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The Junk Rig Glossary (JRG) Version 20 APR 2016
The Junk Rig Glossary (JRG) Version 20 APR 2016 Welcome to the Junk Rig Glossary! The Junk Rig Glossary (JRG) is a Member Project of the Junk Rig Association, initiated by Bruce Weller who, as a then new member, found that he needed a junk 'dictionary’. The aim is to create a comprehensive and fully inclusive glossary of all terms pertaining to junk rig, its implementation and characteristics. It is intended to benefit all who are interested in junk rig, its history and on-going development. A goal of the JRG Project is to encourage a standard vocabulary to assist clarity of expression and understanding. Thus, where competing terms are in common use, one has generally been selected as standard (please see Glossary Conventions: Standard Versus Non-Standard Terms, below) This is in no way intended to impugn non-standard terms or those who favour them. Standard usage is voluntary, and such designations are wide open to review and change. Where possible, terminology established by Hasler and McLeod in Practical Junk Rig has been preferred. Where innovators have developed a planform and associated rigging, their terminology for innovative features is preferred. Otherwise, standards are educed, insofar as possible, from common usage in other publications and online discussion. Your participation in JRG content is warmly welcomed. Comments, suggestions and/or corrections may be submitted to [email protected], or via related fora. Thank you for using this resource! The Editors: Dave Zeiger Bruce Weller Lesley Verbrugge Shemaya Laurel Contents Some sections are not yet completed. ∙ Common Terms ∙ Common Junk Rigs ∙ Handy references Common Acronyms Formulae and Ratios Fabric materials Rope materials ∙ ∙ Glossary Conventions Participation and Feedback Standard vs. -
James Edwin Pope
James Edwin Pope EXPERIENCE ─────────────────────────────────────────────────── Toyota (Demo) Husband (Lead) Commercial 2019 Amtrak Traveler (Lead) Commercial 2019 The Greatest Sketch Show in America Actor (Various Roles) Theatre 2019 Centra Health Father (Lead) Commercial 2019 Maryland Pride Be Like Director/Writer/Actor Film (Short) 2019 United Airlines Husband (Lead) Commercial 2018 Canon, Inc. Father (Lead) Commercial 2018 Moxy by Marriott Hotels Interior Designer (Lead) Commercial 2018 Maryland Live! Casino Casino Patron (Lead) Print 2018 Black and Decker Homeowner (Lead) Print 2018 Giant Foods Party-Goer (Lead) Commercial 2018 Thompson Creek Windows Homeowner (Lead) Commercial 2018 Dark City: Beneath the Beat Police Officer/Dancer Film 2018 New Year’s Daze Director/Writer/Actor (Lead) Film (Short) 2017 Epic Office XMas Party Director/Choreographer Film (Short) 2017 Microtel by Wyndham Hotels Father (Lead) Print 2017 Time Machine Dancer/Writer Theatre 2017 Tinder On-Demand Director/Writer/Actor Film (Short) 2017 The Motion Challenge Director/Choreographer Film (Short) 2017 Political Dance Battle Director/Writer/Actor Film (Short) 2016 Cards Against Humanity IRL (Web Series) Director/Writer/Actor Film (Short) 2016 Heroes and Villains Dancer Theatre 2016 New Year (Parody) Director/Writer Film (Short) 2016 Steve Harvey Show Guest Television 2016 The Today Show Guest Television 2015 Countertop Solutions Director/Writer/Actor (Lead) Commercial 2015 WORK EXPERIENCE ──────────────────────────────────────────────────── Krewski, LLC Founder -
Ishdarr Brings a Crowd,Iowa Band Speaks on Locality,Field Report To
IshDARR brings a crowd Photo by Jun Taek Lee A packed crowd gathered in Gardner on Friday, Nov. 6, to hear from three young hip-hop artists—Young Eddy, Kweku Collins and IshDARR (pictured to the left). IshDARR is based out of Milwaukee, Wis. The sharp-tongued 19- year-old released a critically acclaimed album, “Old Soul, Young Spirit,” earlier this year. He largely pulled material from that album during the performance. The youthful, ecstatic energy of his recorded material transferred seamlessly to the stage. IshDARR was totally engaging for the duration of the set and did not shy away from talking with the audience, eliciting laughter and cheers. It wasn’t a terribly long set, but one that kept the people in attendance rapt from start to finish. Milwaukee is an exciting place to be an MC in 2015. The Midwestern city has recently cultivated a vibrant and dynamic DIY hip hop scene that’s only getting larger. IshDaRR, one of the youngest and most prominent members of the scene, proved on Friday night that he’s got a lot to share with the world. Assuredly, he is only getting started. Friday night was the third time that Young Eddy, aka Greg Margida ’16, has performed on campus and he is sure to have more performances next semester. Kweku Collins hails from Evanston, Ill., and this was his first time performing in Grinnell. Iowa band speaks on locality The S&B’s Concerts Correspondent Halley Freger ‘17 sat down with Pelvis’ guitarist and vocalist, Nao Demand, before his Gardner set on Friday, Oct. -
Karizma Biog He's One of the Most In-Demand Djs on the Worldwide
Karizma biog He’s one of the most in-demand DJs on the worldwide house circuit, his productions are a must-check for any self-respecting house lover, and his remix talents are sought out by some of the biggest names in the music business. Truly Karizma is a man at the very peak of his game. But then he’s been doing this for a while. Born in Baltimore, Maryland in 1970, Chris Clayton became fascinated by music from an early age. “My grandma used to go to flea markets and come back with all these records, and I was just OBSESSED with them!” he recalls, laughing. “This was when I was about five years old. I’d sit listening to all these records for hours on end, and while I was listening I’d be studying the liner notes and the sleeves. By the time I was seven, you could pick up any record in our house and I could tell you who played on it, who produced it and using what equipment!” It was only natural that a desire to get involved with music would follow, and young Chris spent his teens learning to DJ – at that time playing hip-hop and the nascent ‘Baltimore club music’, a sub-genre that’s today similar in style to Detroit ghetto tech/Miami bass but which in its early days drew much inspiration from the go-go music coming out of nearby Philadelphia – and playing in a succession of bands. By the age of 19, he was playing with his first “proper” band, a Baltimore club music outfit called Unruly. -
Garage House Music Whats up with That
Garage House Music whats up with that Future funk is a sample-based advancement of Nu-disco which formed out of the Vaporwave scene and genre in the early 2010s. It tends to be more energetic than vaporwave, including elements of French Home, Synth Funk, and making use of Vaporwave modifying techniques. A style coming from the mid- 2010s, often explained as a blend of UK garage and deep home with other elements and strategies from EDM, popularized in late 2014 into 2015, typically mixes deep/metallic/sax hooks with heavy drops somewhat like the ones discovered in future garage. One of the very first house categories with origins embeded in New York and New Jersey. It was named after the Paradise Garage bar in New york city that operated from 1977 to 1987 under the prominent resident DJ Larry Levan. Garage house established along with Chicago home and the outcome was home music sharing its resemblances, affecting each other. One contrast from Chicago house was that the vocals in garage house drew stronger impacts from gospel. Noteworthy examples consist of Adeva and Tony Humphries. Kristine W is an example of a musician involved with garage house outside the genre's origin of birth. Also understood as G-house, it includes very little 808 and 909 drum machine-driven tracks and often sexually explicit lyrics. See likewise: ghettotech, juke house, footwork. It integrates components of Chicago's ghetto house with electro, Detroit techno, Miami bass and UK garage. It includes four-on-the-floor rhythms and is normally faster than a lot of other dance music categories, at approximately 145 to 160 BPM. -
Chapter One: Postwar Resentment and the Invention of Middle America 10
MIAMI UNIVERSITY The Graduate School Certificate for Approving the Dissertation We hereby approve the Dissertation of Jeffrey Christopher Bickerstaff Doctor of Philosophy ________________________________________ Timothy Melley, Director ________________________________________ C. Barry Chabot, Reader ________________________________________ Whitney Womack Smith, Reader ________________________________________ Marguerite S. Shaffer, Graduate School Representative ABSTRACT TALES FROM THE SILENT MAJORITY: CONSERVATIVE POPULISM AND THE INVENTION OF MIDDLE AMERICA by Jeffrey Christopher Bickerstaff In this dissertation I show how the conservative movement lured the white working class out of the Democratic New Deal Coalition and into the Republican Majority. I argue that this political transformation was accomplished in part by what I call the "invention" of Middle America. Using such cultural representations as mainstream print media, literature, and film, conservatives successfully exploited what came to be known as the Social Issue and constructed "Liberalism" as effeminate, impractical, and elitist. Chapter One charts the rise of conservative populism and Middle America against the backdrop of 1960s social upheaval. I stress the importance of backlash and resentment to Richard Nixon's ascendancy to the Presidency, describe strategies employed by the conservative movement to win majority status for the GOP, and explore the conflict between this goal and the will to ideological purity. In Chapter Two I read Rabbit Redux as John Updike's attempt to model the racial education of a conservative Middle American, Harry "Rabbit" Angstrom, in "teach-in" scenes that reflect the conflict between the social conservative and Eastern Liberal within the author's psyche. I conclude that this conflict undermines the project and, despite laudable intentions, Updike perpetuates caricatures of the Left and hastens Middle America's rejection of Liberalism. -
Ships and Sailors in Early Twentieth-Century Maritime Fiction
In the Wake of Conrad: Ships and Sailors in Early Twentieth-Century Maritime Fiction Alexandra Caroline Phillips BA (Hons) Cardiff University, MA King’s College, London A Thesis Submitted for the Degree of Doctor of Philosophy Cardiff University 30 March 2015 1 Table of Contents Abstract 3 Acknowledgements 4 Introduction - Contexts and Tradition 5 The Transition from Sail to Steam 6 The Maritime Fiction Tradition 12 The Changing Nature of the Sea Story in the Twentieth Century 19 PART ONE Chapter 1 - Re-Reading Conrad and Maritime Fiction: A Critical Review 23 The Early Critical Reception of Conrad’s Maritime Texts 24 Achievement and Decline: Re-evaluations of Conrad 28 Seaman and Author: Psychological and Biographical Approaches 30 Maritime Author / Political Novelist 37 New Readings of Conrad and the Maritime Fiction Tradition 41 Chapter 2 - Sail Versus Steam in the Novels of Joseph Conrad Introduction: Assessing Conrad in the Era of Steam 51 Seamanship and the Sailing Ship: The Nigger of the ‘Narcissus’ 54 Lord Jim, Steam Power, and the Lost Art of Seamanship 63 Chance: The Captain’s Wife and the Crisis in Sail 73 Looking back from Steam to Sail in The Shadow-Line 82 Romance: The Joseph Conrad / Ford Madox Ford Collaboration 90 2 PART TWO Chapter 3 - A Return to the Past: Maritime Adventures and Pirate Tales Introduction: The Making of Myths 101 The Seduction of Silver: Defoe, Stevenson and the Tradition of Pirate Adventures 102 Sir Arthur Conan Doyle and the Tales of Captain Sharkey 111 Pirates and Petticoats in F. Tennyson Jesse’s -
DNAS OPORDER 18/001 06 Mar 18 Subj: 2018 SAFETY at SEA
3120 DNAS OPORDER 18/001 06 Mar 18 From: Director, Naval Academy Sailing To: Distribution Subj: 2018 SAFETY AT SEA SEMINAR OPERATIONS ORDER 18/001 1. Purpose. To promulgate the Operations Order forthe 2018 Safetyat Sea Seminar (SASS), to be held 24-25 March 2018. 2. Mission. The SASS presents safety-related information to midshipmen, Sailing Department staff, volunteers, and the general public. The program includes lectures, optional hands-on practical sessions, and an on-the-water demonstration. 3. Area of Operations. Lectures will be presented in Alumni Hall on Saturday, 24 March, with the on-the-water demonstration occurring on the SevernRiver adjacent to the Sailing Center mid-day Saturday. USCG SAR helicopter will hover over the Chesapeake prior to their on-the water demonstration Saturday (weather dependent), and returnto base at end of demo. Lectures will be held in Alumni Hall and Luce Hall Sunday, 25 March, with hands-on training in Macdonough and Lejeune swimming pools. 4. Conduct of Operations. a. Schedule of Events. The SASS will be conducted per the timeline defined in Appendix A. b. On-the-Water Demonstration. The on-the-water demonstration will include man overboard (MOB) recoveries, life raftlaunching, the helo rescue demonstration and a safety flare display. Waterborneassets will include two Navy 44' Sail Training Craft (STC), one 50' USNA chartered STC, one 52' USNA chartered STC (static storm sails display) and one rigid hull inflatableboat as safety boat. The sequence of events is promulgated in Appendix B. Vessel trafficon the SevernRiver will be blocked offper USCG Marine Event Permit in conjunction with two Annapolis USCG patrol craft. -
J/22 Sailing MANUAL
J/22 Sailing MANUAL UCI SAILING PROGRAM Written by: Joyce Ibbetson Robert Koll Mary Thornton David Camerini Illustrations by: Sally Valarine and Knowlton Shore Copyright 2013 All Rights Reserved UCI J/22 Sailing Manual 2 Table of Contents 1. Introduction to the J/22 ......................................................... 3 How to use this manual ..................................................................... Background Information .................................................................... Getting to Know Your Boat ................................................................ Preparation and Rigging ..................................................................... 2. Sailing Well .......................................................................... 17 Points of Sail ....................................................................................... Skipper Responsibility ........................................................................ Basics of Sail Trim ............................................................................... Sailing Maneuvers .............................................................................. Sail Shape ........................................................................................... Understanding the Wind.................................................................... Weather and Lee Helm ...................................................................... Heavy Weather Sailing ...................................................................... -
The Queer of Color Sound Economy in Electronic Dance Music
The Queer of Color Sound Economy in Electronic Dance Music Blair Black Within electronic dance music cultures (EDMCs), musicality and experi- mentation have been indebted to black and Latinx DJs of color since its inception in the 1980s. Even today, queer DJs of color continue to push the envelope of experimental EDM by showcasing dance music from the “global south,” centering remix styles that border between hip hop and EDM, and sampling cultural references popular in queer communities of color. This article explores music’s complex entanglements with identity and community for queer people of color in underground electronic dance music scenes. To be specific, the individuals within these communities self-identify as racial/ethnic minorities on the genderqueer spectrum of non-normative gender and sexual identities (gay/lesbian, trans, non- binary, etc.). Moreover, I argue that these socio-economic positions act as an impetus of a sound economy – the shared system of socio-cultural aesthetics – for queer communities of color in EDM. The first section dis- cusses the identity politics that underlie this sound economy by tracing how intertextuality allows DJs to display these minoritarian1 perspectives. I then highlight why (re)centering racialized queer identities is radical by tracing EDM’s political shifts. Specifically, I highlight how narratives sur- rounding EDM changed due to the demographic turn in Europe during the 1990s. The last section explores the re-emergence of pivotal queer DJs of color and the scenes they founded in Los Angeles, Chicago, and New York by focusing on the flows of culture and people between cities to point to a more extensive global network of racialized queer communities in constant musical and political dialogue. -
Why Locality Still Matters: Baltimore Club | Norient.Com 3 Oct 2021 22:36:32
Why Locality Still Matters: Baltimore Club | norient.com 3 Oct 2021 22:36:32 Why Locality Still Matters: Baltimore Club by Lisa Blanning While techno and house have become widely commodified by white Europeans, Tedra Wilson’s documentary Dark City Beneath the Beat shows how Baltimore Club kept its highly localized aesthetics, and proves the richness of Black club music in the 21st century. → Check all articles of this special → Download PDF with introduction and table of contents Tedra Wilson, aka TT the Artist, shines a light on Baltimore club music – an underrepresented, highly specific local scene of electronic music, primarily by Black artists – in her documentary Dark City Beneath the Beat. Seen mostly through the idealized lens of music video set pieces – complete with saturated colours, costume design, incredible dance routines, and even narrative flourishes – very little footage was shot inside an actual club. Instead, the key fly-on-the-wall scenes come from the city’s annual Queen and King of Baltimore dance battles, where contestants flex and contort to sometimes gymnastic levels to compete in front of large, enthusiastic audiences. The extent to which this kind of talent competition informs Bmore’s breaks is something familiar, well-documented in Chicago footwork, New York’s ballroom walk-offs, and especially rap MC battles. Although the battle format for both dancers and vocalists came to the U.S. at least partly from Jamaica – https://norient.com/lisa-blanning/why-locality-still-matters-baltimore-club Page 1 of 4 Why Locality Still Matters: Baltimore Club | norient.com 3 Oct 2021 22:36:32 see, for instance, how Jamaican toasting became rapping – and possibly to Jamaica from somewhere in Africa, it still thrives today in America’s Black community strongholds. -
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