Election Officials Nationwide Find No Fraud
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Our Path Forward October 7, 2015
Our Path Forward October 7, 2015 From our earliest days, The New York Times has committed itself to the idea that investing in the best journalism would ensure the loyalty of a large and discerning audience, which in turn would drive the revenue needed to support our ambitions. This virtuous circle reinforced itself for over 150 years. And at a time of unprecedented disruption in our industry, this strategy has proved to be one of the few successful models for quality journalism in the smartphone era, as well. This week we have been celebrating a remarkable achievement: The New York Times has surpassed one million digital subscribers. Our newspaper took more than a century to reach that milestone. Our website and apps raced past that number in less than five years. This accomplishment offers a powerful validation of the importance of The Times and the value of the work we produce. Not only do we enjoy unprecedented readership — a boast many publishers can make — there are more people paying for our content than at any other point in our history. The New York Times has 64 percent more subscribers than we did at the peak of print, and they can be found in nearly every country in the world. Our model — offering content and products worth paying for, despite all the free alternatives — serves us in many ways beyond just dollars. It aligns our business goals with our journalistic mission. It increases the impact of our journalism and the effectiveness of our advertising. It compels us to always put our readers at the center of everything we do. -
A Strange Loop
A Strange Loop / Who we are Our vision We believe in theater as the most human and immediate medium to tell the stories of our time, and affirm the primacy and centrality of the playwright to the form. Our writers We support each playwright’s full creative development and nurture their unique voice, resulting in a heterogeneous mix of as many styles as there are artists. Our productions We share the stories of today by the writers of tomorrow. These intrepid, diverse artists develop plays and musicals that are relevant, intelligent, and boundary-pushing. Our plays reflect the world around us through stories that can only be told on stage. Our audience Much like our work, the 60,000 people who join us each year are curious and adventurous. Playwrights is committed to engaging and developing audiences to sustain the future of American theater. That’s why we offer affordably priced tickets to every performance to young people and others, and provide engaging content — both onsite and online — to delight and inspire new play lovers in NYC, around the country, and throughout the world. Our process We meet the individual needs of each writer in order to develop their work further. Our New Works Lab produces readings and workshops to cultivate our artists’ new projects. Through our robust commissioning program and open script submission policy, we identify and cultivate the most exciting American talent and help bring their unique vision to life. Our downtown programs …reflect and deepen our mission in numerous ways, including the innovative curriculum at our Theater School, mutually beneficial collaborations with our Resident Companies, and welcoming myriad arts and education not-for-profits that operate their programs in our studios. -
Troy High School Vol
FEBRUARY 16, 2018ORACLETROY HIGH SCHOOL VOL. 53, ISSUE 7 2200 E. DOROTHY LANE, FULLERTON, CA 92831 What is Bitcoin and cryptocurrency? Cryptocurrency is a transferable, digital currency which operates independently of a central bank. Users can ex- change virtual money in peer-to-peer transactions while “miners,” people who run the software, encrypt data to protect users’ money. By doing so, they create more bit- coins which can then affect the overall value of bitcoins. The more bitcoins sold, the more their value decreases. cryptocurrency transactions By Faith-Carmen Le develop blockchains. Addition- of Feb. 8, one bitcoin was worth STAFF WRITER ally, millions of users send their $7744.27, exemplifying the Photo by Ashley Branson private information across the dramatic fluctuations in crypto- PHOTO world using different servers currency cost. Warriors should which can potentially threaten avoid wrongly treating Bitcoin their personal security. as a joke since real money can We’ve all heard about it. Cryptocurrency is relatively be lost by investing in bitcoins. How six years ago one bitcoin new, and it may feel exciting to Moreover, because crypto- was worth less than a Big currency can be used to Person A and Person B want to perform a bitcoin transaction Mac, but is now worth buy and sell almost any- thousands today. Bitcoin is “The world of thing, the world of crypto- currently the most popular cryptocurrency opens up a new currency opens up a new form of cryptocurrency. avenue for criminals to In fact, many tech-savvy avenue for criminals to exploit. exploit. Bitcoin can poten- Warriors own bitcoins and Any item from cars to concert tially increase crime be- use cryptocurrency be- tickets to drugs is fair game for cause illegal transactions cause it does not require a bitcoin transaction.” become easier to complete Cryptographic keys are assigned to the transaction that investors to go through and harder to track. -
Razorcake Issue #82 As A
RIP THIS PAGE OUT WHO WE ARE... Razorcake exists because of you. Whether you contributed If you wish to donate through the mail, any content that was printed in this issue, placed an ad, or are a reader: without your involvement, this magazine would not exist. We are a please rip this page out and send it to: community that defi es geographical boundaries or easy answers. Much Razorcake/Gorsky Press, Inc. of what you will fi nd here is open to interpretation, and that’s how we PO Box 42129 like it. Los Angeles, CA 90042 In mainstream culture the bottom line is profi t. In DIY punk the NAME: bottom line is a personal decision. We operate in an economy of favors amongst ethical, life-long enthusiasts. And we’re fucking serious about it. Profi tless and proud. ADDRESS: Th ere’s nothing more laughable than the general public’s perception of punk. Endlessly misrepresented and misunderstood. Exploited and patronized. Let the squares worry about “fi tting in.” We know who we are. Within these pages you’ll fi nd unwavering beliefs rooted in a EMAIL: culture that values growth and exploration over tired predictability. Th ere is a rumbling dissonance reverberating within the inner DONATION walls of our collective skull. Th ank you for contributing to it. AMOUNT: Razorcake/Gorsky Press, Inc., a California not-for-profit corporation, is registered as a charitable organization with the State of California’s COMPUTER STUFF: Secretary of State, and has been granted official tax exempt status (section 501(c)(3) of the Internal Revenue Code) from the United razorcake.org/donate States IRS. -
Roots Radical – Place, Power and Practice in Punk Entrepreneurship Sarah Louise Drakopoulou Dodd
Roots radical – Place, power and practice in punk entrepreneurship Sarah Louise Drakopoulou Dodd The significance continues to grow of scholarship that embraces critical and contextualized entrepreneurship, seeking rich explorations of diverse entrepreneurship contexts. Following these influences, this study explores the potentialized context of punk entrepreneurship. The Punk Rock band Rancid has a 20-year history of successfully creating independent musical and related creative enterprises from the margins of the music industry. The study draws on artefacts, interviews and videos created by and around Rancid to identify and analyse this example of marginal, alternative entrepreneurship. A three-part analytic frame was applied to analysing these artefacts. Place is critical to Rancid’s enterprise, grounding the band socially, culturally, geographically and politically. Practice also plays an important role with Rancid’s activities encompassing labour, making music, movement and human interactions. The third, and most prevalent, dimension of alterity is that of power which includes data related to dominance, subordination, exclusion, control and liberation. Rancid’s entrepreneurial story is depicted as cycles, not just a linear journey, but following more complicated paths – from periphery to centre, and back again; returning to roots, whilst trying to move forwards too; grounded in tradition but also radically focused on dramatic change. Paradox, hybridized practices, and the significance of marginal place as a rich resource also emerged from the study. Keywords: entrepreneurship; social construction; punk rock; paradox; marginality; periphery Special thanks are due to all the punks and skins who have engaged with my reading of the Rancid story, and given me so much support and feedback along the way, especially Rancid’s drummer, Branden Steineckert, Jesse from Machete Manufacturing, Kostis, Tassos (Rancid Punx Athens Crew) and Panayiotis. -
The New York Times Company Fourth-Quarter and Full-Year 2014 Earnings Conference Call February 3, 2015
The New York Times Company Fourth-Quarter and Full-Year 2014 Earnings Conference Call February 3, 2015 Andrea Passalacqua Thank you, and welcome to The New York Times Company’s fourth-quarter and full-year 2014 earnings conference call. On the call today, we have: ▪ Mark Thompson, president and chief executive officer; ▪ Jim Follo, executive vice president and chief financial officer; and ▪ Meredith Kopit Levien, executive vice president of advertising. Before we begin, I would like to remind you that management will make forward-looking statements during the course of this call, and our actual results could differ materially. Some of the risks and uncertainties that could impact our business are included in our 2013 10-K. In addition, our presentation will include non-GAAP financial measures, and we have provided reconciliations to the most comparable GAAP measures in our earnings press release, which is available on our website at investors.nytco.com. With that, I will turn the call over to Mark Thompson. Mark Thompson Thanks Andrea and good morning everyone. Before I turn to the detail of Q4, I’d like to offer a few observations about 2014 as a whole. This was an encouraging year for The New York Times Company. We made enough progress with our digital revenues to more than offset the secular pressures on the print side of our business and deliver modest overall revenue growth. Especially pleasing was the progress on digital advertising. When I arrived at the Company just over two years ago, digital advertising was in decline. In 2014 we reversed that with digital ad growth in all four quarters, which became double-digit growth in the second half with a 19 percent year-over-year gain in the fourth quarter. -
TREE of CLUES: a Packet for Popheads
TREE OF CLUES: a packet for popheads Written by Kevin Kodama 1. In one song by this artist, a background clicking noise slows down as she sings “I found another way / To caress my day”. One of this artist’s videos is a single shot of her as both a giant goddess and tiny dancers that slowly zooms out. A track by this artist that she described as “a medieval march through the destruction of a relationship” laments “I never thought that you would be the one to tie me down”. This artist asks “Why don’t I do it for you” in a video that showcases her pole-dancing skills, and she explained a part of her name as “a selection of letters that sounded... masculine and strong”. For ten points, name this artist who released “Cellophane” for her 2019 album MAGDALENE. ANSWER: FKA twigs (accept Taliah Debrett Barnett) 2. This song’s heavily ad-libbed bridge includes the James Brown-inspired lyric “Good God! I can’t help it!”. In the music video for this song, the artist crawls on the ground sporting white polka dotted lipstick. This song begins with a series of tongue clicking and a breathy “yeah” along with some funky guitars. The video for this song uses pink, purple, and blue lighting in a scene where the artist runs between a male flirt and Tessa Thompson. This song’s artist describes herself as “an emotional sexual bender”, which is a nod to her pansexuality. For ten points, name this top r/popheads track of 2018, a Janelle Monae song that was the lead single for the album Dirty Computer. -
Intellectual Property's Lessons for Information Privacy
University at Buffalo School of Law Digital Commons @ University at Buffalo School of Law Journal Articles Faculty Scholarship 2014 Intellectual Property’s Lessons for Information Privacy Mark Bartholomew University at Buffalo School of Law Follow this and additional works at: https://digitalcommons.law.buffalo.edu/journal_articles Part of the Intellectual Property Law Commons, and the Privacy Law Commons Recommended Citation Mark Bartholomew, Intellectual Property’s Lessons for Information Privacy, 92 Neb. L. Rev. 746 (2014). Available at: https://digitalcommons.law.buffalo.edu/journal_articles/40 Reprinted with permission from the Nebraska Law Review. This article was previously published in the Nebraska Law Review. See Mark Bartholomew, Intellectual Property’s Lessons for Information Privacy, 92 Neb. L. Rev. 746 (2014). This Article is brought to you for free and open access by the Faculty Scholarship at Digital Commons @ University at Buffalo School of Law. It has been accepted for inclusion in Journal Articles by an authorized administrator of Digital Commons @ University at Buffalo School of Law. For more information, please contact [email protected]. Mark Bartholomew* Intellectual Property's Lessons for Information Privacy TABLE OF CONTENTS I. Introduction .................................. 747 II. Defending the IP Law/Privacy Law Analogy .......... 753 A. Intellectual Property's Relevance to Information Privacy ..... ..................... ...... 754 B. Answering the Intellectual Property Skeptics ...... 755 C. The Insufficiency of Contract ................... 761 III. Free Speech and Subject Matter.......... ......... 766 A. Copyright's Focus on Speech Subject............. 766 B. Categorization and Information Privacy ............ 772 IV. Intent ....................................... 775 A. Improper Motive and Free Speech ............... 776 B. Information Privacy and Proscribed Motivations ... 781 V. Assessing the Defendant's Speech Contribution ....... -
The Morning Line
THE MORNING LINE DATE: Wednesday, October 14, 2015 FROM: Melissa Cohen, Michelle Farabaugh Megan Ching PAGES: 22, including this page. Obituary for Robert DiMichiell, Jr. October 13, 2015 Robert Lawrence DeMichiell Jr. passed away last night (Monday, October 12) in Manhattan after a three year battle with cancer. He died peacefully at home with his husband Jeffrey M. Wilson at his side. DeMichiell was born on May 2, 1958 in Portland, Maine, to Robert Lawrence DeMichiell Sr. and Nan (McEvoy) DeMichiell. At the age of 2, his family moved to Kodiak, Alaska, where his father was the Commanding Officer of the LORAN station. In 1962, Robert Sr. was transferred to the faculty of the United States Coast Guard Academy in New London, CT, and the family moved to Waterford, Connecticut where they still reside. Bob Sr. passed away in 2014. As a young boy, Robert loved art and would copy any illustration he saw. With his father as his chaperone and biggest champion, he attended hundreds of art fairs with a sign, “You name it, I’ll draw it. One dollar. No dogs”. In 1980, he graduated from the Rhode Island School of Design and moved to New York, which remained his home. DeMichiell was one of the most prolific commercial illustrators of his time, with a distinctive style that was synonymous with sophisticated New York City-based entertainment and culture. His work has appeared in the New York Times, The New Yorker (including the cover in 1993, and hundreds of theatrical illustrations for them, including the magazine’s first ever color illustration of the Blue Man Group), Entertainment Weekly (where he was a regular for many years) and Premiere Magazine's “If You Ask Me” column for 12 years. -
FEB 2017 SEASON 50, ISSUE 4 Ferociously Intense and Highly Dramatic JOSEFOWICZ CAPU Ç ON
SAN FRANCISCO’S PREMIER NONPROFIT THEATER COMPANY FEB 2017 SEASON 50, ISSUE 4 Ferociously Intense and Highly Dramatic JOSEFOWICZ CAPU Ç ON FEB 22–25 MAR 1–4 MTT conducts John Adams’ MTT conducts Tchaikovsky Scheherazade.2 and Shostakovich A GRAMMY AWARD-WINNING EVENING Violinist Leila Josefowicz brings her “wonderfully committed and Gautier Capuçon’s performances with the San Francisco Symphony are ferociously intense” (The Guardian) playing to John Adams’ celebration of “thoughtful, highly dramatic, and played with precision and grace.” female strength, Scheherazade.2. Written specifically for Josefowicz, her (San Francisco Chronicle) The acclaimed cellist joins Michael Tilson Thomas for performance of the work recently garnered her a Grammy nomination for Shostakovich’s provocative Cello Concerto No. 1. The Orchestra then plays Best Classical Instrumental Solo. Then, Michael Tilson Thomas and the Tchaikovsky's Sixth Symphony, the Pathétique, known as one of the San Francisco Symphony perform the work for which they won their first composer's proudest achievements. Grammy together, Prokofiev’s exquisite Romeo and Juliet. Feb 24 presented in partnership with TICKETS START AT sfsymphony.org 415-864-6000 $15* Concerts at Davies Symphony Hall. Programs,artists, and prices subject to change. *Subject to availability. Box Office Hours Mon–Fri 10am–6pm, Sat noon–6pm, Sun 2 hours prior to concerts Walk Up Grove Street between Van Ness and Franklin Inaugural Partner Official Airline EAP full-page template.indd 1 12/13/16 2:35 PM EAP full-page -
High Concept Music for Low Concept Minds
High concept music for low concept minds Music | Bittles’ Magazine: The music column from the end of the world: August/September New albums reviewed Part 1 Music doesn’t challenge anymore! It doesn’t ask questions, or stimulate. Institutions like the X-Factor, Spotify, EDM and landfill pop chameleons are dominating an important area of culture by churning out identikit pop clones with nothing of substance to say. Opinion is not only frowned upon, it is taboo! By JOHN BITTLES This is why we need musicians like The Black Dog, people who make angry, bitter compositions, highlighting inequality and how fucked we really are. Their new album Neither/Neither is a sonically dense and thrilling listen, capturing the brutal erosion of individuality in an increasingly technological and state-controlled world. In doing so they have somehow created one of the most mesmerising and important albums of the year. Music isn’t just about challenging the system though. Great music comes in a wide variety of formats. Something proven all too well in the rest of the albums reviewed this month. For instance, we also have the experimental pop of Georgia, the hazy chill-out of Nils Frahm, the Vangelis-style urban futurism of Auscultation, the dense electronica of Mueller Roedelius, the deep house grooves of Seb Wildblood and lots, lots more. Somehow though, it seems only fitting to start with the chilling reflection on the modern day systems of state control that is the latest work by UK electronic veterans The Black Dog. Their new album has, seemingly, been created in an attempt to give the dispossessed and repressed the knowledge of who and what the enemy is so they may arm themselves and fight back. -
A Study of Microtones in Pop Music
University of Huddersfield Repository Chadwin, Daniel James Applying microtonality to pop songwriting: A study of microtones in pop music Original Citation Chadwin, Daniel James (2019) Applying microtonality to pop songwriting: A study of microtones in pop music. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34977/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Applying microtonality to pop songwriting A study of microtones in pop music Daniel James Chadwin Student number: 1568815 A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Arts University of Huddersfield May 2019 1 Abstract While temperament and expanded tunings have not been widely adopted by pop and rock musicians historically speaking, there has recently been an increased interest in microtones from modern artists and in online discussion.