Xx Factor Story Geography
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Animals with Cameras, a Nature Miniseries Panelist Biographies
Press Contact: Chelsey Saatkamp, WNET 513.266.1748, [email protected] Press Materials: http://pbs.org/pressroom or http://thirteen.org/pressroom Websites: http://pbs.org/nature, http://facebook.com/PBSNature, @PBSNature, #AnimalsWithCamerasPBS http://pbsnature.tumblr.com, https://www.youtube.com/user/NaturePBS Animals with Cameras, A Nature Miniseries Panelist Biographies Gordon Buchanan Wildlife Cameraman, On-Air Talent @gordonjbuchanan Gordon Buchanan is an award-winning wildlife cameraman, presenter and public speaker. After 20 years filming wild and wonderful creatures in remote areas of the planet, Buchanan has a reputation for relishing dangerous and tough assignments. He has taken part in challenging expeditions and adventures around the globe including South America, Asia, Africa, Papua New Guinea, Russia and Alaska, always with a view toward raising awareness of the fragility of the world’s endangered species and habitats. Buchanan has also contributed to numerous award- winning BBC, Discovery and National Geographic wildlife programs and documentaries, resulting in an Honorary Doctorate from the University of Stirling in recognition of his outstanding services to conservation and wildlife filmmaking. Most recently, Buchanan has been on screen in the highly acclaimed Elephant Family and Me and Life in the Snow on BBC One, and Life in Polar Bear Town and Tribes, Predators and Me on BBC Two. Dan Rees Series Producer, BBC In a 20-year BBC career, Dan Rees has worked across the full gamut of its Natural History Unit output, from live events to mega-landmarks. As producer/director (and occasional camera operator), his credits include the multi-award winning Frozen Planet and Ganges: Waterland, winner of the Shanghai Television Festival “Best Nature Programme” award. -
IN SEARCH of WARMER CLIMES Following a Move to LA, Bonobo Returns to Ninja Tune with New LP, ‘Migration’
MUSIC ONE STOP SHOP February’s tunes reviewed p.106 THE LONG GAME Albums arriving this month p.128 MIX ‘N’ MATCH Compilations not to miss p.132 IN SEARCH OF WARMER CLIMES Following a move to LA, Bonobo returns to Ninja Tune with new LP, ‘Migration’... p.129 djmag.com 105 HOUSE BEN ARNOLD QUICKIES Roberto Clementi Avesys EP [email protected] Pets Recordings 8.0 Sheer class from Roberto Clementi on Pets. The title track is brooding and brilliant, thick with drama, while 'Landing A Man'’s relentless thump betrays a soft and gentle side. Lovely. Jagwar Ma Give Me A Reason (Michael Mayer Does The Amoeba Remix) Marathon MONEY 8.0 SHOT! Showing that he remains the master (and managing Baba Stiltz to do so in under seven minutes too), Michael Mayer Is Everything smashes this remix of baggy dance-pop dudes Studio Barnhus Jagwar Ma out of the park. 9.5 The unnecessarily young Baba Satori Stiltz (he's 22) is producing Imani's Dress intricate, brilliantly odd house Crosstown Rebels music that bearded weirdos 8.0 twice his age would give their all chopped hardcore loops, and a brilliance from Tact Recordings Crosstown is throwing weight behind the rather mid-life crises for. Think the bouncing bassline. Sublime work. comes courtesy of roadman (the unique sound of Satori this year — there's an album dizzying brilliance of Robag small 'r' is intentional), aka coming — but ignore the understatedly epic Ewan Whrume for a reference point, Dorsia Richard Fletcher. He's also Tact's Pearson mixes of 'Imani's Dress' at your peril. -
Holger Czukay, Köln Juni 2004
Interview mit Holger Czukay, Köln Juni 2004 ?: Herr Czukay, sie haben schon Ende der 60er Jahre mit Tonband-Loops gearbeitet. Sind Loops für Sie ein relevantes, musikalisches Thema? Holger Czukay: Ja, ganz klar. Wie auch zum Beispiel die Remixe sind die Loops eine Kunstform, die an die Zeit und an die technische Entwicklung gebunden ist. Mit Can haben wir das recht früh angefangen. Weil die Digitaltechnik nicht entwickelt worden war, haben wir Loops mit Analogtechnik, also mit dem Tonband, gemacht. Wir mussten das machen, weil wir als Instrumentalisten nicht gut genug waren. Wir mussten massive Korrekturen anbringen, und mit den Korrekturen fängt eigentlich alles an. Die Aufnahme war eigentlich kein Problem, aber da waren so und soviel Fehler drin, weil wir alles andere als perfekt waren. Wir hätten eine Talentprobe gar nicht bestanden. Was uns groß gemacht hat, war unsere Vision: erstens mit kleinsten Einheiten, also Loops, die Grundlage für unsere Musik zu schaffen. Und zweitens, dass selbst unsere allerersten Aufnahmen, die wir eingespielt haben, alles beinhalten sollte, ohne etwas auszusagen. Das ist ein ganz wichtiges Argument, denn wenn Sie alles beeinhalten und nichts aussagen, dann sind sie cool. Die Musik, die sich daraus entwickelte, muss in dem, was wir das Grundband genannt haben, enthalten sein. ?: Warum soll man als Musiker nichts aussagen? Czukay: Wenn Sie etwas aussagen, dann nehmen Sie sich ja alles weg. Dann fangen sie an, zu interpretieren, und Interpretation ist das letzte, was wir wollen... ?: Das erinnert an bestimmte Aussagen von Künstlern der Minimal Art, zum Beispiel Donald Judd, der in Zusammenhang mit seiner Kunst von „specific objects“ gesprochen hat: Reihen von Objekten, die nur für sich selbst stehen.. -
Minnesota Weathertalk Newsletter for Friday, January 3, 2014
Minnesota WeatherTalk Newsletter for Friday, January 3, 2014 To: MPR's Morning Edition From: Mark Seeley, Univ. of Minnesota, Dept of Soil, Water, and Climate Subject: Minnesota WeatherTalk Newsletter for Friday, January 3, 2014 HEADLINES -December 2013 was climate near historic for northern communities -Cold start to 2014 -Weekly Weather potpourri -MPR listener questions -Almanac for January 3rd -Past weather -Outlook Topic: December 2013 near historic for far north In assessing the climate for December 2013 it should be said that from the standpoint of cold temperatures the month was quite historic for many northern Minnesota communities, especially due to the Arctic cold that prevailed over the last few days of the month. Minnesota reported the coldest temperature in the 48 contiguous states thirteen times during the month, the highest frequency among all 48 states. Many northern observers saw overnight temperatures drop below -30 degrees F on several occasions. The mean monthly temperature for December from several communities ranked among the coldest Decembers ever. A sample listing includes: -4.1 F at International Falls, 2nd coldest all-time 4.6 F at Duluth, 8th coldest all-time 0.1 F at Crookston, 3rd coldest all-time -3.1 F at Roseau, 3rd coldest all-time 0.3 F at Park Rapids, 3rd coldest all-time -4.4 F at Embarrass, 2nd coldest all-time -4.1 F at Baudette, coldest all-time -3.7 F at Warroad, coldest all-time -2.9 F at Babbitt, coldest all-time -2.8 F at Gunflint Lake, coldest all-time In addition, some communities reported an exceptionally snowy month of December. -
2016 All-Hazard Mitigation Plan
ALL-HAZARD MITIGATION PLAN 2016 DAKOTA COUNTY MINNESOTA Expires January 31, 2022 Dakota County Board of Commissioners Mike Slavik, District 1 Liz Workman, District 5 Kathleen Gaylord, District 2 Mary Liz Holberg, District 6 Thomas A. Egan, District 3 Chris Gerlach, District 7 Joe Atkins, District 4 Dakota County Planning Commission Mike Greco, District 1 Barry Graham, District 4 Jeff Busse, District 2 Ram Singh, District 5 Lori Hansen, District 2 Paul Thomas, District 5 Jill Smith, District 3 Nate Reitz, District 6 Greg Oxley, District 3 Luke Hellier, District 6 Amy Hunting, District 4 Anthony Nelson, District 7 Plan Team: B.J. Battig, Dakota County Risk Management-Homeland Security Ben Rutter, Dakota County Risk Management-Homeland Security Doug Nelson, Dakota County Sheriff’s Office Mary Jackson, Dakota County Office of Planning Kurt Chatfield, Dakota County Office of Planning Todd Lusk, Dakota County Office of GIS David Goodman, Dakota County Physical Development Administration The Dakota County All-Hazard Mitigation Plan was adopted by the County Board on January 24, 2017 and approved by the Federal Emergency Management Agency on March 7, 2017. This plan is valid until its expiration in January 31, 2022. Cover Photo: Propane Explosion and Fire, 1974 - West Saint Paul (Dakota County Historical Society) CONTENTS SECTION I – INTRODUCTION .................................................................................................. 1 Planning Authority and Guidance ....................................................................................................... -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
) ) Hurricanes Laura, Delta, ) Entergy Louisiana
BEFORE THE LOUISIANA PUBLIC SERVICECOMMISSION IN RE: APPLICATION OF ENTERGY ) LOUISIANA, LLC FOR RECOVERY ) IN RATES OF COSTS RELATED To ) DOCKET 12µ 8 ²² HURRICANES LAURA, DELTA, ) zETA, AND WINTER STORM URI ) AND FOR RELATED RELIEF ) DIRECT TESTIMONY OF BARRY D. KEIM, Ph.D. ON BEHALF OF ENTERGY LOUISIANA, LLC APRIL 2021 Entergy Louisiana, LLC Direct Testimony ofBarry D. Keim, Ph.D. LPSC Docket No. U- TABLE OF CONTENTS I. INTRODUCTION AND BACKGROUND 1 ......................................................... .. II. PURPOSE OF TESTIMONY ........................................ .. 3 .. III. TESTIMONY ................................................................ .. 4 IV. CONCLUSION .......................................................................... .. 8 EXHIBIT LIST Exhibit BDK-1 CV of Dr. Barry D. Keim Exhibit BDK-2 Report entitled, ³$VVHVVPHQW of Sustained Winds and Wind Gusts During Hurricane Laura Across the Greater Lake Charles 5HJLRQ´ Exhibit BDK-3 Track and Intensity of Hurricane Laura Exhibit BDK-4 Track and Intensity of Hunicane Delta Exhibit BDK-5 Track and Intensity of Hurricane Zeta Entergy Louisiana, LLC _ Direct Testimony of Barry D. Keim, 3Oµ' Docket No. U. /, BµVF . I. - INTRODUCTION AND BACKGROUND :Q1. PLEASEISTATE YOUR NAME, POSITION, AND BUSINESS ADDRESS. My name is Barry D. Keim, Ph.D. My business address is E327 +RZHµ5XVVHOO.QLIIHQ Geoscience Complex,_ Louisiana State University, Baton Rouge, Louisiana 70803. Q2. BY WHOM ARE YOU EMPLOYED AND IN WHAT CAPACITY? I currently serve as the Richard J. Russell Professor and Chair of the Departrn_ent of Geography and Anthropology at Louisiana µ6WDWH University in Baton Rouge, Louisiana, ¶ DQGDV/RXLVLDQD¶V State Climatologist. I also am the principal ofKeim &RQVXOWL,,J¶//& I1 Q3. ON WHOSE BEHALF ARE YOU TESTIFYING? I am testifying on behalf of(QWpUJ\ Louisiana, LLC ³(//´ or the µµ&RPSDQ\¶¶ Q4. -
Mountain Views Vol. 11, No. 1
Mountain Views Chronicles of the ConsorƟ um for Integrated Climate Research in Western Mountains CIRMOUNT Informing the Mountain Research Community Volume 11, Number 1 • May 2017 Goshawk, East Humboldt Range, Nevada, by Mackenzie Jeffress Front Cover: Wizard Island—Crater Lake, Oregon, by Jim Blanchard Editor: Connie Millar, USDA Forest Service, Pacifi c Southwest Research Station, Albany, California. Layout and Graphic Design: Diane Delany, USDA Forest Service, Pacifi c Southwest Research Station, Albany, California. Back Cover: Crater Lake Highway Snow Shadow Patterns, by Jim Blanchard Read about the contributing artists on page 69. Mountain Views Chronicles of the Consortium for Integrated Climate Research in Western Mountains CIRMOUNT Volume 11, No. 1, May 2017 www.fs.fed.us/psw/cirmount/ Table of Contents Editor's Introduction Connie Millar 1 Snow Overview Articles Defi ning Snow Drought and Why It Matt ers Adrian Harpold, Mike Dettinger, and Seshadri 2 Rajagopal Advances in Snow Hydrology and Water Management Thomas Painter 7 with the NASA Airborne Snow Observatory (ASO) Snowshoe Hares: A Deadly Game of Hide and Seek L Scott Mills 9 Brevia Elevated Precipitation Uncertainty: Diff erences in Gridded Brian Henn 13 Precipitation Datasets across the Mountainous West Snowmelt Rate Dictates Streamfl ow Theodore Barnhart, Noah Molotch, Ben Livneh, 19 Adrian Harpold, John Knowles, and Dominik Schneider Water and Life from Snow: A Trillion Dollar Question Matthew Sturm, Michael Goldstein, and Charles 22 Parr Life in the Snow: Characterizing Microbial -
The Western Screenwriter in Japan: Screenwriting Considerations in Transnational Cinema
The Western Screenwriter in Japan: Screenwriting Considerations in Transnational Cinema by Alexander McAulay Submitted in partial fulfillment of the requirements for a Doctor of Philosophy Faculty of Media and Communication Bournemouth University May 2017 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and due acknowledgement must always be made of the use of any material contained in, or derived from, this thesis. 2 Alexander McAulay The Western Screenwriter in Japan: Screenwriting Considerations in Transnational Cinema Abstract This PhD investigates the writing of a feature film screenplay for mainstream Japanese-language cinema by a British screenwriter. As a long-term resident of Japan with production credits in Japanese cinema, I have for many years been interested in how to write stories set in Japan that will appeal to domestic and international audiences. The study examines the challenges I face as a Western screenwriter writing a screenplay for Japanese cinema, and how those challenges inform my creative practice, bringing into being a screenplay that is intended to enhance screenwriting craft in mainstream Japanese cinema and provide new knowledge to transnational cinema and screenwriting research. The critical commentary that accompanies the screenplay takes a dialogic approach in practice-led research to explore how various issues emerge for the Western screenwriter in Japanese cinema. These problems are examined with regard to relevant theory, and contextualised in considerations of various films in Japanese-language cinema written by non-Japanese screenwriters. One salient issue is the application of the Hollywood ‘universal’ model of screenwriting to stories about Japan. -
Made Outside London Programme Titles Register 2016
Made Outside London programme titles register 2016 Publication Date: 20 September 2017 About this document Section 286 of the Communications Act 2003 requires that Channels 3 and 5 each produce a suitable proportion, range and value of programmes outside of the M25. Channel 4 faces a similar obligation under Section 288. On 3 April 2017, Ofcom became the first external regulator of the BBC. Under the Charter and Agreement, Ofcom must set an operating licence for the BBC’s UK public services containing regulatory conditions. We are currently consulting on the proposed quotas as set out in the draft operating licence published on 29 March 2017. See https://www.ofcom.org.uk/consultations-and- statements/ofcom-and-the-bbc for further details. As our new BBC responsibilities did not start until April 2017 and this report is based on 2016 data, the BBC quotas reported on herein were set by the BBC Trust. This document sets out the titles of programmes that the BBC, ITV, Channel 4 and Channel 5 certified were ‘Made outside of London’ (MOL) productions broadcast during 2016. The name of the production company responsible for the programme is also included where relevant. Wherever this column is empty the programme was produced in-house by the broadcaster. Further information from Ofcom on how it monitors regional production can be found at https://www.ofcom.org.uk/__data/assets/pdf_file/0019/87040/Regional-production-and-regional- programme-definitions.pdf. The three criteria under which a programme can qualify as MOL are: i) The production company must have a substantive business and production base in the UK outside the M25. -
Minnesota All-Hazard Mitigation Plan Update
Minnesota All-Hazard Mitigation Plan Update Approved March 25, 2011 Minnesota Division of Homeland Security and Emergency Management This page left blank intentionally. MINNESOTA ALL-HAZARD MITIGATION PLAN Executive Summary ....................................................................................................................... 11 1. INTRODUCTION ......................................................................................................................... 15 1.1 Hazard Mitigation Programs ............................................................................................... 19 1.2 Plan Organization ................................................................................................................ 20 1.3 HSEM Update ...................................................................................................................... 22 1.4 Hazard Mitigation Funding Update ..................................................................................... 23 2. STATE PROFILE ........................................................................................................................... 28 2.1 Geographic Characteristics ................................................................................................. 28 2.2 Climate ................................................................................................................................ 30 2.3 Demographic Characteristics ............................................................................................. -
Low Male Voice Repertoire in Contemporary Musical Theatre: a Studio and Performance Guide of Selected Songs 1996-2020
LOW MALE VOICE REPERTOIRE IN CONTEMPORARY MUSICAL THEATRE: A STUDIO AND PERFORMANCE GUIDE OF SELECTED SONGS 1996-2020 by Jeremy C. Gussin Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2020 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee __________________________________________ Ray Fellman, Research Director __________________________________________ Brian Gill, Chair __________________________________________ Jane Dutton __________________________________________ Peter Volpe December 10, 2020 ii Copyright © 2020 Jeremy Gussin iii Preface This project is intended to be a resource document for bass voices and teachers of low male voices at all levels. For the purposes of this document, I will make use of the established term low male voice (LMV) while acknowledging that there is a push for the removal of gender from voice classification in the industry out of respect for our trans, non-binary and gender fluid populations. In addition to analysis and summation of musical concepts and content found within each selection, each repertoire selection will include discussions of style, vocal technique, vocalism, and character in an effort to establish routes towards authenticity in the field of musical theatre over the last twenty five years. The explosion of online streaming and online sheet music resources over the last decade enable analysis involving original cast recordings, specific noteworthy performances, and discussions on transposition as it relates to the honoring of character and capability of an individual singer. My experiences with challenges as a young low voice (waiting for upper notes to develop, struggling with resonance strategies above a D♭4) with significant musicianship prowess left me searching for a musically challenging outlet outside of the Bel Canto aesthetic.