of organizations, Rx for Health Pg. 4-5 including support for high-risk children, children with disabilities, youth, families, and their communities. Most recently he served as Program Director for the Austin Education Exclusive Pg. 6-8 Travis County Advocate Program, where he was responsible for administering all aspects of local programming, organization management, and the recruitment and Smart IEPs Pg. 9-10 management of staff, volunteers, and interns. Additionally, Mr. Rodriguez served 6 years as Executive Director of Texas Head Start Association, Inc., where he President’s Column Pg. 11 initiated membership growth, increased revenue, and worked efficiently with a state-wide Board of Directors. What’s up at DSACT? Pg. 11-12 Through Mr. Rodriguez’s extensive non-profit experience and community activism, he has developed skills that have crafted him to become a focused and effective Buddy Walk Pg. 13-14 leader. With comprehensive knowledge of program development, special event coordination, community outreach, and fund donations, Mr. -
Friday, April 30, 2004
Rose-Hulman Institute of Technology Rose-Hulman Scholar The Rose Thorn Archive Student Newspaper Spring 4-30-2004 Volume 39 - Issue 24 - Friday, April 30, 2004 Rose Thorn Staff Rose-Hulman Institute of Technology, [email protected] Follow this and additional works at: https://scholar.rose-hulman.edu/rosethorn Recommended Citation Rose Thorn Staff, "Volume 39 - Issue 24 - Friday, April 30, 2004" (2004). The Rose Thorn Archive. 274. https://scholar.rose-hulman.edu/rosethorn/274 THE MATERIAL POSTED ON THIS ROSE-HULMAN REPOSITORY IS TO BE USED FOR PRIVATE STUDY, SCHOLARSHIP, OR RESEARCH AND MAY NOT BE USED FOR ANY OTHER PURPOSE. SOME CONTENT IN THE MATERIAL POSTED ON THIS REPOSITORY MAY BE PROTECTED BY COPYRIGHT. ANYONE HAVING ACCESS TO THE MATERIAL SHOULD NOT REPRODUCE OR DISTRIBUTE BY ANY MEANS COPIES OF ANY OF THE MATERIAL OR USE THE MATERIAL FOR DIRECT OR INDIRECT COMMERCIAL ADVANTAGE WITHOUT DETERMINING THAT SUCH ACT OR ACTS WILL NOT INFRINGE THE COPYRIGHT RIGHTS OF ANY PERSON OR ENTITY. ANY REPRODUCTION OR DISTRIBUTION OF ANY MATERIAL POSTED ON THIS REPOSITORY IS AT THE SOLE RISK OF THE PARTY THAT DOES SO. This Book is brought to you for free and open access by the Student Newspaper at Rose-Hulman Scholar. It has been accepted for inclusion in The Rose Thorn Archive by an authorized administrator of Rose-Hulman Scholar. For more information, please contact [email protected]. ROSE-HULMAN INSTITUTE OF TECHNOLOGY TERRE HAUTE, INDIANA Friday, April 30, 2004 Volume 39, Issue 24 News Briefs College Bowl goes national Nicole Hartkemeyer have competed in the pro- News Editor Emeritus gram. -
African American Radio, WVON, and the Struggle for Civil Rights in Chicago Jennifer Searcy Loyola University Chicago, [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Loyola eCommons Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 2012 The oiceV of the Negro: African American Radio, WVON, and the Struggle for Civil Rights in Chicago Jennifer Searcy Loyola University Chicago, [email protected] Recommended Citation Searcy, Jennifer, "The oV ice of the Negro: African American Radio, WVON, and the Struggle for Civil Rights in Chicago" (2012). Dissertations. Paper 688. http://ecommons.luc.edu/luc_diss/688 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2013 Jennifer Searcy LOYOLA UNIVERSITY CHICAGO THE VOICE OF THE NEGRO: AFRICAN AMERICAN RADIO, WVON, AND THE STRUGGLE FOR CIVIL RIGHTS IN CHICAGO A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY PROGRAM IN AMERICAN HISTORY/PUBLIC HISTORY BY JENNIFER SEARCY CHICAGO, ILLINOIS AUGUST 2013 Copyright by Jennifer Searcy, 2013 All rights reserved. ACKNOWLEDGEMENTS First and foremost, I would like to thank my dissertation committee for their feedback throughout the research and writing of this dissertation. As the chair, Dr. Christopher Manning provided critical insights and commentary which I hope has not only made me a better historian, but a better writer as well. -
Beastie Boys Square Resolution
Draft of Resolution, Provided to CB3 by Applicant CB3 Beastie Boys Square Resolution Whereas the Beastie Boys were established in July 1981 as part of the Lower East Side’s CBGB punk music scene, and frequently played in that venue; Whereas the Beastie Boys’ first album, “Polly Wog Stew,” was recorded at 171A Studios, located at 171 Avenue A in the East Village; Whereas in 1984, the Beastie Boys were the first white and the first Jewish hip hop group signed to Def Jam records, where they played a significant, early role breaking down racial barriers in 1980s music between rock (white audience) and hip hop (black and Latino audience), which in turn led to a greater cultural understanding and historic reduction in the racial divide between the groups according to the book and 2013 VH1 miniseries “The Tanning of America”; Whereas in 1988 the group released the album “Paul’s Boutique,” which brought the corner of Ludlow and Rivington Streets on the Lower East Side international fame by featuring an oversized picture of the corner on the cover of the album; Whereas the cover art from “Paul’s Boutique,” which Rolling Stone magazine named the 156th greatest album of all time in 2009 and the Village Voice named 3rd on its list of the 50 Most New York Albums Ever in 2013, continues to draw fans from around the world to the corner of Ludlow and Rivington Streets; Whereas, the Beastie Boys meet CB3’s street renaming guidelines because they have achieved “exceptional and highly acclaimed accomplishment or involvement linked to Manhattan Community -
Beastie Boys V. Monster Energy Company
Case 1:12-cv-06065-PAE Document 51 Filed 11/04/13 Page 1 of 24 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK --------------------------------------------------------------------------X : BEASTIE BOYS, et al., : : 12 Civ. 6065 (PAE) Plaintiffs, : : OPINION & ORDER -v- : : MONSTER ENERGY COMPANY, : : Defendant. : : ------------------------------------------------------------------------ X PAUL A. ENGELMAYER, District Judge: This case involves claims by the Beastie Boys, the hip-hop group, against Monster Energy Company (“Monster”), the energy-drink company. Specifically, the Beastie Boys, along with affiliated plaintiffs,1 bring claims of copyright infringement and of violations of the Lanham Act, 15 U.S.C. § 1051 et seq., and the New York Civil Rights Law (NYCRL) § 51, arising out of Monster’s allegedly unauthorized publication of a promotional video that used as its soundtrack a remix including songs originally composed and recorded by the Beastie Boys. At issue presently is a third-party Complaint which Monster, after it was sued by the Beastie Boys, brought against Zach Sciacca, a/k/a “Z-Trip,” the disk jockey (“DJ”) who, with the Beastie Boys’ permission, originally made the remix. Z-Trip furnished the remix to Monster. Monster’s Complaint alleges that Z-Trip authorized Monster to make unrestricted use of the remix, including the Beastie Boys’ original compositions and recordings contained in it, in its promotional video. Monster sues Z-Trip for breach of contract and also for fraud, the latter 1 The Beastie Boys are a New York partnership. The other plaintiffs are Michael Diamond, a Beastie Boys member known as “Mike D”; Adam Horovitz, a Beastie Boys member known as “Ad-Rock”; Dechen Yauch, Executor of the Estate of Adam Yauch, a late Beastie Boys member known as “MCA”; and Brooklyn Dust Music, an entity through which the Beastie Boys did business. -
Aristocrat/Chess Records by Frank Daniels
Aristocrat/Chess Records by Frank Daniels When Aristocrat Records began in early April, 1947, the firm had several partners. The label was going to feature all sorts of musicians – not just pop, or country, or jazz. By September they hired Leonard Chess to help sell their singles, and by the end of the year several of the partners had gone away. The musicians’ union strike in 1948 probably drove some of the others away, so that by 1949 Evelyn Aron and Leonard Chess were basically running the show by themselves. Aron joined Art Spiegel that year in forming American Distributing, and Phil Chess wound up joining Leonard. By spring, 1950, they were preparing for a name change to Chess Records. As if they were foretelling the future, some of the greatest artists on the label were in their blues stable – including the always- noteworthy Muddy Waters, the father of (modern) Chicago blues. Muddy had recorded unreleased material for Columbia and had just released one record for Ballen’s 20th Century label, the B-side of a single. That had been a primitive version of his song, “Mean Red Spider,” a record that would be rerecorded for Aristocrat. As soon as his first Aristocrat single hit (in February, 1948), Muddy was a blues legend. When Aristocrat morphed into Chess, right away he released the song that gave the Rolling Stones their name (7/15/50). Aristocrat Records had plenty of talent on the label, but their blues artists piqued the most interest, and these were the artists that Chess was most interested in promoting. -
According to Chaim Weizmann's
Motal Pol. Motol, Bel. Моталь, [We] had our own house – one storey, with seven rooms and a kitchen some acres of land, chickens, two cows, a vegetable garden, a few – מאָטעלע .Yid fruit trees. So we had a supply of milk, and sometimes butter; we had fruit and vegetables in season; we had enough bread – which my mother baked herself; we had fish, and we had meat once a week – on the Sabbath. And there was always plenty of fresh air. Chaim Weizmann, Trial and Error. The Autobiography, Philadelphia 1949 Hebrew greeting ¶ Motal, the into the Slonim Province, then into the birthplace and childhood home of Lithuania Governorate, and from 1801, it Chaim Weizmann, the first president was made part of the Grodno Province of of Israel, is probably the only town in the Russian Empire. Belarus that has a sign with its name in Hebrew posted by the road leading out of The Jews of Motal ¶ In 1562, town. ¶ The earliest written mention of “a Jewish landlord and tax collector from Motal is found in the documents of the Kobryn Favish Yeskovich,” who leased Lithuanian Metrica from 1422, where the right to collect taxes on merchandise, it was referred to as a private estate in complained to Savostian Druzhylovitski the Principality of Pinsk. In 1520, it was that the ruler of the district did not allow the property of Prince Fyodor Ivanovich him to collect taxes in his town of Motal Yaroslavich, who later donated it to the and in the neighbouring villages. This Orthodox Church of the Assumption of document suggests that Jews collecting the Blessed Virgin Mary in Leszno. -
“Bo Diddley” and “I'm a Man” (1955)
“Bo Diddley” and “I’m a Man” (1955) Added to the National Registry: 2011 Essay by Ed Komara (guest post)* Bo Diddley While waiting in Bo Diddley’s house to conduct an interview for the February 12, 1987 issue of “Rolling Stone,” journalist Kurt Loder noticed a poster. “If You Think Rock and Roll Started With Elvis,” it proclaimed, “You Don’t Know Diddley.” This statement seems exaggerated, but upon listening to Diddley’s April 1955 debut 78 on Checker 814, “Bo Diddley” backed with “I’m A Man,” it becomes apt, perhaps even understated. Bo Diddley (1928-2008) described his own place in music history to Loder. “People wouldn’t even bother with no stuff like ‘Bo Diddley’ and ‘I’m A Man’ and stuff like that ten years earlier [circa 1945] or even a year earlier [1954]. Then Leonard and Phil Chess decided to take a chance, and suddenly a whole different scene, a different kind of music, came in. And that was the beginning of rock and roll.” The composer credit for Checker 814 reads “E. McDaniels,” and there begins the tale. Bo Diddley was born Ellas Otha Bates in McComb, Mississippi on December 30, 1928 to a teenage mother and her local boyfriend. He was raised, however, by his maternal first cousin, Gussie McDaniel, to whom he was taken to Chicago, and given her surname McDaniel. He grew up on the South Side of the city, where he learned violin, trombone and, at age 12, the guitar. Before long, he was playing for change on the local streets. -
Pre-Lesson Reading Chess Set Still Sings the Blues
! ! Pre-Lesson Activity - “Chess Set Still Sings The Blues: Marshall Chess and Chess Records” JUST OVER 50 YEARS AGO, brothers Phil and Leonard Chess, two industrious Polish immigrants in Chicago, tentatively established what would become the most famous blues label in the USA. The impact of the music they released radically shaped the musical landscape of the next two decades. The Chess Story: 1947-1975, a new 15-CD box-set, is a hefty testament to their huge legacy. Marshall Chess, Leonard's son, is a passionate advocate of the label. Describing the box- set today, he admits, "It makes me so proud to be a Chess!" This pride is the result of two intrepid trips made in the first half of the 20th century. Indeed, the very foundations of Chicago's Chess Records were built by two, seemingly quite distinct, groups of people, both of whom were raised in impoverished rural areas far from this dynamic industrial city. In the 1930s and '40s, hundreds of thousands of African-Americans in the Southern states caught the Illinois Central Railway up to Chicago, desperate to escape the "southern hospitality" of the Deep South. Today, Marshall Chess recalls, "A certain kind of temperament came up to Chicago from Mississippi. Mississippi was deep slavery roots. They were living on old plantations. Those places didn't have electricity." Marshall Chess's family in Poland might not have suffered from racism, but they shared similar penniless circumstances to these black Americans. In their Polish village, Leonard Chess and his family had no electricity, heating or running water. -
Annual Report 2014
75 YEARS 2014 annual report STATEMENT of OPERATIONS July 2013-June 2014 July 2012-June 2013 REVENUE Earned Income Facility Rentals ....................................................................................$288,679 $330,999 Endowment Income ..............................................................................573,115 537,152 Programs & Special Events ................................................................. 136,353 125,645 Total Earned Income: $998,147 $993,796 Contributed Income Duke University Allocation ............................................................$1,113,820 $1,059,290 Other University Support .....................................................................337,767 337,755 Annual Fund .............................................................................................511,712 497,415 Foundations ............................................................................................ 35,000 32,000 Other Projects and Programs .............................................................501,779 160,850 Transferred in from Prior Years ..........................................................134,191 Total Contributed Income: $2,634,269 $2,087,310 Total Revenue: $3,632,416 $3,081,106 EXPENSE Salaries & Fringe Benefits ............................................................ $1,704,856 $1,620,488 Horticultural Operations .................................................................... 411,428 383,672 Programs and Special Events ............................................................ -
The Impressions, Circa 1960: Clockwise from Top: Fred Cash, Richard Brooks> Curtis Mayfield, Arthur Brooks, and Sam (Pooden
The Impressions, circa 1960: Clockwise from top: Fred Cash, Richard Brooks> Curtis Mayfield, Arthur Brooks, and Sam (Pooden. Inset: Original lead singer Jerry Butler. PERFORMERS Curtis Mayfield and the Impressions BY J O E M cE W E N from the union of two friends, Jerry Butler and Curtis Mayfield of Chicago, Illinois. The two had sung together in church as adolescents, and had traveled with the Northern Jubilee Gospel Singers and the Traveling Souls Spiritual Church. It was Butler who con vinced his friend Mayfield to leave his own struggling group, the Alfatones, and join him, Sam Gooden, and brothers Richard and Arthur Brooks— the remnants of another strug gling vocal group called the Roosters. According to legend, an impressive performance at Major Lance, Walter Jackson, and Jan Bradley; he also a Chicago fashion show brought the quintet to the at wrote music that seemed to speak for the entire civil tention of Falcon Records, and their debut single was rights movement. A succession of singles that began in recorded shortly thereafter. “For Your 1964 with “Keep On Pushing” and Precious Love” by “The Impressions SELECTED the moody masterpiece “People Get featuring Jerry Butler” (as the label DISCOGRAPHY Ready” stretched through such exu read) was dominated by Butler’s reso berant wellsprings of inspiration as nant baritone lead, while Mayfield’s For Your Precious Love.......................... Impressions “We’re A Winner” and Mayfield solo (July 1958, Falcon-Abner) fragile tenor wailed innocently in the recordings like “(Don’t Worry) If background. Several follow-ups He Will Break Your Heart......................Jerry Butler There’s A Hell Below We’re All Going (October 1960, Veejay) failed, Butler left to pursue a solo ca To Go” and “Move On Up,” placing reer, and the Impressions floundered. -
The Jody Williams Story
THE JODY WILLIAMS STORY Howlin’ Wolf, Jody Williams, Earl Phillips and Hubert Sumlin. Chicago circa mid 1950s. From the B&R Archives. Interview by Mike Stephenson y name is Joseph Leon Williams, that’s the styles because some of the people who were around also impressed me. People who I played with I’d pick up a little bit here and there because at that name my mother gave me. I’ve been called age I was trying to learn all I could. When I got started on guitar, Bo Diddley a little of everything over the years, but taught me how to tune the guitar to an open E. He taught me how to play the M bass background but his playing was limited, I wanted to learn more. I was Jody is a nickname. When I started recording, if hungry for knowledge on the guitar so I would hang around in the clubs and they had put Joe Williams on the record they might stuff like that. You could say I was getting on the job training. have confused me with the singer Joe Williams I started to come into contact with more and more people. I don’t recall how I got into the studio but I went to Chess Studios first around 1956. Willie Dixon who was with Count Basie! So people would have helped me. This is the guy who wrote many tunes, matter of fact he wrote the been buying his recordings thinking it was me and first tune that I recorded and he’s playing on it – ‘Lookin’ For My Baby’ (Blue Lake 116).