Uncertainty-Sensitive Reasoning Over the Web of Data
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Martha's Vineyard Concert Series
THA’S VINEY AR ARD M SUMMER 2017 CONCERT SERIES 2ND ANNUAL SEASON ALL SHOWS ON SALE NOW! MVCONCERTSERIES.COM MARTHA’S VINEYARD CONCERT SERIES your year - round connection to Martha’s Vineyard SUmmER LINE-UP! JUNE 28 • AIMEE MANN over 6,500 photo, canvas WITH SPECIAL GUEST JONATHAN COULTON images & metal prints published agendas JULY 6 • LOUDON WAINWRIGHT III daily photos calendars JULY 13 • PINK MARTINI sent to your inbox notecards WITH LEAD SINGER CHINA FORBES JULY 18 • GRAHAM NASH JULY 23 • PRESERVATION HALL JAZZ BAND JULY 29 • JACKOPIERCE WITH SPECIAL GUEST IAN MURRAY FROM VINEYARD VINES AUGUST 15 • THE CAPITOL STEPS ALL NEW SHOW! ORANGE IS THE NEW BARACK AUGUST 19 • ARETHA FRANKLIN AUGUST 21 • DIRTY DOZEN BRAss BAND AUGUST 23 • BLACK VIOLIN GET YOUR TICKETS TODAY! www.vineyardcolors.com MVCONCERTSERIES.COM AIMEE MANN WITH SPECIAL GUEST JONATHON COULTON WEDNESDAY, JUNE 28 | MARTHA’S VINEYARD PAC Aimee Mann is an American rock singer-songwriter, bassist and guitarist. In 1983, she co-founded ‘Til Tuesday, a new-wave band that found success with its first album, Voices Carry. The title track became an MTV favorite, winning the MTV Video Music Award for Best New Artist, propelling Mann and the band into the spotlight. After releasing three albums with the group, she broke up the band and embarked on a solo career. Her first solo album, Whatever, was a more introspective, folk-tinged effort than ‘Til Tuesday’s albums, and received uniformly positive reviews upon its release in the summer of 1993. Mann’s song “Save Me” from the soundtrack to the Paul Thomas Anderson film Magnolia was nominated for an Academy® Award and a Grammy®. -
Music Industry Report 2020 Includes the Work of Talented Student Interns Who Went Through a Competitive Selection Process to Become a Part of the Research Team
2O2O THE RESEARCH TEAM This study is a product of the collaboration and vision of multiple people. Led by researchers from the Nashville Area Chamber of Commerce and Exploration Group: Joanna McCall Coordinator of Applied Research, Nashville Area Chamber of Commerce Barrett Smith Coordinator of Applied Research, Nashville Area Chamber of Commerce Jacob Wunderlich Director, Business Development and Applied Research, Exploration Group The Music Industry Report 2020 includes the work of talented student interns who went through a competitive selection process to become a part of the research team: Alexander Baynum Shruthi Kumar Belmont University DePaul University Kate Cosentino Isabel Smith Belmont University Elon University Patrick Croke University of Virginia In addition, Aaron Davis of Exploration Group and Rupa DeLoach of the Nashville Area Chamber of Commerce contributed invaluable input and analysis. Cluster Analysis and Economic Impact Analysis were conducted by Alexander Baynum and Rupa DeLoach. 2 TABLE OF CONTENTS 5 - 6 Letter of Intent Aaron Davis, Exploration Group and Rupa DeLoach, The Research Center 7 - 23 Executive Summary 25 - 27 Introduction 29 - 34 How the Music Industry Works Creator’s Side Listener’s Side 36 - 78 Facets of the Music Industry Today Traditional Small Business Models, Startups, Venture Capitalism Software, Technology and New Media Collective Management Organizations Songwriters, Recording Artists, Music Publishers and Record Labels Brick and Mortar Retail Storefronts Digital Streaming Platforms Non-interactive -
HOW MAGNOLIA GOT ITS NAME O
o HOW MAGNOLIA GOT ITS NAME o By Bob Kildall As legend has it, native madronas dotted the bluffs seafaring explorers observed as they passed this place we call Magnolia before it had a name. Supposedly an explorer mistook those trees for magnolias and Magnolia Bluff was born. The mistake is understandable. Both the magnolia and madrona trees are broadleaf evergreens. They are of comparable size, with large leathery leaves that are alike in shape and have a brown- to rust-colored undercoat. The tree canopies look similar as well, especially in the early stages of a madrona’s growth.1, 2 But who chose the name for our community—and when did this occur? Interestingly, the answers are uncertain and have been debated for many years. Aleua L. Frare mentioned several possibilities in her 1975 Magnolia history book: “The Magnolia area was first recognized when an early explorer of Puget Sound looked up at the high promontory emerging in the early morning fog, saw the huge madrona trees leaning down from the 300-ft. yellow cliffs, and made a black mark on his chart. Down in his dimly lit cabin he entered ‘Magnolia Bluff’ in his log. “Historians have had a field-day ever since guessing who had the bad eyesight. Some say [Capt. George] Vancouver, who named everything in sight. Others say Lt. Charles Wilkes, who named West Point and fifty other landmarks. And then there was Dr. George Davidson, a botanist with a United States Coast & Geodetic Survey team—badly in need of glasses.” 3 In Brandt Morgan’s 1979 book Enjoying Seattle’s Parks, Morgan attributed the mistake to Davidson: “Magnolia is actually a misnomer. -
Magnolia Grandiflora 'Little Gem'
Fact Sheet ST-375 October 1994 Magnolia grandiflora ‘Little Gem’ ‘Little Gem’ Southern Magnolia1 Edward F. Gilman and Dennis G. Watson2 INTRODUCTION This cultivar of Southern Magnolia has a compact, upright growth habit more typical of a multistemmed shrub than a single-trunked tree (Fig. 1). It grows at a slow rate to a height of perhaps 30 to 35 feet with an 8 to 12-foot spread and flowers at two or three years old. It is surprising to see a Magnolia flower when it is only three or four feet tall. ‘Little Gem’ Southern Magnolia forms a dense, dark green oval or pyramidal shape, making it suited for screen or hedge planting. GENERAL INFORMATION Scientific name: Magnolia grandiflora ‘Little Gem’ Pronunciation: mag-NO-lee-uh gran-dih-FLOR-uh Common name(s): ‘Little Gem’ Southern Magnolia Family: Magnoliaceae USDA hardiness zones: 7 through 10A (Fig. 2) Origin: native to North America Uses: container or above-ground planter; espalier; wide tree lawns (>6 feet wide); medium-sized tree lawns (4-6 feet wide); recommended for buffer strips around parking lots or for median strip plantings in the highway; near a deck or patio; screen; narrow tree lawns (3-4 feet wide); specimen; residential street tree; no proven urban tolerance Availability: somewhat available, may have to go out of the region to find the tree Figure 1. Young ‘Little Gem’ Southern Magnolia. DESCRIPTION Height: 20 to 40 feet Spread: 8 to 12 feet 1. This document is adapted from Fact Sheet ST-375, a series of the Environmental Horticulture Department, Florida Cooperative Extension Service, Institute of Food and Agricultural Sciences, University of Florida. -
Aimee Mann's Idea of Eccentric Covers the Waterfront
Sunday, June 15, 2008 N N H 3 ArtScene From Carnegie to ‘Candide’ Light Opera role tempts Brian Cheney back to a Tulsa stage BY JAMES D. WATTS JR. World Scene Writer Candide For Brian Cheney, having the title role WHEN: in Light Opera Oklahoma’s production of 8 p.m. Saturday “Candide” is a slightly bittersweet experi- ence. WHERE: It’s a role that Cheney has always wanted Williams Theater, Tulsa Performing Arts Center, Second to do, and the main reason why the tenor Street and Cincinnati Avenue. has returned for his second season with LOOK. TICKETS: “I have a wife and two daughters, ages $25-$29, 596-7111 or www.tulsaworld.com/mytix 7 and 5, and working with this company means I’m going to be away from them for two months,” Cheney said. “And it’s always LOOK will be using the version created tough to be away for so long a time, so in 1973, the so-called “Chelsea” version, there’s got to be a good reason to do it. named for the theater where it debuted. “And that’s what ‘Candide’ is for me,” he The book is by Wheeler, who streamlined said. “Eric (Gibson, LOOK artistic director) the show into a single act that more closely and I started talking about this show before follows Voltaire’s original story. we finished last season’s productions. When “One of the great things about this ver- Eric said he was serious about doing ‘Can- sion is that it gives the audience a clearer dide,’ I said I was in, and I’d do whatever focus,” Cheney said. -
Sung Texts CD 4
GRIEG: Complete Orchestral Works CD 4 GRIEGCOMPLETE ORCHESTRAL WORKS Sung Texts CD 4 9 DET FØRSTE MØDE 9 THE FIRST MEETING Bjørnstjerne Bjørnson (1832–1910) Bjørnstjerne Bjørnson (1832–1910) Det første mødes sødme, The thrill of love’s first blooming det er som sang i skogen, is like a song in springtime, det er som sang på vågen or golden rays of sunshine i solens sidste rødme, when eventide is looming. det er som horn i uren Like distant horns resounding, de tonende sekunder in tones of muffled thunder, hvori vi med naturen all nature us surrounding, forenes i et under. our souls unite in wonder. English translation: W.H. Halverson DEN BERGTEKNE THE MOUNTAIN THRALL fra M.B. Landstad: Norske Folkeviser from M.B. Landstad: Norske Folkeviser Eg fòr vilt i veduskogin Thro’ the dark wood I did stray, kringum ein elvesteine, The Elfstones above me frowing; jutuldottri narrad meg, Elfinmaids beguiled my way; eg fann inkji vegin heim. never more shall I reach home. Eg fòr vilt i veduskogin Sad ’mid rock and tree I stray’d, kringum ein elve-runne, the elfstones hung darkly o’er me. jutuldottri narrad meg, Thou’st beguiled me, elfin maid; eg hev inkji vegen funnid. homewardpath ne’er shines before me. Eg hev vorid med jutulen I have dwelt with the elfin folk og jutulen etter meg rann, and danced with the queen of their race, gentunn sa’, eg lokkad dei, in her eyes no rapture lies, um eg dei aldri fann. no smile is on her face. Eg hev vorid med jutulen I have dwelt with the elfin folk og jutulen etter meg låg, and danced in their maddening round; gentunn sa’, eg lokkad dei, in the elfin maiden’s arms um eg dei aldri såg. -
Modes of Expression in the Songs of Aimee Mann Amy M
Macalester College DigitalCommons@Macalester College Music Honors Projects Music Department 5-20-2008 Modes of Expression in the Songs of Aimee Mann Amy M. Coddington Macalester College, [email protected] Follow this and additional works at: https://digitalcommons.macalester.edu/musi_honors Recommended Citation Coddington, Amy M., "Modes of Expression in the Songs of Aimee Mann" (2008). Music Honors Projects. 4. https://digitalcommons.macalester.edu/musi_honors/4 This Honors Project - Open Access is brought to you for free and open access by the Music Department at DigitalCommons@Macalester College. It has been accepted for inclusion in Music Honors Projects by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. Modes of Expression in the Songs of Aimee Mann Amy M. Coddington Senior Honors Thesis Advisor: Mark Mazullo Readers: Chris Gable and Peter Mercer-Taylor Macalester College, Music Department Spring 2008 2 Table of Contents Abstract 3 Introduction 4 Song analyses I. How Am I Different (Bachelor No. 2, 2000) 8 II. That’s How I Knew This Story Would Break My Heart (The Forgotten Arm, 2005) 13 III. Choice in the Matter (I’m With Stupid, 1995) 16 IV. Invisible Ink (Lost in Space, 2002) 20 V. The Fall of the World’s Own Optimist (Bachelor No.2, 2000) 25 Conclusion 31 Acknowledgements 33 Appendix I: Chordal analyses and lyrics of songs 34 Appendix II: Works Consulted 44 3 Abstract Singer-songwriter Aimee Mann has been creating music, both as a solo artist and as a former member of the band 'Til Tuesday, for the past twenty years. -
Haitian Creole – English Dictionary
+ + Haitian Creole – English Dictionary with Basic English – Haitian Creole Appendix Jean Targète and Raphael G. Urciolo + + + + Haitian Creole – English Dictionary with Basic English – Haitian Creole Appendix Jean Targète and Raphael G. Urciolo dp Dunwoody Press Kensington, Maryland, U.S.A. + + + + Haitian Creole – English Dictionary Copyright ©1993 by Jean Targète and Raphael G. Urciolo All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without the prior written permission of the Authors. All inquiries should be directed to: Dunwoody Press, P.O. Box 400, Kensington, MD, 20895 U.S.A. ISBN: 0-931745-75-6 Library of Congress Catalog Number: 93-71725 Compiled, edited, printed and bound in the United States of America Second Printing + + Introduction A variety of glossaries of Haitian Creole have been published either as appendices to descriptions of Haitian Creole or as booklets. As far as full- fledged Haitian Creole-English dictionaries are concerned, only one has been published and it is now more than ten years old. It is the compilers’ hope that this new dictionary will go a long way toward filling the vacuum existing in modern Creole lexicography. Innovations The following new features have been incorporated in this Haitian Creole- English dictionary. 1. The definite article that usually accompanies a noun is indicated. We urge the user to take note of the definite article singular ( a, la, an or lan ) which is shown for each noun. Lan has one variant: nan. -
Hip Hop Highways: Mapping Complex Identities Through Moroccan Rap Anisha Bhat SIT Study Abroad
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Spring 2014 Hip Hop Highways: Mapping Complex Identities through Moroccan Rap Anisha Bhat SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Gender, Race, Sexuality, and Ethnicity in Communication Commons, Music Commons, Politics and Social Change Commons, Race, Ethnicity and Post-Colonial Studies Commons, and the Social and Cultural Anthropology Commons Recommended Citation Bhat, Anisha, "Hip Hop Highways: Mapping Complex Identities through Moroccan Rap" (2014). Independent Study Project (ISP) Collection. 1798. https://digitalcollections.sit.edu/isp_collection/1798 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. Hip Hop Highways: Mapping Complex Identities through Moroccan Rap Figure 1: Popular Moroccan Rap Group H-Kayne Anisha Bhat Academic Director: Taieb Belghazi Advisor: Youssouf Elalami Pomona College Major: History In Partial Fulfillment of the Requirements for Morocco: Multiculturalism and Human Rights SIT Study Abroad, a program for World Learning Spring 2014 Table of Contents Acknowledgements ………………………………………………………….. 1 Abstract ………………………………………………………………………… 2 Brief Background………………………………………………………………. 3-4 Introduction ……………………………………………………………………. 4-6 Methodology…………………………………………………………………… 6-8 “Signs of Moroccan Heritage in Hip-Hop…………………………………… 8 Struggle for Authenticity……………………………………………….. 8 “Street” Mentality………………………………………………... 9-12 Competing Claims………………………………………………. 12-16 Global Versus Local…………………………………………….. 16-21 Manipulation of Language…………………………………………….. 21-25 Class Discourse and the Politics of Marginality……………………… 25-31 Themes of Fluidity, Change, and Evolution…………………………. -
Magnolia Secrets
Magnolia Secrets BY GRAYSON COPELAND Isobel “Stupid steps!” In my current state of distress I somehow managed to trip up the stairs leading to the front porch of my best friend’s house. I make it to the front door without further injury, but I’m not able to raise my fist to knock. I stare at my reflection in the bright brass knocker and decide it’s probably better for everyone if I compose myself before going inside. I try to smooth my wind-wild hair as I walk slowly across porch, the varnished wood boards creaking and moaning with each of my steps as I make my way to a set of rocking chairs at the far end. In one, I sit back and rub my hands together against the biting cold which has taken up residence in our little town for weeks, now. The street in front of the house is quiet, the cold keeping most sane people inside in the warmth where they should be. I count my breaths slowly as I wipe my mascara-streaked face with my sleeve and attempt to re-school my hair into something presentable. A wind gust wind rockets across the porch, leaving my legs quivering as I stand from the rocker. I make my way back to the door and knock twice. The green paint of the door is a too-quick reminder of the color of my mother’s face when I came home to find her crying yesterday. I push the memory out of my head in time to hear the lock click, and the squeak of the hinges as the door is pulled open. -
Baby Album 2021
Baby Album 2021 A supplement to All content © 2021 Sidney Daily News. All rights reserved. No portion of this publication may be reproduced in any form without permission from the publisher, except as permitted by U.S. copyright law. 2 Friday, April 30, 2021 BABY ALBUM 2021 Sidney Daily News OH-70231090 Sidney Daily News BABY ALBUM 2021 Friday, April 30, 2021 3 Alias Jay Allison Garrett Richard Ashbrook August 27, 2020 October 2, 2020 Sidney, Ohio Piqua, Ohio Parents Parents Noah & Kaitlyn Allison Phillip & Shanda Ashbrook Grandparents Grandparents Carl & Melissa Graber Alan & Ellen Ashbrook Red & Cheri Allison Mary Grise & the late Richard Slone OH-70233033 OH-70232965 Aria Rose Barlage Weston Michael Bodenmiller November 12, 2020 March 13, 2020 Russia, Ohio Sidney, Ohio Parents Parents Kyle & Alyssa Barlage Conner & Kelsey Bodenmiller Grandparents Grandparents Mike & Carla Drees Jim & Diane Oates Jim & Elaine Barlage Mike & Sara Bodenmiller OH-70233005 OH-70232366 Owen Michael Bowers Harper Diane Brandewie October 17, 2020 March 5, 2020 Sidney, Ohio Piqua, Ohio Parents Parents Ben & Katrina Bowers Kyle & Melissa Brandewie Grandparents Grandparents Richard & Joan Steinke Greg & Melissa Bowers Tom & Bec Martin Terry & Kathy Dudley OH-70233001 OH-70233437 4 Friday, April 30, 2021 BABY ALBUM 2021 Sidney Daily News Imaan Singh Brar Aurora Robin Cathcart December 10, 2020 March 15, 2020 Sidney, Ohio Sidney, Ohio Parents Parents Jagsir Singh & Gagandeep Brar Ryan Cathcart & Amanda Burton Grandparents Grandparents Gurmeet Singh Monte & Loretta -
Conference Onsite Guide
conference onsite guide www.mentalhealthamerica.net/annualconference 2017 MHA Annual Conference Onsite Guide - DANIELLE ONLY.indd 1 5/26/2017 11:35:06 AM WELCOME Welcome to our nation’s capital, Washington, D.C., and to Mental Health America’s 2017 Annual Conference! This year’s conference theme—Sex, Drugs, and Rock & Roll—may have raised a few eyebrows at first. Why did we choose this theme? Why be so public about complicated, personal, often embarrassing issues? Because fighting in the open has been the mission of MHA since Clifford Beers dared to utter his now famous words: “I must fight in the open.” So, that’s what we’re doing. These issues are real—across all age groups—and are far from black and white. It is time to take mental health, mental illness, and addiction—and all the messy and sometimes uneasy truths that accompany them—out from behind closed doors, and discuss them openly. So, over the next few days we will have clear, real, and direct conversations about issues that impact many in the mental health and addiction communities every day—sexual trauma and its aftermath, sexual addiction, sex and gender, intimacy issues, and sexual and other side effects of mental illness medication. We will talk about how we can address them effectively to promote hope and recovery. We’ll dive into topics surrounding the opioid epidemic, self-medicating, and addiction. And we will talk about how people are overcoming alcohol and drug dependence and successfully finding pathways to resilience and recovery. We’ll hear from musicians and entertainers about their own personal battles related to mental illnesses and substance use disorders.