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Friday Night Cypher Lyrics – Big Sean Feat. Eminem | Funmeloud
Friday Night Cypher Lyrics – Big Sean Feat. Eminem | FunMeLoud Friday Night Cypher Lyrics – Big Sean : At almost a ten-minute run-time, this collaboration brings together rappers with very different styles, as well as individuals who have previously had disagreements – notablyEminem and Tee Grizzley, which Big Sean addressed in an interview with Vulture: Song : Friday Night Cypher Artist : Big Sean : Kash Doll, Payroll Giovanni, Royce da 5’9″, Sada Featuring Baby, Drego, Boldy James, 42 Dugg, Eminem, Cash Kidd & Tee Grizzley Produced by : KeY Wane, Jay John Henry, Helluva Beats & Hit-Boy Album : Detroit 2 Friday Night Cypher Lyrics [Intro: Tee Grizzley] Ayy, ayy, ayy Ayy, ayy, ayy (Hit-Boy) Ayy, this that Clipse sample, ayy Fuck that talkin’, let the clip slam ’em [Verse 1: Tee Grizzley] Friday Night Cypher Lyrics Yellow bands around them hundreds, you know how much that is (Tens) Too much to give me cash, they had to wire me the backend (Send it) Niggas in here lookin’ tough, you know that I got mag in (What?) Ask me am I only rappin’, you know I got that bag in (You see it) Bandman like Lonnie (Lonnie), want my head? Come find me (Come get it) Lil’ bro in that bitch chillin’, he ain’t tryna come home cocky (He chillin’) He comin’ home to a dollar (Dollar), and a mansion and a chopper (What else?) In the desert on a dirt bike (Skrrt), VLONE shirt and the Pradas (Fresh) Big nigga fresher than you, fuck you and your stylist (Woah) Paid ninety for my grill, then lost it, that’s why I ain’t smilin’ (Damn) You got Sean, you got Hit, you got -
Giant List of Folklore Stories Vol. 5: the United States
The Giant List of Stories - Vol. 5 Pattern Based Writing: Quick & Easy Essay Skim and Scan The Giant List of Folklore Stories Folklore, Folktales, Folk Heroes, Tall Tales, Fairy Tales, Hero Tales, Animal Tales, Fables, Myths, and Legends. Vol. 5: The United States Presented by Pattern Based Writing: Quick & Easy Essay The fastest, most effective way to teach students organized multi-paragraph essay writing… Guaranteed! Beginning Writers Struggling Writers Remediation Review 1 Pattern Based Writing: Quick & Easy Essay – Guaranteed Fast and Effective! © 2018 The Giant List of Stories - Vol. 5 Pattern Based Writing: Quick & Easy Essay The Giant List of Folklore Stories – Vol. 5 This volume is one of six volumes related to this topic: Vol. 1: Europe: South: Greece and Rome Vol. 4: Native American & Indigenous People Vol. 2: Europe: North: Britain, Norse, Ireland, etc. Vol. 5: The United States Vol. 3: The Middle East, Africa, Asia, Slavic, Plants, Vol. 6: Children’s and Animals So… what is this PDF? It’s a huge collection of tables of contents (TOCs). And each table of contents functions as a list of stories, usually placed into helpful categories. Each table of contents functions as both a list and an outline. What’s it for? What’s its purpose? Well, it’s primarily for scholars who want to skim and scan and get an overview of the important stories and the categories of stories that have been passed down through history. Anyone who spends time skimming and scanning these six volumes will walk away with a solid framework for understanding folklore stories. -
Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2017 Hippieland: Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood Kevin Mercer University of Central Florida Part of the History Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Mercer, Kevin, "Hippieland: Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood" (2017). Electronic Theses and Dissertations, 2004-2019. 5540. https://stars.library.ucf.edu/etd/5540 HIPPIELAND: BOHEMIAN SPACE AND COUNTERCULTURAL PLACE IN SAN FRANCISCO’S HAIGHT-ASHBURY NEIGHBORHOOD by KEVIN MITCHELL MERCER B.A. University of Central Florida, 2012 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer Term 2017 ABSTRACT This thesis examines the birth of the late 1960s counterculture in San Francisco’s Haight-Ashbury neighborhood. Surveying the area through a lens of geographic place and space, this research will look at the historical factors that led to the rise of a counterculture here. To contextualize this development, it is necessary to examine the development of a cosmopolitan neighborhood after World War II that was multicultural and bohemian into something culturally unique. -
Guarding the Historical Record from the Nazi-Era Art Litigation Tumbling Toward the Supreme Court
ESSAY GUARDING THE HISTORICAL RECORD FROM THE NAZI-ERA ART LITIGATION TUMBLING TOWARD THE SUPREME COURT † JENNIFER ANGLIM KREDER When the modern wave of claims against museums to recover paintings “displaced” during the Nazi era began, I, as an academic, approached the claims cautiously because I assumed that our es- teemed institutions would not have knowingly profited from the spoli- ation of property belonging to millions of persecuted refugees. I was wrong. I have come to understand, based on objective, historically sound records, that a significant number of our museums during and in the aftermath of the Holocaust actively acquired art that they knew or should have recognized likely came from Jewish homes and busi- nesses. These museums acquired this exquisite art despite widespread knowledge of Nazi looting and governmental warnings about the in- fection of the art market.1 Now, museums are using American courts to shut down inquiries into such art’s history by blocking claims on technical grounds,2 contrary to their own ethics guidelines3 and U.S. executive policy.4 † Jennifer Anglim Kreder is a Professor of Law at the Salmon P. Chase College of Law, Northern Kentucky University. She has been involved in Holocaust-era and art litigation since 1999 and currently serves as Co-Chair of the American Society of Inter- national Law Interest Group on Cultural Heritage and the Arts. 1 See Raymond J. Dowd, Federal Courts and Stolen Art: Our Duty to History, FED. LAW., July 2008, at 4, 4-6 (discussing a 1950 U.S. State Department bulletin on re- ports of stolen art). -
The Sixties Counterculture and Public Space, 1964--1967
University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 2003 "Everybody get together": The sixties counterculture and public space, 1964--1967 Jill Katherine Silos University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Silos, Jill Katherine, ""Everybody get together": The sixties counterculture and public space, 1964--1967" (2003). Doctoral Dissertations. 170. https://scholars.unh.edu/dissertation/170 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Restitutions Graham Beal
Restitutions For museums that hold even some of the approximately 20,000 European paintings that could have been in Europe between 1933—1945, gathering provenance information is an enormous undertaking; nonetheless, they have all taken upon themselves as much research as their resources permit. At the DIA, we have spent in excess of USD 800,000 on Holocaust related re- ▶ Graham Beal search, most of it on claims I shall detail below. In the aggre- DETROIT INSTITUTE OF ARTS, USA gate, US art museums have spent well over five million dollars in direct costs researching works that could have been looted FOUR CASES FROM ONE MUSEUM, by the Nazis and an estimated two-and-a-half million in such in- FOUR DIFFERENT RESULTS direct costs as staff time. The Detroit Institute of Arts, along with sister institutes of Guidelines and Resolution of Claims the Association of Art Museum Directors, deplores the unspeak- able atrocities suffered by the Jewish community during the Ho- As mentioned above, the Association of Art Museum Direc- locaust and recognizes the right of victims and their heirs to be tors draJed and passed their guidelines in 1998 and amend- reunited with their stolen property, even aJer more than 60 years. ed them in 2001. The AAMD guidelines served as the model for the Washington Principles passed late in 1998. In 1999, the Provenance Research American Association of Museums passed the AAM Guidelines Concerning the Unlawful Appropriation of Objects during the American art museums, through their membership in the Asso- Nazi Era. Following the guidelines, the US art museum com- ciation of Art Museum Directors and the American Association munity has researched, published and, in the recent past, of Museums, have adopted guidelines that require that all claims resolved approximately 29 cases, of which 27 were resolved be handled as expeditiously as possible, that they be thoroughly through negotiation. -
Oral History Interview with Edward B. Thomas, 1983 April 28-May 10
Oral history interview with Edward B. Thomas, 1983 April 28-May 10 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Edward B. Thomas on April 28 & May 10, 1983. The interview took place in Seattle, Washington, and was conducted by John Olbrantz for the Archives of American Art, Smithsonian Institution. Interview DATE: APRIL 28, 1983 [Tape 1] JOHN OLBRANTZ: Ed, can you tell me a little bit about your background, where you were born, your early childhood experiences, your parents, who your father was, who your mother was, how they came to live in this part of the country? EDWARD THOMAS: Well, I was born in Cosmopolis, Washington, and many times when I've come through customs, when I was much younger and especially at the Mexican border, they would say, "Where were you born?" and I'd say, "Cosmopolis, Washington," they'd say, "Look, bud! Don't get funny with us." (laughter) But there actually is such a place as Cosmopolis, Washington. Nobody had any particular influence upon me, I would say, in my younger years as far as becoming interested in art, and particularly teaching art. I had a very severe illness when I was four and five years old and was confined to bed a lot, and so people brought me tablets and color crayons and pencils and stuff like that. -
Monument to Unity
WEATHER HAMPERS WOMEN’S GOLF TOURNEY, SPORTS B1 LEESBURG, FLORIDA Thursday, May 15, 2014 www.dailycommercial.com AROUND THE WORLD: Lost Lake Elementary GODZILLA: Movie remake is celebrates diversity with Multicultural Day, A3 stepping into big footprints, C1 Antidepressant may cut protein in Alzheimer’s development Associated Press WASHINGTON — Research shows a common antidepressant may cut pro- duction of one of the chief suspects behind Alzheimer’s, a new avenue in the hunt for drugs to prevent the dev- astating brain disease. It’s far too early for anyone worried about dementia to try the drug citalo- pram, which sells as the brand Celexa — and comes with side effects. “This is not the great new hope. This is a small step,” cautioned Dr. Yvette Sheline of the University of Pennsyl- vania, who is leading the research with Dr. John Cirrito of Washington University in St. Louis. Alzheimer’s is characterized by sticky plaques that form in patients’ AP PHOTOS SEE STUDY | A2 The only existing model of the World Trade Center is displayed at the National Sept. 11 Memorial Museum Wednesday in New York. MOUNT DORA Monument to unity Local actor in film with Jack Black 9/11 museum offers sights and sounds of tragedy LIVI STANFORD | Staff Writer [email protected] Associated Press York City Mayor Michael Bloomberg, the memori- Caleb Emery was at loss for words EW YORK — Leaders al foundation’s chairman, when he received the phone call from of the soon-to-open said at a news conference his agent, informing him Sept. 11 museum N Wednesday. -
100 the Folklore of Le Détroit/Le Folklore Du
Museum Anthropology Review 1(2) Fall 2007 The Folklore of le Détroit/Le Folklore du Détroit. An online exhibition of the Virtual Museum of Canada.1 Reviewed by Hilary Joy Virtanen Online exhibitions provide unique advantages for curator and audience alike, including the creation of venues for materials and information ill-suited for physical presentation, the availability of the exhibition to a wider audience, and the potential for instant access to the materials. These three features are found in many of the online exhibitions that I have viewed, and all are well-illustrated in the bilingual exhibition The Folklore of Le Détroit/ Le Folklore du Détroit. This exhibition, presented through the Virtual Museum of Canada by the Windsor Public Library and Windsor’s Community Museum (Ontario), explores oral traditions of francophone communities along the Detroit River, a 30-mile ribbon of water between Ontario and Michigan that separates the cities of Windsor and Detroit. This isolated linguistic community, first established in 1701, has maintained and shaped many traditions, from both France and francophone regions in Canada. While the focus of the exhibition rests largely on Canadian communities, retaining a stronger French heritage due to historical circumstances, Michigan’s Detroit francophonie also provide rich examples. The exhibition homepage identifies the target audience as schoolchildren around grade five. The exhibition and the lesson plan materials provided within, however, are aimed more widely toward primary and secondary students. The content is presented in both French and English, with separate sites for each. The design is largely geared toward children, with charming graphics and numerous clickable sound and animation files to illustrate the materials. -
Financial Woes Simmered Before DSC's
20111003-NEWS--0001-NAT-CCI-CD_-- 9/30/2011 6:14 PM Page 1 ® www.crainsdetroit.com Vol. 27, No. 41 OCTOBER 3 – 9, 2011 $2 a copy; $59 a year ©Entire contents copyright 2011 by Crain Communications Inc. All rights reserved Page 3 Supply base on edge over Furukawa probe A window opens Wayne County development organizations too chummy? NATHAN SKID/CRAIN’S DETROIT BUSINESS for homebuilding “You have a nonprofit trying to run like a business but forced to account like a nonprofit,” said former President and CEO Kevin Prihod of the Detroit Lots bought Science Center’s challenges. in recession Financial woes are fertile fields BY DANIEL DUGGAN simmered CRAIN’S DETROIT BUSINESS Homebuilders are building again. before DSC’s Fewer existing homes listed for Whelan, other warehousers sale, combined with prices that put stock in parts storage are starting to increase, have giv- en builders the green light. quick closure The 2,000 homes permitted in the first half of 2011 Inside BY SHERRI WELCH LOSER outpaced 2010 by CRAIN’S DETROIT BUSINESS C 18.5 percent, and LOOK developers expect a Council, DEGC agree The Detroit Science Center’s two- strong third quar- on outline of rail-building week closure and the resignation of The ter: July had the its president and CEO were sudden numbers: second-most per- Housing authority, Page 6 — but its problems were not. mits of any month As its operations and campus permits by county, city, since 2007. August grew to include a 4-D theater, the builder, was fourth. -
Thermal Sustainability
$UFKLWHFWXUDO Liefooghe, M. 2019. Buildings for Bodies of Work: The Artist Museum After the Death and Return of the Author. Architectural Histories, +LVWRULHV 7(1): 12, pp. 1–13. DOI: https://doi.org/10.5334/ah.296 RESEARCH ARTICLE Buildings for Bodies of Work: The Artist Museum After the Death and Return of the Author Maarten Liefooghe Critiques of the cult of artists, life-and-work narratives, and the authority of authors over the meaning of their works not only unsettle the conventions of literary and art historical studies. They also challenge the importance of the artist museum and its architecture. Adopting Roland Barthes’ discussions of the ‘death’ and ‘return of the author’ of the late 1960s and early 1970s as a critical lens, this article examines how the architecture of artist museums reflects and contributes to the discursive construction of the resilient figure of the artist-author. To do so, the article compares the cultist make-up of the 19th- century Thorvaldsen Museum-Mausoleum (opened in 1848) with the resolutely work-centred museums of Van Gogh (1973) and Roger Raveel (1999). The architecture of the last two examples is significantly different, however. The Van Gogh Museum seemingly negates its monographic orientation, while the Raveel Museum amends a white cube logic with a reserved interpretation of artistic individuality and site-boundedness. Parallel to the institutional interpretation of a museum’s monographic mission, and the curators’ representation of the artist-life-work nexus in exhibitions, architecture is yet another element in a museum’s assemblage of an artist presented as a dead or revived author to its visitors. -
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