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The Grateful Heart CHRIST CHURCH EPISCOPAL June 2010 N E W S L E T T E R Dear Friends, I’M Not a Sports Columnist
The Grateful Heart CHRIST CHURCH EPISCOPAL June 2010 N E W S L E T T E R Dear Friends, I’m not a sports columnist. Just a fan. A fan not just of baseball, but of dignified human behavior. It I’m a baseball fan, and the other night something spec- may be that Armando Galarraga didn’t sleep well last tacular happened. The Detroit Tigers were playing the night; it may be that this morning he is pretty upset. But Cleveland Indians. Armando Galarraga was on the in the heat of it, he kept his composure and placed limits mound for Detroit, and for the third time this year the on himself. And then, he went back, kept his focus, and most remarkable singular feat in baseball was about to did his job because a lot of teammates and fans were happen: a perfect game. Galarraga had retired twenty- looking for the win. He won’t go down in the record six straight batters…not a walk, not a wild pitch, not a books as a perfect pitcher, but he proved himself and passed ball, not an error by the other eight players with exceptional human being. And Jim Joyce…umpires him in the field. Twenty-one times in major league base- don’t explain calls to the press, and they don’t apologize ball history had a pitcher thrown a perfect game. And to players…but he did both. He humbled himself. He now, Galarraga was poised to throw the third one this made a mistake, admitted it, and made amends as best season. -
20120906-Ob-Umbrella.Pdf
U m b r e l l a By the same author F ICTION The Quantity Theory of Insanity Cock and Bull My Idea of Fun Grey Area Great Apes The Sweet Smell of Psychosis Tough, Tough Toys for Tough, Tough Boys How the Dead Live Dorian Dr Mukti and Other Tales of Woe The Book of Dave The Butt Liver Walking to Hollywood N on- F ICTION Junk Mail Sore Sites Perfidious Man Feeding Frenzy Psychogeography (with Ralph Steadman) Psycho Too (with Ralph Steadman) U m b r e l l a W i l l S e l f First published in Great Britain 2012 Copyright © 2012 by Will Self The moral right of the author has been asserted No part of this book may be used or reproduced in any manner whatever without written permission from the Publishers except in the case of brief quotations embodied in critical articles or reviews ‘Apeman’ by Ray Davies © Copyright 1970 Davray Music Ltd. All rights administered by Sony/ATV Music Publishing. All rights reserved. Used by permission ‘Chirpy Chirpy Cheep Cheep’ (Cassia/Stott) © 1971 Warner Chappell Music Italiana Srl (SIAE). All rights administered by Warner Chappell Overseas Holdings Ltd. All rights reserved ‘Don’t Let It Die’ (Smith) – RAK Publishing Ltd. Licensed courtesy of RAK Publishing Ltd. ‘Sugar Me’ by Barry Green and Lynsey De Paul © Copyright Sony/ATV Music Publishing Ltd. All rights reserved. Used by permission ‘Take Me Back to Dear Old Blighty’ Words and Music by Fred Godfrey, A. J. Mills & Bennett Scott © 1916. Reproduced by permission of EMI Music Publishing Ltd, London W8 5SW Every reasonable effort has been made to trace copyright -
2011 Topps Gypsy Queen Baseball
Hobby 2011 TOPPS GYPSY QUEEN BASEBALL Base Cards 1 Ichiro Suzuki 49 Honus Wagner 97 Stan Musial 2 Roy Halladay 50 Al Kaline 98 Aroldis Chapman 3 Cole Hamels 51 Alex Rodriguez 99 Ozzie Smith 4 Jackie Robinson 52 Carlos Santana 100 Nolan Ryan 5 Tris Speaker 53 Jimmie Foxx 101 Ricky Nolasco 6 Frank Robinson 54 Frank Thomas 102 David Freese 7 Jim Palmer 55 Evan Longoria 103 Clayton Richard 8 Troy Tulowitzki 56 Mat Latos 104 Jorge Posada 9 Scott Rolen 57 David Ortiz 105 Magglio Ordonez 10 Jason Heyward 58 Dale Murphy 106 Lucas Duda 11 Zack Greinke 59 Duke Snider 107 Chris V. Carter 12 Ryan Howard 60 Rogers Hornsby 108 Ben Revere 13 Joey Votto 61 Robin Yount 109 Fred Lewis 14 Brooks Robinson 62 Red Schoendienst 110 Brian Wilson 15 Matt Kemp 63 Jimmie Foxx 111 Peter Bourjos 16 Chris Carpenter 64 Josh Hamilton 112 Coco Crisp 17 Mark Teixeira 65 Babe Ruth 113 Yuniesky Betancourt 18 Christy Mathewson 66 Madison Bumgarner 114 Brett Wallace 19 Jon Lester 67 Dave Winfield 115 Chris Volstad 20 Andre Dawson 68 Gary Carter 116 Todd Helton 21 David Wright 69 Kevin Youkilis 117 Andrew Romine 22 Barry Larkin 70 Rogers Hornsby 118 Jason Bay 23 Johnny Cueto 71 CC Sabathia 119 Danny Espinosa 24 Chipper Jones 72 Justin Morneau 120 Carlos Zambrano 25 Mel Ott 73 Carl Yastrzemski 121 Jose Bautista 26 Adrian Gonzalez 74 Tom Seaver 122 Chris Coghlan 27 Roy Oswalt 75 Albert Pujols 123 Skip Schumaker 28 Tony Gwynn Sr. 76 Felix Hernandez 124 Jeremy Jeffress 2929 TTyy Cobb 77 HHunterunter PPenceence 121255 JaJakeke PPeavyeavy 30 Hanley Ramirez 78 Ryne Sandberg 126 Dallas -
The Endless Fall of Suge Knight He Sold America on a West Coast Gangster Fantasy — and Embodied It
The Endless Fall of Suge Knight He sold America on a West Coast gangster fantasy — and embodied it. Then the bills came due BY MATT DIEHL July 6, 2015 Share Tweet Share Comment Email This could finally be the end of the road for Suge Knight, who helped bring West Coast gangsta rap to the mainstream. Photo illustration by Sean McCabe On March 20th, inside the high-security wing of Los Angeles' Clara Shortridge Foltz Criminal Justice Center, the man once called "the most feared man in hip-hop" is looking more like the 50-year-old with chronic health issues that he is. Suge Knight sits in shackles, wearing an orange prison jumpsuit and chunky glasses, his beard flecked with gray, listening impassively. It's the end of the day's proceedings, and Judge Ronald S. Coen is announcing the bail for Knight, who is facing charges of murder, attempted murder and hit-and-run: "In this court's opinion, $25 million is reasonable, and it is so set." A gasp erupts from Knight's row of supporters — some of whom sport red clothing or accessories, a color associated with the Bloods and Piru street gangs. The most shocked are Knight's family, who have attended nearly all of his court dates: his parents, along with his fiancee, Toilin Kelly, and sister Karen Anderson. "He's never had a bail like that before!" Anderson exclaims. SIDEBAR 30 Most Embarrassing Rock-Star Arrests » As attendees exit and Knight is escorted out by the bailiffs, Knight's attorney Matthew Fletcher pleads with Coen to reconsider. -
Dec. 22, 2015 Snd. Tech. Album Arch
SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London. -
The Indian Revolutionaries. the American Indian Movement in the 1960S and 1970S
5 7 Radosław Misiarz DOI: 10 .15290/bth .2017 .15 .11 Northeastern Illinois University The Indian Revolutionaries. The American Indian Movement in the 1960s and 1970s The Red Power movement1 that arose in the 1960s and continued to the late 1970s may be perceived as the second wave of modern pan-Indianism 2. It differed in character from the previous phase of the modern pan-Indian crusade3 in terms of massive support, since the movement, in addition to mobilizing numerous groups of urban Native Americans hailing from different tribal backgrounds, brought about the resurgence of Indian ethnic identity and Indian cultural renewal as well .4 Under its umbrella, there emerged many native organizations devoted to address- ing the still unsolved “Indian question ”. The most important among them were the 1 The Red Power movement was part of a broader struggle against racial discrimination, the so- called Civil Rights Movement that began to crystalize in the early 1950s . Although mostly linked to the African-American fight for civil liberties, the Civil Rights Movement also encompassed other racial and ethnic minorities including Native Americans . See F . E . Hoxie, This Indian Country: American Indian Activists and the Place They Made, New York 2012, pp . 363–380 . 2 It should be noted that there is no precise definition of pan-Indianism among scholars . Stephen Cornell, for instance, defines pan-Indianism in terms of cultural awakening, as some kind of new Indian consciousness manifested itself in “a set of symbols and activities, often derived from plains cultures ”. S . Cornell, The Return of the Native: American Indian Political Resurgence, New York 1988, p . -
UNIVERSITY of CALIFORNIA Los Angeles Cubans
UNIVERSITY OF CALIFORNIA Los Angeles Cubans and the Caribbean South: Race, Labor, and Cuban Identity in Southern Florida, 1868-1928 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Andrew Gomez 2015 © Copyright by Andrew Gomez 2015 ABSTRACT OF THE DISSERTATION Cubans and the Caribbean South: Race, Labor, and Cuban Identity in Southern Florida, 1868- 1928 by Andrew Gomez Doctor of Philosophy in History University of California, Los Angeles, 2015 Professor Frank Tobias Higbie, Chair This dissertation looks at the Cuban cigar making communities of Key West and Ybor City (in present-day Tampa) from 1868 to 1928. During this period, both cities represented two of largest Cuban exile centers and played critical roles in the Cuban independence movement and the Clear Havana cigar industry. I am charting how these communities wrestled with race, labor politics, and their own Cuban identity. Broadly speaking, my project makes contributions to the literature on Cuban history, Latino history, and transnational studies. My narrative is broken into two chronological periods. The earlier period (1868-1898) looks at Southern Florida and Cuba as a permeable region where ideas, people, and goods flowed freely. I am showing how Southern Florida was constructed as an extension of Cuba and that workers were part of broader networks tied to Cuban nationalism and Caribbean radicalism. Borne out of Cuba’s independence struggles, both communities created a political and literary atmosphere that argued for an egalitarian view of a new republic. Concurrently, workers began to ii experiment with labor organizing. Cigar workers at first tried to reconcile the concepts of nationalism and working-class institutions, but there was considerable friction between the two ideas. -
Sagawkit Acceptancespeechtran
Screen Actors Guild Awards Acceptance Speech Transcripts TABLE OF CONTENTS INAUGURAL SCREEN ACTORS GUILD AWARDS ...........................................................................................2 2ND ANNUAL SCREEN ACTORS GUILD AWARDS .........................................................................................6 3RD ANNUAL SCREEN ACTORS GUILD AWARDS ...................................................................................... 11 4TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 15 5TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 20 6TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 24 7TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 28 8TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 32 9TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 36 10TH ANNUAL SCREEN ACTORS GUILD AWARDS ..................................................................................... 42 11TH ANNUAL SCREEN ACTORS GUILD AWARDS ..................................................................................... 48 12TH ANNUAL SCREEN ACTORS GUILD AWARDS .................................................................................... -
NAS 204 the Native American Experience
NAS 204 The Native American Experience Winter 20 Tuesday 6-9:20 pm JXJ 1311 Instructor Shirley Brozzo [email protected] Office: 3001 Hedgcock Cell 906-360-5406 NO calls after 10 pm Multicultural Ed & Res. Center Pronouns: she/her/hers Office phone: 906-227-1554 3 required texts Benton Banai, Eddie The Mishomis Book Child, Brenda editor Boarding School Seasons Lobo, Talbot, Morris Native American Voices, 3rd Edition Weekly Assignments: Have these pages read when you come to class each week Jan 14 Introduction, initial drawings, tribal listings, description of presentations Video: More Than Bows and Arrows 21 CULTURE AND CUSTOMS: Read the Mishomis Book 28 IDENTITY AND ORAL TRADITIONS: Read Native American Voices Part I: Introduction pages 2-9 Part I Ch 3: Indigenous Identity: What Is It, and Who Really Has It pgs 28-35 Part 1 short section: Native American Demographics pgs 45-47 Part 1 short section: The US Census pg 48 Part III: Introduction pgs 95-100 Part III Ch 1: 500 Years of Injustice… pgs 101-104 Part V Ch 3 But is It American Indian Art? Pgs 214-221 ECOLOGY AND LAND TRADITIONS Part III Ch 3: The Black Hills: Sacred Land of the Lakota... pgs 113-119 Part VII: Introduction pgs 308-309 Feb 4 Test # 1 100 points Video: American Outrage 11 BOARDING SCHOOLS: Read Boarding School Seasons Video: In the Whiteman's Image 18 MORE SCHOOLING: Read Native American Voices Part II Ch 5: Just Speak Your Language… pgs 90-92 Part VI Introduction, pgs 238-245 Part VI Ch 6: If We Get the Girls… pgs 284-291 Part VI Ch 7: Protagonism Emergent… pgs 292-300 -
Arnesen CV GWU Website June 2009
1 Eric Arnesen Curriculum Vitae Office Department of History Columbian College of Arts & Sciences The George Washington University 801 22nd St. NW Phillips 335 Washington, DC 20052 Phone: (202) 994-6230 EDUCATION Ph.D. 1986 Yale University, Department of History M.A. 1984 Yale University, Department of History M.A. 1984 Yale University, Afro-American Studies Program B.A. 1980 Wesleyan University SELECTED AWARDS AND FELLOWSHIPS 2009 Principle Investigator/Institute Director, FY 2008 Study of the U.S. Institute for Secondary Educators Program (University of Illinois at Chicago), U.S. Department of State ($350,000 program grant) 2008 Principle Investigator/Institute Director, FY 2008 Study of the U.S. Institute for Secondary Educators Program (University of Illinois at Chicago), U.S. Department of State ($350,000 program grant) 2007-2008 Institute for the Humanities Faculty Fellow, University of Illinois at Chicago 2007 The Encyclopedia of U.S. Labor and Working Class History selected as a 2007 Outstanding Reference Source for Small and Medium-Sized Libraries by the Reference and User Services Association (RUSA) of the American Library Association. 2005-2006 Fulbright Distinguished Chair in American Studies, Swedish Institute for North American Studies, Uppsala University, Distinguished Fulbright Chair Program of the Fulbright Scholar Program (Winter-Spring 2006) 2005 James Friend Memorial Award for Literary Criticism, Society of Midland Authors (for “distinguished literary criticism in the Chicago Tribune”) 2004-2005 Committee on Institutional -
Glam Rock by Barney Hoskyns 1
Glam Rock By Barney Hoskyns There's a new sensation A fabulous creation, A danceable solution To teenage revolution Roxy Music, 1973 1: All the Young Dudes: Dawn of the Teenage Rampage Glamour – a word first used in the 18th Century as a Scottish term connoting "magic" or "enchantment" – has always been a part of pop music. With his mascara and gold suits, Elvis Presley was pure glam. So was Little Richard, with his pencil moustache and towering pompadour hairstyle. The Rolling Stones of the mid-to- late Sixties, swathed in scarves and furs, were unquestionably glam; the group even dressed in drag to push their 1966 single "Have You Seen Your Mother, Baby, Standing in the Shadow?" But it wasn't until 1971 that "glam" as a term became the buzzword for a new teenage subculture that was reacting to the messianic, we-can-change-the-world rhetoric of late Sixties rock. When T. Rex's Marc Bolan sprinkled glitter under his eyes for a TV taping of the group’s "Hot Love," it signaled a revolt into provocative style, an implicit rejection of the music to which stoned older siblings had swayed during the previous decade. "My brother’s back at home with his Beatles and his Stones," Mott the Hoople's Ian Hunter drawled on the anthemic David Bowie song "All the Young Dudes," "we never got it off on that revolution stuff..." As such, glam was a manifestation of pop's cyclical nature, its hedonism and surface show-business fizz offering a pointed contrast to the sometimes po-faced earnestness of the Woodstock era. -
Ken Schles Curriculum Vitae
Ken Schles CV Brooklyn, New York. 1960 Select Solo Exhibitions 2016 Deichtorhallen, Hamburg, Germany 2015 Noorderlict Gallery, Groningen, The Netherlands 2015 Howard Greenberg Gallery, NYC 2014 Photoistanbul, Istanbul, Turkey 2014 Only Photography, Berlin, Germany 2013 Center for Photography, University of California Berkeley, CA 2011 Noorderlict Gallery, Groningen, The Netherlands 2011 1st International Bursa Photo Festival, Bursa, Turkey 2009 Noorderlict Gallery, Groningen, The Netherlands 2005 Lucas Schoormans Gallery, NYC 2002 C/O Gallery, Berlin 2002 Galerie Thomas Zander, Köln, Germany 2002 New School for Social Research, NYC 1996 Jan Kesner Gallery, Los Angeles, CA 1992 Christine Burgin Gallery, NYC 1989 The Photography Center, NYC 1987 Greathouse Gallery, NYC 1985 Greathouse Gallery, NYC Select Group Exhibitions 2018 New York University Tisch School of the Arts. NYC 2018 Living Gallery Outpost, NYC 2017 Williams College Museum of Art, MA 2017 Magnum Foundation, NYC and Carnegie Museum of Art, PA, 10x10 Awake, NYC 2017 International Center of Photography, NYC 2017 Center for Contemporary Photography (CFC), Bilbao 2016 Centro José Guerrero, Granada, Spain 2016 Dixon Place, NYC 2015 Gallatin Galleries, New York University, NYC 2015 JustAnotherPhotoFestival, Delhi, India 2015 Noorderlicht Festival, Groningen, The Netherlands 2015 Photo London, Howard Greenberg Gallery, London, England 2014 Paris Photo, Howard Greenberg Gallery, Paris, France 2014 The Photobook Museum, Köln, Germany 2014 PGH Photo Fair, Carnegie Museum of Art, Pittsburgh,