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Three Priests Ordained for the Diocese of Oakland
The Catholic Voice is on Facebook VOL. 57, NO. 11 DIOCESE OF OAKLAND JUNE 10, 2019 www.catholicvoiceoakland.org Serving the East Bay Catholic Community since 1963 Copyright 2019 Three priests ordained for the Diocese of Oakland By Michele Jurich Staff writer Addressing the three men before him, “Soon-to-be Father Mark, Father John and Father Javier,” Bishop Michael C. Barber, SJ, told them, “you are called and chosen” and told them what serving means today. In front of a crowded Cathedral of Christ the Light Bishop Barber told them he was zeroing in on the third vow they would take shortly, to celebrate the Mass and administer the Sacrament of Confession worthily. “You will never violate the Seal of Confession,” Bishop Barber told the three new priests. “No state or government can oblige you to betray your penitents.” Legislation — SB 360 — has passed the state Senate and is moving to the Assembly. It will compel a priest to reveal to police some sins he hears in confession. The new priests, John Anthony Pietruszka, 32, Javier Ramirez, 43, and Mark Ruiz, 56, listened attentively. Father Pietruszka is from Fall River Massachusetts; Father Ramirez from Culiacán, Sinaloa, Mexico; and Mark Father Ruiz was born and raised in Oakland. They would not be alone, the bishop assured them. To show that support, more than 70 VOICE CATHOLIC PACCIORINI/THE C. ALBERT priests, mostly diocesan, were present to With Bishop Michael C. Barber, SJ, at left, the trio of men prostrate themselves at the altar. This symbolizes each man’s offer blessings and the sign of peace to unworthiness for the office to be assumed and his dependence upon God and the prayers of the Christian community. -
The Clash and Mass Media Messages from the Only Band That Matters
THE CLASH AND MASS MEDIA MESSAGES FROM THE ONLY BAND THAT MATTERS Sean Xavier Ahern A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2012 Committee: Jeremy Wallach, Advisor Kristen Rudisill © 2012 Sean Xavier Ahern All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This thesis analyzes the music of the British punk rock band The Clash through the use of media imagery in popular music in an effort to inform listeners of contemporary news items. I propose to look at the punk rock band The Clash not solely as a first wave English punk rock band but rather as a “news-giving” group as presented during their interview on the Tom Snyder show in 1981. I argue that the band’s use of communication metaphors and imagery in their songs and album art helped to communicate with their audience in a way that their contemporaries were unable to. Broken down into four chapters, I look at each of the major releases by the band in chronological order as they progressed from a London punk band to a globally known popular rock act. Viewing The Clash as a “news giving” punk rock band that inundated their lyrics, music videos and live performances with communication images, The Clash used their position as a popular act to inform their audience, asking them to question their surroundings and “know your rights.” iv For Pat and Zach Ahern Go Easy, Step Lightly, Stay Free. v ACKNOWLEDGMENTS This thesis would not have been possible without the help of many, many people. -
2019-System-Blue-Catalog.Pdf
SYSTEM BLUE Excellence is in our DNA. Backed by over 100 years of experience and knowledge, System Blue proudly delivers the products and education many have only dared to imagine. Our team of designers has walked the very path you walk now. We are the same dedicated performers and educators that you are, and we’re turning our ideas into reality. We have stood in your shoes and marched the PROFESSIONAL PERCUSSION 2 same fields. We know you. We ARE you. You are CONCERT PERCUSSION 10 not alone, and you never were. System Blue ON2 PERCUSSION SLIPS 16 empowers us all to reach our greatest potential. STANDS & CARRIERS 18 DRUM STICKS & BAGS 20 TOGETHER, MALLETS, BAGS & HEADS 22 IT’S OUR TIME. PROFESSIONAL BRASS 24 TRADITIONAL BRASS 32 MOUTHPIECES 36 SOUND REINFORCEMENT 38 HEALTH & WELLNESS 40 DRILLMASTERS 41 SYSTEM BLUE EDUCATION 42 EDUCATIONAL EVENTS 44 DESIGN QUALITY & COMMITMENT 46 SYSTEM BLUE DESIGNERS 47 TESTIMONIALS 48 PROFESSIONAL PERCUSSION EVOLUTIONARY. System Blue Professional Marching Percussion Series is like no other product on the market. These drums are lightweight, built for speed with the player’s health and wellness in mind. The rich, smooth, and resonant voices blend and project in any venue. Each instrument is aesthetically beautiful, eye-catching, and, in a word — elegant. While there have been evolutions in marching percussion in the last 50 years, there has never been design and innovation like the System Blue Professional Marching Percussion Series. We’ve fine-tuned and streamlined every detail, and the results are extraordinary. 2 SYSTEM BLUE • 2017 systemblue.org 3 PROFESSIONAL PERCUSSION It’s the LIGHTEST marching snare on the market.. -
Please Read Before Loading Card Into
Top 50 Drummers V.I Expansion Pack a sound enhancing expansion pack for the Roland TD-20 Drum Module Owner’s Manual i End User License Agreement (EULA) This is a legal agreement ("this Agreement") between you and V Expressions LTD., ("V Expressions LTD."). This Agreement pertains to your use of the V Expressions LTD. expansion programming, documentation and updates which are provided to you by V Expressions LTD (collectively, the "Product"). By purchasing a V Expressions LTD. Product, you are consenting to the terms of this Agreement. This Agreement grants you a personal, exclusive, non-transferable, non-sub licensable right to use one copy of the V Expressions LTD. Product for your own personal use on a single computer and/or compatible drum module. V Expressions LTD. reserves all rights in the Product not expressly granted herein, including ownership and proprietary rights. This software may not, in whole or in any part, be copied, reproduced, resold, transmitted, translated (into any language, natural or computer), reduced to any electronic medium or machine readable format, or by any other form or means without prior consent, in writing, from V Expressions LTD. License Restrictions: You may not reproduce or distribute the Product. You may not copy the Product to any media, server or location for reproduction or distribution. You may not reverse engineer, de-compile or disassemble the Product or otherwise attempt to derive the source code for the Product, or without limitation, redistribute, sublicense, or otherwise transfer rights in the Product. This Product may not be rented, lent or leased. The restrictions contained herein apply equally to any updates that may be provided to you by V Expressions LTD. -
Isabella Mils M
mulit bur btonittr, ^ C. _id. ..i1OTTE(R, Editor cS- Publisher. Established by SAMUEL MOTTER in 1879. TEP.,115.4.z.c o a Year in Advance. VOL. XIII. EMMITSBURG-, MARYLAND, FRIDAY, APRIL, 22, 1892. SONG. DIRECTORY A SPRING l and dry the hides, and "keep speeches, and last, though not least, A LEGAL vtEw. FOR FREDERICK COUNTY Old Mother Earth woke up from sleep, house" generally. Three, including divine service was held with a hymn Qtlad'w Little ea ery ef it Lawyer and a Railroad Aceidi nt. And found she was cold and bare; myself and Vandewater, were by and prayer, led by a devout man Circuit Com t. The Winter was o'er, the Spring was lie sat just opposite to me in the "drawing straws" detailed to follow Chief Judge--Hon. James atesheery. by the name of Captain Burehard, Amioclate Judges-Hon. John T. Vinson and near, train, and from the legal documents the hunters with the wagon. The and we closed the night's festivi- Bon. John A. Lynch. And she had not a dress to wear. Attorney-Edw. S. Eicheitiorger. he was perusing .had lit doubt State's hunters were paired off in couples Clerk of the Court-John L. Jordan. "Alas l" she sighed, with great dismay, ties by voting Roland Simmons the Court. that he was a lawyer. I looked tint Orphan's "Oh, where shall I get my clothes? to describe a circle of five or six hero of the day. elteleee-Betiard Collitiower, John R. Mille. of the window as the blew There's whistle Harriman not a place to buy a suit, miles, each couple having a horn, Our sport was kept up for six Register of Wills-James K. -
DEPUTY VICE-CHANCELLOR: ACADEMIC Reflective Report 2020
DEPUTY VICE-CHANCELLOR: ACADEMIC Reflective Report 2020 Contents DEPUTY VICE-CHANCELLOR (ACADEMIC) Reflective Report 2020 2 FACULTY OF ARTS AND HUMANITIES 26 FACULTY OF COMMUNITY AND HEALTH SCIENCES 46 FACULTY OF DENTISTRY 62 FACULTY OF EDUCATION 80 FACULTY OF ECONOMIC AND MANAGEMENT SCIENCES 108 FACULTY OF LAW 130 FACULTY OF NATURAL SCIENCES 140 ACADEMIC PLANNING UNIT 156 COMMUNITY ENGAGEMENT UNIT 160 CENTRE FOR INNOVATIVE EDUCATION & COMMUNICATION TECHNOLOGIES (CIECT) 168 CENTRE FOR THE PERFORMING ARTS 186 DIRECTORATE OF LEARNING, TEACHING AND STUDENT SUCCESS (DLTSS) 192 page Deputy Vice-Chancellor: Academic | Reflective Report 2020 1 DEPUTY VICE-CHANCELLOR: ACADEMIC PROF VIVIENNE LAWACK Reflective Report 2020 Since 2017, every Dean and Director within my line has compiled a Reflective Report, which I consolidate, adding my own reflections. The consolidated DVC (Academic) Reflective Report is intended to reflect on the state of the academic project, through the lenses of the seven faculties at the University of the Western Cape (UWC), together with the academic professional support directorates within this portfolio. Given the cataclysmic effects of the ongoing pandemic, it would be remiss not to reflect fully on the impact of the pandemic on the academic project and how we managed to complete the 2020 academic year and start the 2021 academic year timeously. This Reflective Report contains an overview of our academic approach and decision-making during the COVID-19 pandemic in 2020, as well as a self-evaluation of the most pertinent work done during the course of the current Institutional Operation Plan (IOP 2016—2020), including the successes and work that need to be consolidated or accelerated, and opportunities for innovation in the next IOP. -
TC 1-19.30 Percussion Techniques
TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction ............................................. -
THE COLLECTED POEMS of HENRIK IBSEN Translated by John Northam
1 THE COLLECTED POEMS OF HENRIK IBSEN Translated by John Northam 2 PREFACE With the exception of a relatively small number of pieces, Ibsen’s copious output as a poet has been little regarded, even in Norway. The English-reading public has been denied access to the whole corpus. That is regrettable, because in it can be traced interesting developments, in style, material and ideas related to the later prose works, and there are several poems, witty, moving, thought provoking, that are attractive in their own right. The earliest poems, written in Grimstad, where Ibsen worked as an assistant to the local apothecary, are what one would expect of a novice. Resignation, Doubt and Hope, Moonlight Voyage on the Sea are, as their titles suggest, exercises in the conventional, introverted melancholy of the unrecognised young poet. Moonlight Mood, To the Star express a yearning for the typically ethereal, unattainable beloved. In The Giant Oak and To Hungary Ibsen exhorts Norway and Hungary to resist the actual and immediate threat of Prussian aggression, but does so in the entirely conventional imagery of the heroic Viking past. From early on, however, signs begin to appear of a more personal and immediate engagement with real life. There is, for instance, a telling juxtaposition of two poems, each of them inspired by a female visitation. It is Over is undeviatingly an exercise in romantic glamour: the poet, wandering by moonlight mid the ruins of a great palace, is visited by the wraith of the noble lady once its occupant; whereupon the ruins are restored to their old splendour. -
The World Famous Drum, a Yachting Icon
Carrick Castle Dunoon The world famous Drum, Tighnabruaich James Watt a yachting icon! Tarbet Dock Marina Rothesy Greenock Drum is a 78-foot Maxi racing yacht, designed by the renowned naval architect Ron Holland for her first Millport owner, pop idol Simon Le Bon of Duran Duran. It competed in the 1985 Whitbread Round the World Ardrossn Race, finishing a commendable third. The well-known Lamlash Scottish entrepreneur Sir Arnold Clark acquired her Troon thereafter, and successfully raced her at Isle of Wight, Ireland and Scotland. Campbeltown Experience the extraordinary Firth of Clyde Provide clients with the ultimate in corporate hospitality, or family and friends with an unforgettable, once-in-a-lifetime experience. During the charter, North become part of the crew and get the full Drum Channel experience. Under instruction from the skipper, you will man the winches, trim the 350m2 of sail and take the helm of this sleek 40-ton racing yacht, which cuts through the water like a hot knife through butter. Catering is provided on all charters, so you can choose from our online menu and (weather permitting) enjoy your delicious meal ‘al fresco’ on deck. Sailing area Drum sails out of James Watt Dock Marina, Greenock, which makes her ideally placed for cruising the beautiful waters of the Clyde Estuary. Alternatively, if you fancy a longer trip, the inviting waters and scenery off the magnificent West Coast of Scotland are within easy reach, as is Northern Ireland. Wherever you sail, you’ll have the opportunity to spot a huge range of wildlife, including porpoises, seals and basking sharks, and a wide variety of seabirds. -
Narratives of Perceived Social Support As a Mediator for Increased Coping Resources and Optimism Among Cancer Patients and Survi
NARRATIVES OF PERCEIVED SOCIAL SUPPORT AS A MEDIATOR FOR INCREASED COPING RESOURCES AND OPTIMISM AMONG CANCER PATIENTS AND SURVIVORS by TAVARI TAYLOR BROWN A Dissertation Submitted to the Faculty in the Counselor duration and Supervision Program of Penfield College at Mercer University in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY Atlanta, GA 2014 COPYRIGHT 2015 UMI Number: 3662748 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Di!ss0?t&Ciori Publishing UMI 3662748 Published by ProQuest LLC 2015. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 COPYRIGHT 2015 TAVARI TAYLOR BROWN ALL RIGHTS RESERVED ACKNOWLEDGEMENTS Thank you, Terrence Dominic Brown for nearly five years of evenings alone, waking up at 2:00 a.m. wondering why your wife is in another room reading or typing under dim light, and for a commitment to our marriage. Thank you, Talia G. Brown for being the best fetus, neonate, and daughter in the history of the world ever known to mankind! To “Dee,” the pink-ribbon binding four out of five narratives. We miss you so! Thank you for sharing your wonderful light, life, and “effervescence” as one interview participant stated. -
A Framework for Progressively Improving Small Area Population Estimates
J. R. Statist. Soc. A (2004) 167, Part 1, pp. 5–36 A framework for progressively improving small area population estimates Philip Rees, University of Leeds, UK Paul Norman University of Manchester, UK and Dominic Brown University of Queensland, Australia [Received April 2002. Final revision May 2003] Summary. The paper presents a framework for small area population estimation that enables users to select a method that is fit for the purpose.The adjustments to input data that are needed before use are outlined, with emphasis on developing consistent time series of inputs. We show how geographical harmonization of small areas, which is crucial to comparisons over time, can be achieved. For two study regions, the East of England and Yorkshire and the Humber, the dif- ferences in output and consequences of adopting different methods are illustrated. The paper concludes with a discussion of how data, on stream since 1998, might be included in future small area estimates. Keywords: Estimation methods; Geographical harmonization; Population estimates; Small area populations 1. Introduction Changes in small area populations occur through aging and the processes of natural change, births and deaths. Population change also occurs through migration within and between small areas, whether urban, suburban or rural, with different migration patterns for people of differ- ent age groups. In some locations the tendency is for people to age in situ; other areas have more transient populations. In the UK, since information from the decennial census, the principal source of sociodemographic data, is only available for one date per decade, there is a need to esti- mate small area populations from the latest census forwards and then to revise these estimates when the next census is published. -
Rhythms of the Gods: Music and Spirituality in Yoruba Culture
Rhythms of the Gods: Music and Spirituality in Yoruba Culture by Bode Omojola, Ph.D. Assistant Professor of Music Mt Holyoke College, South Hadley, MA Bode Omojola is a Five College Assistant Professor of ethno-musicology at Mount Holyoke College. His research focuses on indigenous and modern Nigerian and Yoruba musical traditions, exploring themes such as music and politics; music and spirituality; gender and performance; and intercultural aesthetics. A former Radcliffe fellow at Harvard University, Dr. Omojola has also taught at the University of Ilorin in Nigeria, and at Northeastern University in Boston. Abstract The notions of “icons as objects” and “icons as act” (Kasfir, 1998: 20) are used to analyze the mediatory role of Yoruba musicians in meeting the spiritual and the social needs of their communities. The intersection of these two modes of expression provides a framework for the discussion on how ritual and musical material are composed, re- composed, organized and performed in Yoruba culture. The author posits that there is a conceptual engagement between the mediating role of Yoruba performers and the thematic and structural features of their performances. Also, Yoruba religious ritual performances are defined by the constant interplay of the elements of play and spirituality as controlled by the agency of the performer. As John and Margaret Drewal have argued in their discussion of gelede masks, performers have “the performative power to marshal the forces in the Yoruba cosmos for society’s well-being. It is at once spectacle and ritual. It is entertaining and it is efficacious. But it is perceived to be more than a mode of persuasion.