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City of Naples, Florida Agreement /J
CITY OF NAPLES, FLORIDA AGREEMENT (SERVICES Bid/Proposal No. 15-031 Clerk Tracking No. /J_ (J33 ? Project Name: Gulf Shore Boulevard South (GSBS) Sewer Main Replacement and GSBS Sewer Project— Additional Paving THIS AGREEMENT (the Agreement) is made and entered into this 6th day of May. 2015, by and between the City of Naples, a Florida municipal corporation, (the CITY") and Quality Enterprises USA, Incorporated, a Foreign Profit Corporation, located at: 3894 Mannix Drive, Suite 216; Naples, Florida 34114-5406 (the 'CONTRACTOR"). WHEREAS, the CITY desires to obtain the services of the CONTRACTOR concerning certain services specified in this Agreement (referred to as the "Project"); and WHEREAS, the CONTRACTOR has submitted an (ITB) Invitation to Bid No. 15-031 for provision of those services; and WHEREAS, the CONTRACTOR represents that it has expertise in the type of services that will be required for the Project. NOW, THEREFORE, in consideration of the mutual covenants and provisions contained herein, the parties hereto agree as follows: ARTICLE ONE CONTRACTOR'S RESPONSIBILITY 1.1. The Services to be performed by the CONTRACTOR are generally described as Gulf Shore Boulevard South (GSBS) Sewer Main Replacement and GSBS Sewer Project - Additional Paving and may be more fully described in the Scope of Services, attached as EXHIBIT A and made a part of this Agreement. 1.2. The CONTRACTOR agrees to obtain and maintain throughout the period of this Agreement all such licenses as are required to do business in the State of Florida, the City of Naples, and in Collier County, Florida, including, but not limited to, all licenses required by the respective state boards and other governmental agencies responsible for regulating and licensing the services to be provided and performed by the CONTRACTOR pursuant to this Agreement. -
World Cities and World Beat: Low-Wage Labor and Transnational Culture Author(S): George Lipsitz Source: Pacific Historical Review, Vol
World Cities and World Beat: Low-Wage Labor and Transnational Culture Author(s): George Lipsitz Source: Pacific Historical Review, Vol. 68, No. 2, Orange Empires (May, 1999), pp. 213-231 Published by: University of California Press Stable URL: https://www.jstor.org/stable/3641985 Accessed: 06-01-2020 15:39 UTC REFERENCES Linked references are available on JSTOR for this article: https://www.jstor.org/stable/3641985?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Pacific Historical Review This content downloaded from 129.67.246.57 on Mon, 06 Jan 2020 15:39:32 UTC All use subject to https://about.jstor.org/terms World Cities and World Beat: Low-Wage Labor and Transnational Culture GEORGE LIPSITZ The author is a member of the ethnic studies department at the University of California, San Diego. Los Angeles and Miami have experienced parallel peri- ods of growth as centers of metropolitan, regional, and na- tional economic activity. Both cities have exploited their oceanfront locations and mild climates to attract tourists, mi- grants, and federal spending for infrastructure development and improvement. -
The BG News October 25, 1991
Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 10-25-1991 The BG News October 25, 1991 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News October 25, 1991" (1991). BG News (Student Newspaper). 5278. https://scholarworks.bgsu.edu/bg-news/5278 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. fi The BG News VOLUME 74, ISSUE 43 FRIDAY, OCTOBER 25, 1991 BOWLING GREEN, OHIO Briefly President blasts the Inside Congress in speech by Rita Beamish The Associated Press the Senate already was moving toward a vote on a broader spe- It's a powwow: cial counsel investigation — Native Americans from WASHINGTON — President passed 86-12 Thursday afternoon. across the Midwest and Bush on Thursday blasted Con- Bush also said Congress should Canada will gather in gress as a "privileged class of set a six-week time limit on con- Toledo this weekend for a rulers," above the laws it passes firming his nominees to govern- powwow. for others, and pressed law- ment posts. See page three. makers to revoke their special "The administration's troops exemptions. led a seek-and-destroy mission Seizing on the anti-Congress against Anita Hill." which in- mood that followed the recent cluded "smears and innuendoes" Campus Clarence Thomas confirmation to discredit her accusations, Sen. -
Fritz Cottage
Los Angeles Department of City Planning RECOMMENDATION REPORT CULTURAL HERITAGE COMMISSION CASE NO.: CHC-2018-1033-HCM ENV-2018-1034-CE HEARING DATE: March 15, 2018 Location: 1547-1549 North McCadden Place TIME: 10:00 AM Council District: 13 – O’Farrell PLACE : City Hall, Room 1010 Community Plan Area: Hollywood 200 N. Spring Street Area Planning Commission: Central Los Angeles, CA 90012 Neighborhood Council: Central Hollywood Legal Description: Davidson Tract, Block A, Lot 20 PROJECT: Historic-Cultural Monument Application for the FRITZ COTTAGE REQUEST: Declare the property a Historic-Cultural Monument OWNER: Linda L. Duttenhaver, Trustee Lindy Trust 6671 West Sunset Boulevard, Suite 1575 Los Angeles, CA 90028 APPLICANT: AIDS Healthcare Foundation 6255 Sunset Boulevard, 21st Floor Los Angeles, CA 90028 PREPARER: Anna Marie Brooks th 1109 4 Avenue Los Angeles, CA 90019 RECOMMENDATION That the Cultural Heritage Commission: 1. Take the property under consideration as a Historic-Cultural Monument per Los Angeles Administrative Code Chapter 9, Division 22, Article 1, Section 22.171.10 because the application and accompanying photo documentation suggest the submittal warrants further investigation. 2. Adopt the report findings. VINCENT P. BERTONI, AICP Director of PlanningN1907 [SIGNED ORIGINAL IN FILE] [SIGNED ORIGINAL IN FILE] Ken Bernstein, AICP, Manager Lambert M. Giessinger, Preservation Architect Office of Historic Resources Office of Historic Resources [SIGNED ORIGINAL IN FILE] Melissa Jones, Planning Assistant Office of Historic Resources Attachment: Historic-Cultural Monument Application CHC-2018-1033-HCM 1547-1549 North McCadden Place Page 2 of 3 SUMMARY Fritz Cottage is a one-story single-family residence located on McCadden Place between Sunset Boulevard and Selma Avenue in Hollywood. -
Latino Rap – Part 2
Latino Rap – Part 2 Intro/History As we discussed last time, many Chicano/Latino rappers do have a gang background (see my prior article on "Chicano Music: An Influence on Gang Violence and Culture”. At one time was on the NAGIA http://www.nagia.org/latino_rap.htm) Sgt. Ron Stallworth of the Utah Dept. of Public Safety has written four books on the subject of gangster rap and even testified at a capital homicide trial in Texas in which rap lyrics were the subject of the case in point. Law Enforcement around the country has become more and more concerned each year with the rap industry’s growing influence on gangs and crime. Det. Wayne Caffey of LAPD has also documented gang ties to many of these gangster rap groups. Rap is part of the Hip-Hop culture that started on the East Coast in the mid-seventies with such groups as the Sugar Hill Gang, Curtis Blow, and Grandmaster Flash. It is a diverse music style and one sub-group could be classified as "Gangster Rappers". Chicano/Latino MC’s may rap in English, Spanish, or Nahualt, or whatever. Increasingly, non-Latino artists are mixing Spanish lyrics in their music in an effort to reach out to the growing Latino market. Latinos have always been a part of the Hip-Hop scene. Early on, in New York, hip-hop break dancers like the Rock Steady Crew and "graffiti artist piecers" like Fidel Rodriquez were involved in the scene. But Latino MC’s did not enjoy that much success at first. -
Guide to the Raquel Z. Rivera Hip Hop/ Reggaetón Collection
Guide to the Raquel Z. Rivera Hip Hop/ Reggaetón Collection Archives of the Puerto Rican Diaspora Centro de Estudios Puertorriqueños Hunter College, CUNY 2180 Third Avenue @ 119th St., Rm. 120 New York, New York 10035 (212) 396-7877 www.centropr.hunter.cuny.edu Descriptive Summary Resumen descriptivo Creator: Raquel Z. Rivera, 1972- Creador: Raquel Z. Rivera, 1972- Title: The Raquel Z. Rivera Hip Hop/ Reggaetón Título: The Raquel Z. Rivera Hip Hop/ Reggaetón Collection Collection Inclusive Dates: 1977-2008 Años extremos: 1977-2008 Bulk Dates: 1995-2003 Período principal: 1995-2003 Volume: 9 cubic feet Volumen: 9 pies cùbicos Repository: Archives of the Puerto Rican Diaspora, Repositorio: Archives of the Puerto Rican Diaspora, Centro de Estudios Puertorriqueños Centro de Estudios Puertorriqueños Abstract: The Raquel Z. Rivera Hip Hop/ Reggaetón Nota de resumen: La Colección de Hip Hop y Collection helps document Puerto Rican contributions Reggaetón de Raquel Z. Rivera, documenta la to the creation and development of hip hop and contribución puertorriqueña a la creación y el reggaetón both in the United States and Puerto Rico. desarrollo del hip hop y el reggaetón tanto en los Highlights of the collection include an extensive Estados Unidos como en Puerto Rico. Parte importante audiocassette and compact disc collection, essays de la colección incluye una extensa compilación de written by Rivera on hip hop and reggaetón and paper cintas de audio y discos compactos, ensayos sobre hip documentation on numerous artists. hop y reggaetón escritos por Rivera y documentación en papel sobre varios artistas. Administrative Information Información administrativa Collection Number: 2005-07 Número de colección: 2005-07 Provenance: Raquel Z. -
Hip Hop Helps: Systemic Discrimination in Social Work Andragogy
This thesis/project/dissertation has been reviewed for 508 compliance. To request enhancements, please email [email protected]. HIP HOP HELPS: SYSTEMIC DISCRIMINATION IN SOCIAL WORK ANDRAGOGY A Project Presented to the faculty of the Division of Social Work California State University, Sacramento Submitted in partial satisfaction of the requirements for the degree of MASTER OF SOCIAL WORK by Yarin Gomez SPRING 2017 © 2017 Yarin Gomez ALL RIGHTS RESERVED ii HIP HOP HELPS: SYSTEMIC DISCRIMINATION IN SOCIAL WORK ANDRAGOGY A Project by Yarin Gomez Approved by: __________________________________, Committee Chair Maria Dinis, Ph.D., MSW ____________________________ Date iii Student: Yarin Gomez I certify that this student has met the requirements for format contained in the University format manual, and that this project is suitable for shelving in the Library and credit is to be awarded for the project. __________________________, Department Chair ___________________ Dale Russell Date Division of Social Work iv Abstract of HIP HOP HELPS: SYSTEMIC DISCRIMINATION IN SOCIAL WORK ANDRAGOGY by Yarin Gomez Hip Hop is a transnational culture ignored in social work academia. A qualitative exploratory study with a social constructionist lens used a non-probability sampling method to recruit six Masters-level social work students in a stakeholder-engaged focus group. Subjects took the Rap Music Attitude and Perception (RAP) Scale, to gage perceptions about the music genre. As part of the focus group, open-ended questions were presented about Hip Hop music video content with themes of institutional racism. Data analysis verified individual and collective processes of social identity construction, delineating social agency versus oppression, and exploring the educational merits of Hip Hop. -
00:00:00 Music Transition “Crown Ones” Off the Album Stepfather by People Under the Stairs
00:00:00 Music Transition “Crown Ones” off the album Stepfather by People Under the Stairs. [Music continues under the dialogue, then fades out.] 00:00:06 Oliver Host Hello! I’m Oliver Wang. Wang 00:00:08 Morgan Host And I’m Morgan Rhodes. You’re listening to Heat Rocks. Rhodes 00:00:10 Oliver Host Every episode, we invite a guest to join us to talk about a heat rock: an album that just burns eternally. And today, we have something for the blunted as we dive back to 1991, to talk about the debut, self-titled album by Cypress Hill. 00:00:27 Music Music “Break It Up” from the album Cypress Hill by the band Cypress Hill. Light, multilayered rap. Break it up, Cypress Hill, break it up Cypress, break it up, Cypress Hill Cypress Hill! Break it up Cypress Hill, break it up Cypress, break it up Cypress Hill Cypress Hill! Break it up Cypress Hill, break it up Cypress, break it up Cypress Hill Cypress Hill! [Music continues under the dialogue briefly, then fades out.] 00:00:39 Oliver Host The first time I ever saw Cypress Hill was at my very first hip-hop show, in San Francisco in ’91. Cypress, however, were not the headliners. That would have been the trio of 3rd Bass, then touring behind their radio single, “Pop Goes the Weasel”. Cypress Hill was the opening act, with only a slow-burn B-side, “How I Could Just Kill a Man”, to their name at the time. Of course, a few years later and this would all change. -
Scenes of Goddess Iunit in the Temple of Edfu
Journal Of Association of Arab Universities For Tourism and Hospitality Volume 15 - December 2018 -- (special issue) Page : ( 34 - 93 ) -------------------------------------------------------------------------------------------------------------------------------------------- Scenes of Goddess Iunit in the Temple of Edfu Shaimaa Eid Ali Mohamed - Radwa Mohamed Shelaih - Mofida El-weshahy Faculty of Tourism and Hotels Management - Suez Canal University Abstract: Goddess Iunit had a localized importance in The Theban region. Iunit was incorporated into the local ennead of Karnak in the New Kingdom. Along with the goddess Teieneyet, she was venerated as the consort of the ancient falcon war god Montu of Armant (Hermonthis). She was mentioned in the Pyramid texts. The female deity Raet also Known from the Theban region, related to Iunit. The research aims at: 1- Studying the representations and scenes of goddess Iunit in the temple of Edfu. 2- Studying her important Roles in the temple. 3- Illuminating her relation with other gods and goddesses in the temple. Key Words: Iunit _ Edfu _Middle Kingdom _ New Kingdom_ Tienenyet _Greco- Roman Period. ---------------------------------------------------------------------------------------------------- Introduction: Iunit "Iwny.t"was a solar goddess and a member of the great and small ennead of karnak.(1) . Her name means " she – of- Armant' " . Although the goddess first appears in reliefs dated to the reign of Mentuhotep II and Mentuhotep III of the 11thdynasty, (2) it is thought that she may have been worshipped there from very early time.)3)The fourth upper Egyptian nome was her cult center specially at the temples of Armant, Tod, Deir - el madienh, khonso, Opet, Dendara, Philae and Edfu,(4)where it appeared in many places with different forms for writing her name .(5) Doc.no. -
Ponto Chicano
~ · "O<!lober23, 1991 MECHISME page 3 Latin Alliance puts Latino rappers on map Ponto Chicano (Reprinted from Lowrider, Oct. 91) Latins to bring everyone together." Frost By Enrique Jesus Cardiel jr. In the truest sense, Latin Alliance explains, "not just keeping it for Mexicans CNNReponer lives up to the name. A coalition of Latin or Puerto Ricans or Dominicans." the Latin Chicanos can no longer allow Rappers from varying backgrounds, Latin Alliance became official in October, 1990. themselves to be intimidated as if they are Alliance's members have joined forces on Latin Alliance's group chemistry infringing on Anglos' rights. the self-titled debut album on Virgin transcends mutual respect. "This thing has Chicanos' rights have been Records. Their message of pride and unity to be a tight unit,• Frost says emphatically. infringed upon since 1836 when Anglos urges fellow Latins to rely on cooperation "It has to be more of a family thing than just were illegal aliens in the northern-most instead of confrontation, and they deliver a bunch of kids just trying to come up or get territory of Mexico. their message at the tip of a high-velocity over. We have a cause. Our main theme is Another issue Chicanos must face i rap sound. to bust stereotypes--stereotypes that say 'rap the myth of being "Hispanic.• Chicanos, as The Latin Alliance emphasizes a should be this' or 'rap should be that.' We a group, are 70 to 80 percent indigenous, broad, multi-cultural and multi-racial theme feel that the whole art of rap is an urban according to John Chaviz, author of The of unity. -
8 Stelae Nk.Pdf
1 NEW KINGDOM Dynasties XVIII-XX Royal stelae (including boundary stelae) or those with representations of kings without non-royal persons. See special section for donation stelae Stone. 803-044-050 Round-topped stela, fragmentary, Ramesses I offering two loaves of bread to Osiris, temp. Ramesses I, in Amsterdam, Allard Pierson Museum, 9352. Van Haarlem, W. M. in Mededelingenblad ... Allard Pierson Museum 13 (1977), 6 fig.; de Bruyn, M. J. in van Haarlem, Selection i, 46-7 fig.; van Haarlem and Lunsingh Scheurleer, Gids (1986), 23-4 fig. 3 [a, b]. See De Meulenaere, H. J. A. in Bibliotheca Orientalis xliv (1987), col. 444 (as probably not ancient). 803-044-070 Boundary stela of Kery Krjj , Chariot warrior, with Tuthmosis I before Amun-Re lord of the Thrones of the Two Lands and three lines of text, temp. Tuthmosis I, in Berlin, Ägyptisches Museum, 14994. (Bought in Luxor.) Text, Aeg. Inschr. ii, 115; Helck, W. Historisch-biographische Text der 2. Zwischenzeit und neue Texte der 18. Dynastie (1983), 116 [129]. 803-044-100 Fragment of stela of Tuthmosis III ‘beloved of Horus lord of Buhen’, with text mentioning building and endowment of Buhen temple, temp. Tuthmosis III, in Cairo, Egyptian Museum, CG 34014. See Lacau, Stèles 30-1 (text). Text, Sethe, Urk. iv, 820-1 [227]. 803-044-104 Fragment of stela with remains of six lines of text mentioning expedition reaching 2 the region of Miu, and establishing the northern border, probably temp. Amenophis III, in Cairo, Egyptian Museum, CG 34163. Störk, L. Die Nashörner (1977), 281-5 [2] fig. -
The History of Rock Music - the Nineties
The History of Rock Music - The Nineties The History of Rock Music: 1989-1994 Raves, grunge, post-rock History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) The Golden Age of Hip-hop Music (These are excerpts from my book "A History of Rock and Dance Music") Generally speaking, the rule for hip-hop music of the 1990s was that behind every successful rap act there was a producer. Rap music was born as a "do it yourself" art in which the "message" was more important than the music. During the 1990s, interest in the lyrics declined rapidly, while interest in the soundscape that those lyrics roamed increased exponentially. The rapping itself became less clownish, less stereotyped, less macho, and much more psychological and subtle. In fact, rappers often crossed over into singing. Hip-hop music became sophisticated, and wed jazz, soul and pop. Instrumental hip-hop became a genre of its own, and one of the most experimental outside of classical music. East-Coast rap TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The most significant event of the early 1990s was probably the advent of Wu-Tang Clan (1), a loose affiliation of rappers, including Gary "Genius/GZA" Grice, Russell "Ol' Dirty Bastard" Jones, Clifford "Method Man" Smith and Dennis "Ghostface Killah" Coles, "conducted" (if the rap equivalent of a classical conductor exists) by Robert "RZA" Diggs, the musical genius behind Enter the Wu-Tang (1993), a diligent tribute to old-school rap.