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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
The Concert Hall As a Medium of Musical Culture: the Technical Mediation of Listening in the 19Th Century
The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century by Darryl Mark Cressman M.A. (Communication), University of Windsor, 2004 B.A (Hons.), University of Windsor, 2002 Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the School of Communication Faculty of Communication, Art and Technology © Darryl Mark Cressman 2012 SIMON FRASER UNIVERSITY Fall 2012 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for “Fair Dealing.” Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Darryl Mark Cressman Degree: Doctor of Philosophy (Communication) Title of Thesis: The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century Examining Committee: Chair: Martin Laba, Associate Professor Andrew Feenberg Senior Supervisor Professor Gary McCarron Supervisor Associate Professor Shane Gunster Supervisor Associate Professor Barry Truax Internal Examiner Professor School of Communication, Simon Fraser Universty Hans-Joachim Braun External Examiner Professor of Modern Social, Economic and Technical History Helmut-Schmidt University, Hamburg Date Defended: September 19, 2012 ii Partial Copyright License iii Abstract Taking the relationship -
Portnyc Developing the City's Freight and Passenger Infrastructure To
New York Harbor is the third-largest port in the United States and the largest port complex on the Atlantic Coast. New York City Economic Development Corporation’s PortNYC develops the City’s freight and passenger transportation infrastructure to strengthen the region’s economic growth. PortNYC facilities include marine cargo terminals, rail facilities, cruise terminals, ferry landings, active maritime piers, vessel berthing opportunities, and aviation facilities within New York City’s five boroughs. Marine Cargo Terminals New York City’s ports are America’s gateway to the largest and wealthiest consumer market in the United States. PortNYC supports the local economy by enabling firms to bring goods to market by vessel, one of the most efficient modes of freight transportation. Approximately 400,000 containers move through New York City’s seaports annually, and recent infrastructure upgrades to the city’s marine cargo terminals will allow more than a million tons of cargo to arrive by water instead of truck. The City promotes and incentivizes the maritime industry by maintaining and leasing these facilities and designating them Significant Maritime and Industrial Areas. CARGO FACILITIES • Global Container Terminal—New York (containers, break-bulk, and ro-ro), Staten Island • Red Hook Container Terminal (containers, break-bulk, and ro-ro), Brooklyn • South Brooklyn Marine Terminal (break-bulk, ro-ro, and project cargoes), Brooklyn Global Container Terminal on Staten Island is • 25th Street Freight Pier (aggregate), Brooklyn the city’s largest deep-sea marine facility. New York City is a maritime hub for support services hosting tugs, barges, and major ship repair facilities. NYC recently invested $115 million to reactivate marine and rail cargo facilities on the South Brooklyn waterfront. -
You Are Viewing an Archived Copy from the New Jersey State Library
You are Viewing an Archived Copy from the New Jersey State Library Annual Report 2009 Comprehensive Annual Financial Report for the Year Ended December 31, 2009 You are Viewing an Archived Copy from the New Jersey State Library Mission Statement To identify and meet the critical transportation infrastructure needs of the bistate region’s businesses, residents, and visitors: providing the highest quality, most efficient transportation and port commerce facilities, and services that move people and goods within the region, providing access to the rest of the nation and to the world, while strengthening the economic competitiveness of the New York-New Jersey Metropolitan Region. The Port Authority of New York and New Jersey Comprehensive Annual Financial Report for the Year Ended December 31, 2009 Prepared by the Marketing and Comptroller’s departments of The Port Authority of New York and New Jersey 225 Park Avenue South, New York, NY 10003-1604 panynj.info You are Viewing an Archived Copy from the New Jersey State Library Table of Contents Introductory Section 2 Port Authority Facilities 3 Letter of Transmittal to the Governors 4 Board of Commissioners 5 Origins/Governance of the Port Authority 6 Officers and Directors 7 Letter from the Executive Director 9 2009 in Review 23 Letter of Transmittal to the Board of Commissioners Financial Section 33 Report of Independent Auditors 35 Management’s Discussion and Analysis Basic Financial Statements 43 Consolidated Statements of Net Assets 44 Consolidated Statements of Revenues, Expenses and -
Breaking New Ground 2017 Annual Report
BREAKING NEW GROUND 2017 Annual Report Comprehensive Annual Financial Report for the Year Ended December 31, 2017. Our Mission Meet the critical transportation infrastructure needs of the bi-state region’s people, businesses, and visitors by providing the highest-quality and most efficient transportation and port commerce facilities and services to move people and goods within the region, provide access to the nation and the world, and promote the region’s economic development. Our mission is simple: to keep the region moving. 2 THE PORT AUTHORITY OF NY & NJ TABLE OF CONTENTS I ntroductory Section 2 Origins of The Port Authority of New York and New Jersey 3 Letter of Transmittal to the Governors 4 Board of Commissioners 5 Leadership of the Port Authority Our Core Business Imperatives 9 Investment 10 Safety and Security 11 Integrity 12 Diversity and Inclusion 13 Sustainability and Resiliency Major Milestones By Business Line 15 2017 at a Glance 16 Aviation 20 Tunnels, Bridges & Terminals 24 Port of New York and New Jersey 28 Port Authority Trans-Hudson Corporation (PATH) 30 World Trade Center Financial Section 32 Chief Financial Officer’s Letter of Transmittal to the Board of Commissioners 35 Index to Financial Section Corporate Information Section 126 Selected Statistical, Demographic, and Economic Data 127 Top 20 Salaried Staff as of December 31, 2017 The Port Authority of New York and New Jersey Comprehensive Annual Financial Report for the Year Ended December 31, 2017 Prepared by the Marketing and Comptroller’s departments of The Port Authority of New York and New Jersey 4 World Trade Center, 150 Greenwich Street, 23rd Floor, New York, NY 10007 www.panynj.gov BREAKING NEW GrounD 1 The Port District includes the cities of New York and Yonkers in New York State; the cities of Newark, Jersey City, Bayonne, Hoboken, and Elizabeth in the State of New Jersey; and more than 200 other municipalities, including all or part of 17 counties, in the two states. -
The Port Authority of New York and New Jersey Freedom of Information (FOI) Request Log, 2000-2012
Description of document: The Port Authority of New York and New Jersey Freedom of Information (FOI) Request Log, 2000-2012 Requested date: 08-August-2011 Released date: 07-February-2012 Posted date: 20-February-2012 Title of document Freedom of Information Requests Date/date range of document: 23-April-2000 – 05-January-2012 Source of document: The Port Authority of New York and New Jersey FOI Administrator Office of the Secretary 225 Park Avenue South, 17th Floor New York, NY 10003 Fax: (212) 435-7555 Online Electronic FOIA Request Form The governmentattic.org web site (“the site”) is noncommercial and free to the public. The site and materials made available on the site, such as this file, are for reference only. The governmentattic.org web site and its principals have made every effort to make this information as complete and as accurate as possible, however, there may be mistakes and omissions, both typographical and in content. The governmentattic.org web site and its principals shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused, or alleged to have been caused, directly or indirectly, by the information provided on the governmentattic.org web site or in this file. The public records published on the site were obtained from government agencies using proper legal channels. Each document is identified as to the source. Any concerns about the contents of the site should be directed to the agency originating the document in question. GovernmentAttic.org is not responsible for the contents of documents published on the website. -
“THEY WASN't MAKIN' MY KINDA MUSIC”: HIP-HOP, SCHOOLING, and MUSIC EDUCATION by Adam J. Kruse a DISSERTATION Submitted T
“THEY WASN’T MAKIN’ MY KINDA MUSIC”: HIP-HOP, SCHOOLING, AND MUSIC EDUCATION By Adam J. Kruse A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2014 ABSTRACT “THEY WASN’T MAKIN’ MY KINDA MUSIC”: HIP-HOP, SCHOOLING, AND MUSIC EDUCATION By Adam J. Kruse With the ambition of informing place consciousness in music education by better understanding the social contexts of hip-hop music education and illuminating potential applications of hip-hop to school music settings, the purpose of this research is to explore the sociocultural aspects of hip-hop musicians’ experiences in music education and music schooling. In particular, this study is informed by the following questions: 1. How do sociocultural contexts (particularly issues of race, space, place, and class) impact hip-hop musicians and their music? 2. What are hip-hop musicians’ perceptions of school and schooling? 3. Where, when, how, and with whom do hip-hop musicians develop and explore their musical skills and understandings? The use of an emergent design in this work allowed for the application of ethnographic techniques within the framework of a multiple case study. One case is an amateur hip-hop musician named Terrence (pseudonym), and the other is myself (previously inexperienced as a hip-hop musician) acting as participant observer. By placing Terrence and myself within our various contexts and exploring these contexts’ influences on our roles as hip-hop musicians, it is possible to understand better who we are, where and when our musical experiences exist(ed), and the complex relationships between our contexts, our experiences, and our perceptions. -
The Construction of Hip Hop Identities in Finnish Rap Lyrics Through English and Language Mixing
UNIVERSITY OF JYVÄSKYLÄ ”BUUZZIA, BUDIA JA HYVÄÄ GHETTOBOOTYA” - THE CONSTRUCTION OF HIP HOP IDENTITIES IN FINNISH RAP LYRICS THROUGH ENGLISH AND LANGUAGE MIXING A Pro Gradu Thesis in English by Elina Westinen Department of Languages 2007 HUMANISTINEN TIEDEKUNTA KIELTEN LAITOS Elina Westinen ”BUUZZIA, BUDIA JA HYVÄÄ GHETTOBOOTYA” - THE CONSTRUCTION OF HIP HOP IDENTITIES IN FINNISH RAP LYRICS THROUGH ENGLISH AND LANGUAGE MIXING Pro gradu –tutkielma Englannin kieli Joulukuu 2007 141 sivua Englannin kielen rooli ja asema maailmankielenä on kiistaton, ja Suomessakin englannin kieltä käytetään monilla eri aloilla. Juuriltaan amerikkalaisesta hip hop – kulttuuristakin on viime vuosina kasvanut globaali nuorisokulttuuri, joka on saavuttanut pysyvän aseman Suomessa. Tämän tutkimuksen tarkoituksena on selvittää, miten hip hop –identiteetti rakentuu suomalaisissa rap–lyriikoissa. Päätavoitteena on tutkia, millainen hip hop –identiteetti muodostuu lyriikoiden englannin kielen ja kielten sekoittumisen (suomi ja englanti) kautta. Tutkimuksen aineistona käytetään kolmen eri hip hop –artistin ja – ryhmän (Cheek, Sere & SP ja Kemmuru) lyriikoita 2000-luvulta. Niiden pääkieli on suomi, mutta kaikissa kappaleissa on myös englanninkielisiä elementtejä. Sanojen tarkkojen alkuperien sekä muun tiedon selvittämiseksi olen tarvittaessa konsultoinut itse artisteja. Analyysissä identiteetin käsitetään rakentuvan osaltaan kielen avulla. Identiteetti rakentuu diskursseissa, ja se on muuttuva ja monitahoinen. Aineiston analyysissä kielenvaihtelu ymmärretään joko a) kielten sekoittumisena, josta syntyy kokonaan uusi kieli/kielellinen tyyli tai b) koodinvaihtona, joka on merkityksellistä diskurssin paikallisella tasolla. Tulokset osoittavat, että rap–lyriikoissa pikemminkin sekoitetaan suomen ja englannin kieltä (language mixing) kuin vaihdetaan koodia. Näin ollen muodostuu uusi, suomalaisille rap–lyriikoille ominainen kieli ja tyyli. Usein hip hop -englannin sanoja ja fraaseja taivutetaan suomen ortografian, morfologian tai molempien mukaan. Joskus lyriikoissa esiintyy myös ns. -
New York City's Roadmap to 80 X 50
New York City’s Roadmap to 80 to City’s Roadmap x 50 York New New York City’s Roadmap to nyc.gov/onenyc The City of New York #OneNYC Mayor Bill de Blasio @NYClimate Anthony Shorris Printed on 100% post-consumer recyled paper First Deputy Mayor New York City’s Roadmap to 80 x 50 is published pursuant to Local Law 66 of 2014. This report was produced by the New York City Mayor’s Office of Sustainability. This document was designed by Elisa Chaudet Cover Photo: Michael Appleton, Mayor’s Photography Office 80 x 50 Table of Contents Letter from the Mayor 3 Executive Summary 5 Introduction 15 Methodology 23 Energy 35 Buildings 55 Transportation 79 Waste 99 Actions New Yorkers Can Do 110 Next Steps 113 Glossary 117 Directory of Abbreviations 127 End Notes 129 nyc.gov/onenyc 80 x 50 1 80 x 50 Letter from the Mayor 2 80 x 50 nyc.gov/onenyc 80 x 50 Friends, Two years ago, I joined 400,000 others as we marched for action on climate change and committed that New York City would continue to lead by reducing greenhouse gases 80 percent by 2050, or 80 x 50. We detailed this commitment in our OneNYC report. Since that time, the nations of the world have come together to agree on a ground- breaking Paris Agreement, and just this month the world’s two biggest emitters, the US and China, committed to joining that agreement, putting it on a path toward ratification. Locally, we have continued to drive down our emissions, but we have much more to do. -
D3.2 – Predictive Analytics and Recommendation Framework V2
D3.2 – Predictive analytics and recommendation framework v2 Αugust 31st, 2019 Authors: Thomas Lidy (MMAP), Adrian Lecoutre (MMAP), Khalil Boulkenafet (MMAP), Manos Schinas (CERTH), Christos Koutlis (CERTH), Symeon Papadopoulos (CERTH) Contributor/s: Vasiliki Gkatziaki (CERTH), Emmanouil Krasanakis (CERTH), Polychronis Charitidis (CERTH) Deliverable Lead Beneficiary: MMAP This project has been co-funded by the HORIZON 2020 Programme of the European Union. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use, which may be made of the information contained therein. Multimodal Predictive Analytics and Recommendation Services for the Music Industry 2 Deliverable number or D3.2 Predictive analytics and recommendation framework supporting document title Type Report Dissemination level Public Publication date 31-08-2019 Author(s) Thomas Lidy (MMAP), Adrian Lecoutre (MMAP), Khalil Boulkenafet (MMAP), Manos Schinas (CERTH), Christos Koutlis (CERTH), Symeon Papadopoulos (CERTH) Contributor(s) Emmanouil Krasanakis (CERTH), Vasiliki Gkatziaki (CERTH), Polychronis Charitidis (CERTH) Reviewer(s) Rémi Mignot (IRCAM) Keywords Track popularity, artist popularity, music genre popularity, track recognition estimation, emerging artist discovery, popularity forecasting Website www.futurepulse.eu CHANGE LOG Version Date Description of change Responsible V0.1 25/06/2019 First deliverable draft version, table of contents Thomas Lidy (MMAP) V0.2 18/07/2019 Main contribution on track recognition estimation -
Accept Albums Metal Blast from the Past DVD / CD
Subba-Cultcha Page 1 of 3 *HOME *CONTACT To view all DVD reviews click h PODCAST FESTIVALS Homepage Accept Albums Metal Blast From The Past DVD / CD Singles & EPs Breeze Music / Drakkar Entertainment / BMG Live Features “The ultimate DVD / CD package from the epitome of Germ metal…” Demos Homepage Film In 1985, I was introduced to a band that would change my life. They made me rethink everything I knew about metal, made me realise that whilst metal may have been born DVD in the UK, and may have become the staple diet of teenage Americans, it’s real home Games and future lay in Germany. The band was Accept, and the record that changed Books everything for me went by the name of “Metal Heart”. It was, and is, everything that I thought metal should always be - overblown and dramatic, crammed full of incredible songs played by some of the greatest metal musicians that Satan ever created, and th voice….Damn, Udo Dirkschneider still has the BEST voice in metal. “Metal Heart” was and is, perfect, in every sense of the word. Thus began my continuous obsession with both German metal and to a lesser extent, Accept, and twenty one years later, it still Homepage consumes me, fills my waking thoughts and drives me ever onwards in my quest to fin Forum a metal record equal to “Metal Heart”… Competiton Subba -games Enough of me though, and on to “Metal Blast From The Past”…It’s like handing a fix t a addict entering withdrawal, presenting fresh virgins to Genghis Khan and handing a oil filed to George Dubya Bush. -
ACCEPT Release Date Pre-Order Start Symphonic Terror - Live at Wacken 2017 Uu 23/11/2018 Uu 21/09/2018 Territory: World
New Release Information uu November ACCEPT Release Date Pre-Order Start Symphonic Terror - Live At Wacken 2017 uu 23/11/2018 uu 21/09/2018 Territory: World uu 05.10. digital 2-track single Balls To The Wall (live) uu a dvertising in many important music magazines SEP/OCT/NOV 2018 uu album reviews, interviews in all important Metal magazines in Europe’s SEP/OCT/NOV 2018 issues uu song placements in European magazine compilations uu spotify playlists in all European territories uu Facebook, YouTube, Twitter, Google+ organic promotion uu Facebook ads and promoted posts + Google ads in both the search and display networks, bing ads and gmail ads uu Banner advertising on more than 60 most important Metal & Rock websites all over Europe uu additional booked ads on Metal Hammer Germany and UK, and in the Fixion network (mainly Blabbermouth) uu video and pre-roll ads on You tube uu ad campaigns on iPhones for iTunes and Google Play for Androids uu banners, featured items at the shop, header images and a background on nuclearblast.de and nuclearblast.com uu features and banners in newsletters, as well as special mailings to targeted audiences in support of the release Price Code: DVD01 Price Code: DVD02 Price Code: CD15 Price Code: CD02 Price Code: CD15 NB 4499-0 BluRay+2CD-Digi NB 4499-2 DVD+2CD-Digi NB 4499-4 Earbook NB 4573-0 2CD-Digi NB 4499-1 3LP BOX BluRay + DVD + 2CD black incl. booklet and poster uu Tracklists: Blu-ray / DVD (Blu-ray+2CD, DVD+2CD, Earbook) CD1 (Blu-ray+2CD, DVD+2CD, 2CD-Digi, Earbook) 3LP (33 rpm) Part 1: Accept 01.