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Derrick Bell: Godfather Provocateur André Douglas Pond Cummings University of Arkansas at Little Rock William H
University of Arkansas at Little Rock William H. Bowen School of Law Masthead Logo Bowen Law Repository: Scholarship & Archives Faculty Scholarship 2012 Derrick Bell: Godfather Provocateur andré douglas pond cummings University of Arkansas at little Rock William H. Bowen School of Law, [email protected] Follow this and additional works at: https://lawrepository.ualr.edu/faculty_scholarship Part of the Judges Commons, Law and Race Commons, and the Legal Profession Commons Recommended Citation andré douglas pond cummings, Derrick Bell: Godfather Provocateur, 28 Harv. J. Racial & Ethnic Just. 51 (2012). This Article is brought to you for free and open access by Bowen Law Repository: Scholarship & Archives. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Bowen Law Repository: Scholarship & Archives. For more information, please contact [email protected]. DERRICK BELL: GODFATHER PROVOCATEUR andrg douglas pond cummings* I. INTRODUCTION Professor Derrick Bell, the originator and founder of Critical Race The- ory, passed away on October 5, 2011. Professor Bell was 80 years old. Around the world he is considered a hero, mentor, friend and exemplar. Known as a creative innovator and agitator, Professor Bell often sacrificed his career in the name of principles and objectives, inspiring a generation of scholars of color and progressive lawyers everywhere.' Bell resigned a tenured position on the Harvard Law School faculty to protest Harvard's refusal to hire and tenure women of color onto its law school -
BROWNOUT Fear of a Brown Planet COOP AVAILABLE SHIPPING with PROMO POSTER
BROWNOUT Fear Of A Brown Planet COOP AVAILABLE SHIPPING WITH PROMO POSTER KEY SELLING POINTS • Billboard premier: Brownout Delivers Funky Cover of Public Enemy’s ‘Fight the Power’ • Fear Of A Brown Planet follows The Elmatic Instrumentals and Enter The 37th Chamber in Fat Beats Records heralded stream of instrumental takes of hip hop classics • Brownout has released past albums with Ubiquity Records (Brown Sabbath) and enjoyed a stint backing the late legend Prince • Tour dates planned for the summer of 2018 DESCRIPTION ARTIST: Brownout Twenty-eight years ago, pissed-off 12-year-olds around the universe discovered TITLE: Fear Of A Brown Planet a new planet, a Black Planet. Public Enemy’s aggressive, Benihana beats and incendiary lyrics instilled fear among parents and teachers everywhere, even CATALOG: L-FB5185 / CD-FB5185 in the border town of Laredo, Texas, home of the future founders of the Latin- Funk-Soul-Breaks super group, Brownout. The band’s sixth full-length album LABEL: Fat Beats Records Fear of a Brown Planet is a musical manifesto inspired by Public Enemy’s GENRE: Psych-Funk/Hip-Hop music and revolutionary spirit. BARCODE: 659123518512 / 659123518529 Chuck D., the Bomb Squad, Flava Flav and the rest of the P.E. posse couldn’t possibly have expected that their golden-era hip hop albums would sow the FORMAT: LP / CD seeds for countless Public Enemy sleeper cells, one that would emerge nearly HOME MARKET: Austin, Texas three decades later in Austin, Texas. Greg Gonzalez (bass) remembers a kid back in junior high hipped him to the fact that Public Enemy’s “Bring the Noise” RELEASE: 5/25/2018 is built on James Brown samples, while a teenaged Beto Martinez (guitar) $17.98 / CH / $9.98 / AH alternated between metal and hip-hop in his walk-man, and Adrian Quesada LIST PRICE: (guitar/keys) remembers falling in love with Public Enemy’s sound at an early CASE QTY: LP 30 / CD 200/1 age. -
Sunday Morning Grid 12/7/14 Latimes.Com/Tv Times
SUNDAY MORNING GRID 12/7/14 LATIMES.COM/TV TIMES 7 am 7:30 8 am 8:30 9 am 9:30 10 am 10:30 11 am 11:30 12 pm 12:30 2 CBS CBS News Sunday Face the Nation (N) The NFL Today (N) Å Football Pittsburgh Steelers at Cincinnati Bengals. (N) Å 4 NBC News (N) Å Meet the Press (N) Å News (N) Swimming PGA Tour Golf Hero World Challenge, Final Round. (N) Å 5 CW News (N) Å In Touch Paid Program 7 ABC News (N) Å This Week News (N) News (N) Wildlife Outback Explore World of X 9 KCAL News (N) Joel Osteen Mike Webb Paid Woodlands Paid Program 11 FOX Paid Joel Osteen Fox News Sunday FOX NFL Sunday (N) Football Indianapolis Colts at Cleveland Browns. (N) Å 13 MyNet Paid Program Paid Program 18 KSCI Paid Program Church Faith Paid Program 22 KWHY Como Local Jesucristo Local Local Gebel Local Local Local Local Transfor. Transfor. 24 KVCR The Omni Health Revolution With Tana Amen Dr. Fuhrman’s End Dieting Forever! Å Joy Bauer’s Food Remedies (TVG) Deepak 28 KCET Raggs Space Travel-Kids Biz Kid$ News Asia Biz Things That Aren’t Here Anymore More Things Aren’t Here Anymore 30 ION Jeremiah Youssef In Touch Hour Of Power Paid Program Holiday Heist (2011) Lacey Chabert, Rick Malambri. 34 KMEX Paid Program República Deportiva (TVG) Al Punto (N) 40 KTBN Walk in the Win Walk Prince Redemption Liberate In Touch PowerPoint It Is Written B. Conley Super Christ Jesse 46 KFTR Tu Dia Tu Dia Beverly Hills Chihuahua 2 (2011) (G) The Chronicles of Narnia: The Lion, the Witch and the Wardrobe Fútbol MLS 50 KOCE Wild Kratts Maya Rick Steves’ Europe Rick Steves Suze Orman’s Financial Solutions for You (TVG) The Roosevelts: An Intimate History 52 KVEA Paid Program Raggs New. -
The Role of Radicalism in African-American Protest Music
“WE’D RATHER DIE ON OUR FEET THAN BE LIVIN’ ON OUR KNEES” THE ROLE OF RADICALISM IN AFRICAN-AMERICAN PROTEST MUSIC, 1960 – 1990: A CASE STUDY AND LYRICAL ANALYSIS Master’s Thesis in North American Studies Leiden University By Roos Fransen 1747045 10 June 2018 Supervisor: Dr. S.A. Polak Second reader: Dr. M.L. de Vries Contents Introduction 3 Chapter 1: Nina Simone and calling out racism 12 Chapter 2: James Brown, black emancipation and self-pride 27 Chapter 3: Public Enemy, black militancy and distrust of government and 40 media Conclusion 52 Works cited 56 2 Introduction The social importance of African-American music originates in the arrival of African slaves on the North American continent. The captured Africans transported to the British colonial area that would later become the United States came from a variety of ethnic groups with a long history of distinct and cultivated musical traditions. New musical forms came into existence, influenced by Christianity, yet strongly maintaining African cultural traditions. One of the most widespread early musical forms among enslaved Africans was the spiritual. Combining Christian hymns and African rhythms, spirituals became a distinctly African- American response to conditions on the plantations slaves were forced to work1. They expressed the slaves’ longing for spiritual and physical freedom, for safety from harm and evil, and for relief from the hardships of slavery. Many enslaved people were touched by the metaphorical language of the Bible, identifying for example with the oppressed Israelites of the Old Testament, as this spiritual Go Down Moses illustrates: Go down, Moses Way down in Egypt's land Tell old Pharaoh Let my people go2 The spiritual is inspired by Exodus 8:1, a verse in the Old Testament. -
Batman Arkham Asylum Free
FREE BATMAN ARKHAM ASYLUM PDF Dave McKean,Grant Morrison | 224 pages | 18 Nov 2014 | DC Comics | 9781401251246 | English | United States Arkham Asylum - Wikipedia Arkham Asylum first appeared in Batman Arkham Asylum Oct. Arkham Asylum serves as a psychiatric hospital for the Gotham City area, housing patients who are criminally Batman Arkham Asylum. Arkham's high-profile patients are often members of Batman's rogues gallery. Located in Gotham CityArkham Batman Arkham Asylum is where Batman's foes who are considered to be mentally ill are brought as patients other foes are incarcerated at Blackgate Penitentiary. Although it has had numerous administrators, some comic books have featured Jeremiah Arkham. Inspired by the works of H. Lovecraftand in particular his fictional city of Arkham, Massachusetts[2] [3] the asylum was introduced by Dennis O'Neil and Irv Novick and first appeared in Batman October ; much of its back-story was created by Len Wein during the s. Arkham Asylum has a poor security record and high recidivism rate, at least with regard to the high-profile cases—patients, such as Batman Arkham Asylum Joker, are frequently shown escaping at will—and those who are considered to no longer be mentally unwell and discharged tend to re-offend. Furthermore, several staff members, including its founder, Dr. Amadeus Arkhamand his nephew, director Dr. Jeremiah Arkhamas well as staff members Dr. Harleen QuinzelLyle Bolton and, in some incarnations, Dr. Jonathan Crane and Professor Hugo Strangehave become mentally unwell. In addition, prisoners with unusual medical conditions that prevent them from staying in a regular prison are housed in Arkham. -
1 Title Page Needs Pasted, Roman Numeral I [Not Shown]
“IT’S BIGGER THAN HIP HOP”: POPULAR RAP MUSIC AND THE POLITICS OF THE HIP HOP GENERATION A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia In Partial Fulfillment of the Requirements for the Degree Master of Arts by DEREK EVANS Dr. Tola Pearce, Thesis Supervisor DECEMBER 2007 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled “IT’S BIGGER THAN HIP HOP”: POPULAR RAP MUSIC AND THE POLITICS OF THE HIP HOP GENERATION Presented by Derek J. Evans A candidate for the degree of Master of Arts, And hereby certify that, in their opinion, it is worthy of acceptance. ________________________________________ Professor Ibitola O. Pearce ________________________________________ Professor David L. Brunsma ________________________________________ Professor Cynthia Frisby …to Madilyn. ACKNOWLEDGEMENTS I wish to extend my unending gratitude to Dr. Tola Pearce for her support, guidance and, most of all, her patience. Many thanks to Dr. David Brunsma for providing me with fresh perspectives and for showing great enthusiasm about my project. I would like to thank Dr. Cynthia Frisby for helping me recognize gaps in my research and for being there during crunch-time. I would also like to thank my fellow sociology graduate students and colleagues for letting me bounce ideas off of them, for giving me new ideas and insights, and for pushing me to finish. Lastly, I would like to thank my wife Samantha for sticking by my side through it all. You are my rock. Shouts to Ice -
Black Expressive Art, Resistant Cultural Politics, and the [Re] Performance of Patriotism Deborah Elizabeth Whaley University of Iowa
Trotter Review Volume 17 Issue 1 Literacy, Expression and the Language of Article 4 Resistence 9-21-2007 Black Expressive Art, Resistant Cultural Politics, and the [Re] Performance of Patriotism Deborah Elizabeth Whaley University of Iowa Follow this and additional works at: http://scholarworks.umb.edu/trotter_review Part of the African American Studies Commons, Music Commons, and the Politics and Social Change Commons Recommended Citation Whaley, Deborah Elizabeth (2007) "Black Expressive Art, Resistant Cultural Politics, and the [Re] Performance of Patriotism," Trotter Review: Vol. 17: Iss. 1, Article 4. Available at: http://scholarworks.umb.edu/trotter_review/vol17/iss1/4 This Article is brought to you for free and open access by the William Monroe Trotter Institute at ScholarWorks at UMass Boston. It has been accepted for inclusion in Trotter Review by an authorized administrator of ScholarWorks at UMass Boston. For more information, please contact [email protected]. THE TROTTER REVIEW Black Expressive Art, Resistant Cultural Politics, and the [Re] Performance of Patriotism Deborah Elizabeth Whaley Introduction During World War I, the Boston editor William Monroe Trotter described black American patriotism as a cautious endeavor and America's willingness to participate in the World War while it turned its back on domestic issues as misguided. In an era when freedom bypassed most black women and men within the nation-state of America and in an era of mass lynching in the American South, he proclaimed that black Americans and the U.S. government might refocus their efforts on making the world safer for "Negroes." As historian Eric Foner reminds us, black Americans were aware of the limits of American proclamations of freedom that Trotter alludes to in his discussion of nationalist loyalty during war: It was among black Americans that the wartime language of freedom inspired the most exalted hopes. -
Jane Doe and the Cradle of All Worlds Teachers Notes
JANE DOE AND THE CRADLE OF ALL WORLDS TEACHERS NOTES Written by Jeremy Lachlan Published by Hardie Grant Egmont in August 2018 SYNOPSIS With its towering columns and crummy stonework, the Manor looks more like an ancient ruin than anything. A gigantic gargoyle crowning the island, born of the cliffs themselves, as old as the sea and sky. Crumbling statues flank its windowless walls. Dying vines creep up its sides. For thousands of years, the people of Bluehaven worshipped it, praised it, journeyed through it to the Otherworlds, but it has stood like this – dormant, lifeless, closed to all – for well over a decade now. Fourteen years to be precise. Ever since me and Dad came to town. Jane Doe is all but alone in a world that hates her. Outcast from the day she and her father tumbled down the sacred steps of the Manor into Bluehaven, bringing earthquakes and destruction to the town, fourteen-year-old Jane is surrounded by people who hold her responsible for their misfortune. She and her father live in a basement owned by the Hollows, a local couple who take every opportunity to remind Jane that she is a curse upon the land. Jane’s only allies are Violet, the Hollows’ precocious and rebellious eight-year-old daughter; and her father, John Doe, who has been trapped, mute and unmoving, inside his own skin for as long as Jane can remember. She can feel an invisible thread connecting them, but her dad is unable to offer her any answers or comfort. The Hollows think she’s a freak, and resent her presence in their lives. -
Public Enemy's Views on Racism As Seen Trough Their Songlyrics Nama
Judul : Public enemy's views on racism as seen trough their songlyrics Nama : Rasti Setya Anggraini CHAPTER I INTRODUCTION A. Background of Choosing The Subject Music has become the most popular and widespread entertainment product in the world. As the product of art, it has performed the language of emotions that can be enjoyed and understood universally. Music is also well known as a medium of expression and message delivering long before radio, television, and sound recordings are available. Through the lyrics of a song, musicians may express everything they want, either their social problems, political opinions, or their dislike toward something or someone. As we know, there are various music genres existed in the music industries nowadays : such as classic, rock, pop, jazz, folk, country, rap, etc. However, not all of them can be used to accommodate critical ideas for sensitive issues. Usually, criticism is delivered in certain music genre that popular only among specific community, where its audience feels personal connection with the issues being criticized. Hip-hop music belongs to such genre. It served as Black people’s medium 1 2 for expressing criticism and protest over their devastating lives and conditions in the ghettos. Yet, hip-hop succeeds in becoming the most popular mainstream music. The reason is this music, which later on comes to be synonym with rap, sets its themes to beats and rivets the audience with them. Therefore, for the audiences that do not personally connected with black struggle (like the white folks), it is kind of protect them from its provocative message, since “it is possible to dig the beats and ignore the words, or even enjoy the words and forget them when it becomes too dangerous to listen” (Sartwell, 1998). -
Dominick Vetri, Tort Law and Practice
Torts Teaching: From Basic Training to Legal-Process Theory: Dominick Vetri, Tort Law and Practice Joseph A. Page* I. INTRODUCTION When I was preparing to launch my career as a torts professor at the University of Denver College of Law in the fall of 1964, I found a rather thin menu of casebooks from which to choose. However, the editors of these tomes were towering figures in the field, a fact that more than made up for (and perhaps explained) the paucity of avail- able teaching materials. The list included Prosser and Smith,' per- fectly straight-forward in its approach and burnished by the recogni- tion that its lead editor was the most influential torts scholar of the day;2 Seavey, Keeton, and Keeton,3 leavening a stolid devotion to the case method with an occasional and, for its day, innovative use of car- toons; 4 Green et al.,' with opinions and text uniquely paraded in fac- tual categories such as public-service companies6 and horse-and- buggy traffic;7 Shulman and James,8 notable for employing a workers' compensation opinion as its engine9 and consigning intentional torts to the caboose;1" and the "new kid on the block," Gregory and Kalven."1 * Professor, Georgetown University Law Center. 1. WILLIAM L. PROSSER & YOUNG B. SMITH, CASES AND MATERIALS ON TORTS (3d ed. 1962). 2. For an account of William L. Prosser's impact on the development of tort law, see G. EDWARD WHITE, TORT LAW IN AMERICA: AN INTELLECTUAL HISTORY Ch. 5 (1980). 3. WARREN A. SEAVEY, PAGE KEETON & ROBERT E. -
To “Trauma”: Adverse Childhood Experiences and Hip Hop's
University of Arkansas at Little Rock William H. Bowen School of Law Bowen Law Repository: Scholarship & Archives Faculty Scholarship 2020 From “Mind Playing Tricks On Me” to “Trauma”: Adverse Childhood Experiences and Hip Hop’s Prescription andré douglas pond cummings University of Arkansas at Little Rock William H. Bowen School of Law, [email protected] Caleb Gregory Conrad Follow this and additional works at: https://lawrepository.ualr.edu/faculty_scholarship Part of the Law and Society Commons Recommended Citation andré douglas pond cummings & Caleb Gregory Conrad, From "Mind Playing Tricks on Me" to "Trauma": Adverse Childhood Experiences and Hip Hop's Prescription, 59 Washburn L.J. 267 (2020). This Article is brought to you for free and open access by Bowen Law Repository: Scholarship & Archives. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Bowen Law Repository: Scholarship & Archives. For more information, please contact [email protected]. CUMMINGS CORRECTED.DOCX (DO NOT DELETE) 3/3/20 10:52 AM From “Mind Playing Tricks On Me”* to “Trauma”**: Adverse Childhood Experiences and Hip Hop’s Prescription andré douglas pond cummings† and Caleb Gregory Conrad†† INTRODUCTION Over the past two decades, research focused on the causes and the lasting impact of Adverse Childhood Experiences, or ACEs, has been changing the way researchers, healthcare providers, and advocates approach areas like mental health, risky behaviors, and chronic disease.1 Numerous studies have produced and solidified results that present three undeniable truths: (1) the vast majority of Americans have experienced some form of trauma in their childhood,2 (2) people with low income or educational attainment and people of color experience increased instances of childhood trauma and adversity,3 and (3) the more childhood trauma an individual *GETO BOYS, Mind Playing Tricks On Me, on WE CAN’T BE STOPPED (Rap-A-Lot/Priority Records 1991). -
A Casebook on the Enforcement of Intellectual Property Rights – 4Th Edition a Casebook on the Enforcement of Intellectual Property Rights
L.T.C. Harms L.T.C. A Casebook on the Enforcement of Intellectual Property Rights 4th Edition L.T.C. Harms A Casebook on the Enforcement of Intellectual Property Rights – 4 th Edition A Casebook on the Enforcement of Intellectual Property Rights 4th Edition L.T.C. Harms The user is allowed to reproduce, distribute, adapt, translate and publicly perform this publication, including for commer- cial purposes, without explicit permission, provided that the content is accompanied by an acknowledgement that WIPO is the source and that it is clearly indicated if changes were made to the original content. Adaptation/translation/derivatives should not carry any of- ficial emblem or logo, unless they have been approved and validated by WIPO. Please contact us via the WIPO website to obtain permission. For any derivative work, please include the following dis- claimer: 'The Secretariat of WIPO assumes no liability or re- sponsibility with regard to the transformation or translation of the original content.' When content published by WIPO, such as images, graphics, trademarks or logos, is attributed to a third-party, the user of such content is solely responsible for clearing the rights with the rights holder(s). To view a copy of this license, please visit https://creative- commons.org/licenses/by/3.0/igo/ The designations employed and the presentation of mate- rial throughout this publication do not imply the expression of any opinion whatsoever on the part of WIPO concern- © WIPO, 2018 ing the legal status of any country, territory or area or of its authorities, or concerning the delimitation of its frontiers World Intellectual Property Organization or boundaries.