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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
Judas Priest Till Rättvik Och Linköping
Judas Priest 2019-10-23 10:00 CEST JUDAS PRIEST TILL RÄTTVIK OCH LINKÖPING Det finns få heavy metal-band som har lyckats nå samma höjder som Judas Priest under deras 50-åriga karriär. Deras närvaro och inflytande är mer aktuell än någonsin, vilket tydligt framgår i albumet ”Firepower” från 2018, som gick direkt in på #5 på albumtopplistan! Den 13 juni spelar de på Dalhalla i Rättvik och dagen därpå, den 14 juni, spelar de på Saab Arena i Linköping! Biljetter släpps tisdag den 29 oktober kl 10.00 via LiveNation.se Judas Priest bildades ursprungligen 1969 i Birmingham, England, ett område som många anser är födelseorten för heavy metal. Rob Halford, Glenn Tipton, K.K. Downing och Ian Hill kom att bli bandets kärna (tillsammans med flera olika trummisar under åren) och de kom tillsammans att ändra synen på heavy metal. Man kan säga att Judas Priest helt enkelt ägde 80-talet då de var i en klass för sig när det kom till ren metal och släppte tidlösa, klassiska album som ”British Steel”, ”Point of Entry”, ”Screaming for Vengeance"och "Defenders of the Faith". Dessa låtar blev inspirationen till otaliga heavy metal-hitar inklusive "Breaking the Law", "Living After Midnight", "Heading Out to the Highway" och "You've Got Another Thing Coming". 2010 tilldelades bandet en Grammy Award för ”Best Metal Performance” och under 2017 blev de nominerade till Rock and Roll Hall of Fame och gjorde sig redo att släppa ett nytt studioalbum, ”Firepower” (producerat av Andy Sneap och Tom Allom). Albumet blev en global succé och kritikerrosad och bandet åkte på den utsålda världsturnén ”JUDAS PRIEST - FIREPOWER 2018 World Tour”. -
Physical Evidence Manual
If you have issues viewing or accessing this file contact us at NCJRS.gov. City of Phoenix Physical Evidence Manual 142520 U.S. Department of Justice National Institute of Justice This document has been reproduced exactly as received from the person or organization originating it. Points of view or opinions stated in this document are those of the authors and do not necessarily represent the official position or policies of the National Institute of Justice. Permission to reproduce this copyrighted material has been granJ;l}\8'enix Police Department (AZ) to the National Criminal Justice Reference Service (NCJRS). Further reproduction outside of the NCJRS system requires permission of the copyright owner. Phoenix Police Department Crime Detection Laboratory d 5 CITY OF PHOENIX POLICE DEPARTMENT Crime Detection Laboratory WILLIAM J. COLLIER Director Edited by Raymond Gieszl 1990 -------------_._---------------------' CONTENTS I. Introduction ---------------------------------- 3-4 II. Laboratory ------------------------------------- 5 III. Function and Services ------------------------- 6-7 IV. General Instruction for Collection and -------- 8-10 Preservation of Physical Evidence V. Crime Scene Processing and Reconstruction ----- 11-15 VI. Marijuana, Narcotics and Dangerous Drugs ------ 16-18 VII. Prescription Only Drugs ------------------------ 19-20 VIII. Toxicology ------------------------------------ 21-22 IX. Blood stains ---------------------------------- 23-29 X. Hair ------------------------------------------- 30-32 XI. Seminal -
The Stained Glass of St. Nicholas' Church, Blundellsands
The Stained Glass of St. Nicholas’ Church, Blundellsands Text: Philip Collins; Photographs: Peter Batey Of the twenty three stained glass windows in St. Nicholas’ Church, fifteen are the work of four firms and the remaining eight are by unidentified studios. Apart from the three apsidal east windows, there is no overall subject scheme, the donors, albeit in a number of cases with the input of Caröe, being apparently free to choose their own subjects. The earliest glass is a window with a commemorative date of 1875 and therefore more or less contemporary with the building of the church, and the latest, a window inserted in 1924. In the beginning, the appearance of the windows from inside would have looked quite different. For one thing, the intensity of light on a dark day would have been much stronger, but then gradually, as windows were filled over the years, the glare would have softened until the present effect we see today was reached. 1 This description of the windows follows the sequence shown on the Stained Glass Plan (see below) and it begins in the sanctuary. For studying windows 1-5 and 12-14 the use of a pair of binoculars is recommended. List of windows and page number 1. Transfiguration 4 2. Crucifixion 5 3. Ascension 7 4. St. Paul 8 5. Parable of the talents 9 6. Suffer the little children 11 7. Good works 12 8. St. Balbina and Dorcas 13 9. Martha and Mary 15 10. Good works 17 11. Christ with the doctors 19 12. War 20 13. -
Excerpt from Notre-Dame De Paris • Victor Hugo This Text Is Brought to You by The
Excerpt from Notre-Dame de Paris • Victor Hugo This text is brought to you by the Society of Amate ur Gentlemen You can visit us at http://societyofamateurgentlemen.wordpress.com/ The text of this translation is in the public domain, everyone is permitted, granted your local copyright laws allow, to distribute this however he sees fit. I ask only that you leave it intact, but that ultimately is your prerogative. Fight, draw the sword, O city of the light, Which fosters art, defends the cotter's right. Let, O proud home of man's equality, Howl round thee the foul hordes of bigotry-- Black props of throne and altar--hypocrites! Who, in all ages, have proscribed the lights; Who guard all gods against th' inquiring mind; Whose screech in every history we find-- At Thebes, Mycenae, Delphi, Memphis, Rome-- Like bark of unclean dogs from distance come. -Victor Hugo Excerpt from Paris Slandered Notre-Dame de Paris: This Will Kill That • Victor Hugo (Translated By William Neilson) This Will Kill That: Book V, Chapter II Notre-Dame de Paris By Victor Hugo OUR fair readers must forgive us if we halt a moment here and endeavor to unearth the idea hidden under the Archdeacon’s enigmatical words: This will kill That. The Book will kill the Edifice. To our mind, this thought has two aspects. In the first place it was a view pertaining to the priest—it was the terror of the ecclesiastic before a new force—printing. It was the servant of the dim sanctuary scared and dazzled by the light that streamed from Gutenberg’s press. -
Metal for the Masses”: Or, Will Metal Ever Be Mainstream Again? (And Why We Should Want It to Be...)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ResearchSPace - Bath Spa University MODERN HEAVY METAL: MARKETS, PRACTICES AND CULTURES International Academic Conference 2015 “METAL FOR THE MASSES”: OR, WILL METAL EVER BE MAINSTREAM AGAIN? (AND WHY WE SHOULD WANT IT TO BE...) Andy R. Brown Bath Spa University, UK Abstract Exploring the model of scene-based innovation and scarcity that characterised the 90s extreme metal underground, as eloquently outlined by Keith Kahn- Harris, this paper seeks to evaluate the extent to which its model of “eclipsed” symbolic capital accumulation is the key not to its success but relative failure to achieve innovation, development and change in metal music. Debating Lena and Peterson’s AgSIT model of genre trajectories, this paper argues such change in metal music have always been tied to the formation and demise of music “mainstreams.” The problem from this perspective is that NWOBHM, doom, power (including symphonic), thrash, grindcore, death and black metal did not mainstream enough (with the exception of some notable bands) to allow the next cycle of musical innovation to commence. Introduction In a striking series of recent posts, published on-line in the net.magazine Sou- ciant (2013; 2014), Keith Kahn-Harris has reflected on the question of Metal After Metal. Recalling the searching intelligence of a younger Lawrence Gross- berg (1990) and his anxious ruminations on whether rock was dead, dying or “going somewhere else” – published over twenty years ago – Kahn-Harris ec- hoes a similar set of fears, not about the break-up of the music-audience rela- tions that sustained the Anglo-American “rock formation” but the scenic- relations that sustained the creative-economy of the extreme metal under- ground. -
JUDAS PRIEST BIOGRAPHY There Are Few Heavy Metal Bands That
JUDAS PRIEST BIOGRAPHY There are few heavy metal bands that have managed to scale the heights that Judas Priest have during their nearly 50-year career. Their presence and influence remains at an all-time high as evidenced by 2014's 'Redeemer of Souls' being the highest charting album of their career, a 2010 Grammy Award win for 'Best Metal Performance', being a 2006 VH1 Rock Honors recipient, a 2017 Rock and Roll Hall of Fame nomination, and they will soon release their 18th studio album, 'Firepower', through Epic Records. Judas Priest originally formed in 1969 in Birmingham, England (an area that many feel birthed heavy metal). Rob Halford, Glenn Tipton, K.K. Downing and Ian Hill would be the nucleus of musicians (along with several different drummers over the years) that would go on to change the face of heavy metal. After a 'feeling out' period of a couple of albums, 1974's 'Rocka Rolla' and 1976's 'Sad Wings of Destiny' this line-up truly hit their stride. The result was a quartet of albums that separated Priest from the rest of the hard rock pack - 1977's 'Sin After Sin', 1978's 'Stained Class' and 'Hell Bent for Leather', and 1979's 'Unleashed in the East', which spawned such metal anthems as 'Sinner', 'Diamonds and Rust', 'Hell Bent for Leather', and 'The Green Manalishi (With the Two-Pronged Crown)'. Also, Priest were one of the first metal bands to exclusively wear leather and studs – a look that began during this era and would eventually be embraced by metal heads throughout the world. -
Ramiro Hinojosa
Ramiro Hinojosa Field Manual FM 7-8 This copy is a reprint, which includes current Pages from Change 1. INFANTRY RIFLE PLATOON AND SQUAD HEADQUARTERS DEPARTMENT OF THE ARMY DISTRIBUTION RESTRICTION— Approved for public release; distribution is unlimited. FM 7-8 BATTLE DRILL 6. ENTER BUILDING/CLEAR ROOM SITUATION: Operating as part of a larger force, the squad is moving and identifies an enemy force in a building. REQUIRED ACTIONS: (Figures 4-9 and 4-10.) NOTE: The discussion that follows assumes that the infantry squad is supported only by the platoon’s organic weapons. The preferred method of entering a building is to use a tank main gun round; direct-fire artillery round; or TOW, Dragon, or Hellfire missile to clear the first room. Additionally, some MOUT situations may require precise application of firepower. This is true of a MOUT environment where the enemy is mixed with noncombatants. The presence of civilians can restrict the use of fires and reduce the combat power available to a platoon leader. His platoon may have to operate with “no fire” areas. Rules of engagement (ROE) can prohibit the use of certain weapons until a specific hostile action takes place. The use of hand grenades and suppressive fire to enter rooms may be prohibited to preclude noncombatant casualties and collateral damage. All leaders must be aware of the ROE. They must include the precise use of weapons in their planning for MOUT missions. This includes how the platoon will employ its organic weapons including snipers and other weapon systems it may have in support; for example, AC 130 or AH 64 aircraft. -
Tiffany Windows in Richmond and Petersburg, Virginia Rachel M
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 1997 Tiffany Windows in Richmond and Petersburg, Virginia Rachel M. Bradshaw [email protected] Follow this and additional works at: http://scholarscompass.vcu.edu/etd Part of the History of Art, Architecture, and Archaeology Commons © The Author Downloaded from http://scholarscompass.vcu.edu/etd/4389 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. APPROVAL CERTIFICATE TIFFANY WINDOWS IN RICHMOND AND PETERSBURG, VIRGINIA by RACHEL M. BRADSHAW Th�sis Advisor Reader Dean, School of the Arts Dean, School of Graduate Studies 15;;c;c;i. Date TIFFANY WINDOWS IN RICHMOND AND PETERSBURG, VIRGINIA by RACHEL M. BRADSHAW B.A., Troy State University, 1991 Submitted to the Faculty of the School of the Arts of Virginia Commonwealth University in Partial Fulfillment of the Requirements for the Degree Master of Arts RICHMOND, VIRGINIA April, 1997 Table of Contents Acknowledgements...... lll List of illustrations....... IV Introduction. ................................... .... Catalog ................................................. 20 Monumental Church........... 21 St. Paul's Episcopal Church.... 25 Second Presbyterian Church. ....... 62 69 Grace and Holy Trinity Church ..................... Temple Beth Ahabah ............................ 74 St. James Episcopal Church ....... 77 All Saints Episcopal Church..... 91 Ginter Park Baptist Church ...... 123 Hollywood Cemetery... 139 Old Blandford Church.. 146 Washington Street United Methodist Church........... 182 Conclusion........................................ 186 Selected Bibliography ....................................... 188 ii Acknowledgements I would like to thank my advisor, Dr. Anne Crowe, for her patience, support, and encouragement, and my reader, Dr. -
Computer-Generated Gothic Tracery with a Motif-Oriented Approach
Computer-generated Gothic Tracery with a Motif-oriented Approach Joe Takayama* *Kyushu Sangyo University, [email protected] Abstract: Drawing decorative ornaments as computer-generated imagery (CGI) is both time- and energy-intensive because it usually involves complicated motifs. Therefore, a procedural approach that is applicable to a variety of fields may be useful for drawing ornaments efficiently. Consequently, an algorithmic approach for generating complicated ornaments has been proposed in this study. This research specifically focuses on Gothic tracery, which is widely found in European architecture from the 12th to 15th centuries. Tracery constitutes stonework elements that support glass panes in windows. Although Gothic tracery comprises a wide variety of complicated patterns, it usually consists of combinations of circles with a few straight lines. These combinations and geometric operations can generate various motifs. However, it is difficult to extract the rules for obtaining desirable patterns from circle arrangements because of variations in geometric situations. Therefore, we attempted through this study to draw Gothic tracery using a motif-oriented approach whereby an algorithm automatically seeks an appropriate position in a closed 2D space for placement of the motif. Thus, the algorithm determines the arrangement of circles required to draw the motif. This algorithm can produce some principal Gothic-style motifs automatically, and recursive execution of the algorithm can generate complicated patterns. Keywords: Computer-generated imagery, Ornaments, Gothic tracery, Procedural approach 1. Introduction A procedural approach in CGI has been used mainly to represent natural objects and natural phenomena that are too complicated to be drawn or animated by artists [5]. -
Tiffany Windows in Richmond and Petersburg, Virginia
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 1997 Tiffany Windows in Richmond and Petersburg, Virginia Rachel M. Bradshaw Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the History of Art, Architecture, and Archaeology Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/4389 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. APPROVAL CERTIFICATE TIFFANY WINDOWS IN RICHMOND AND PETERSBURG, VIRGINIA by RACHEL M. BRADSHAW Th�sis Advisor Reader Dean, School of the Arts Dean, School of Graduate Studies 15;;c;c;i. Date TIFFANY WINDOWS IN RICHMOND AND PETERSBURG, VIRGINIA by RACHEL M. BRADSHAW B.A., Troy State University, 1991 Submitted to the Faculty of the School of the Arts of Virginia Commonwealth University in Partial Fulfillment of the Requirements for the Degree Master of Arts RICHMOND, VIRGINIA April, 1997 Table of Contents Acknowledgements...... lll List of illustrations....... IV Introduction. ................................... .... Catalog ................................................. 20 Monumental Church........... 21 St. Paul's Episcopal Church.... 25 Second Presbyterian Church. ....... 62 69 Grace and Holy Trinity Church ..................... Temple Beth Ahabah ............................ 74 St. James Episcopal Church ....... 77 All Saints Episcopal Church..... 91 Ginter Park Baptist Church ...... 123 Hollywood Cemetery... 139 Old Blandford Church.. 146 Washington Street United Methodist Church........... 182 Conclusion........................................ 186 Selected Bibliography ....................................... 188 ii Acknowledgements I would like to thank my advisor, Dr. Anne Crowe, for her patience, support, and encouragement, and my reader, Dr. -
A Study of Residential Stained Glass: the Work of Nicola D'ascenzo Studios from 1896 to 1954
University of Pennsylvania ScholarlyCommons Theses (Historic Preservation) Graduate Program in Historic Preservation 1990 A Study of Residential Stained Glass: The Work of Nicola D'Ascenzo Studios from 1896 to 1954 Lisa Weilbacker University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/hp_theses Part of the Historic Preservation and Conservation Commons Weilbacker, Lisa, "A Study of Residential Stained Glass: The Work of Nicola D'Ascenzo Studios from 1896 to 1954" (1990). Theses (Historic Preservation). 252. https://repository.upenn.edu/hp_theses/252 Copyright note: Penn School of Design permits distribution and display of this student work by University of Pennsylvania Libraries. Suggested Citation: Weilbacker, Lisa (1990). A Study of Residential Stained Glass: The Work of Nicola D'Ascenzo Studios from 1896 to 1954. (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hp_theses/252 For more information, please contact [email protected]. A Study of Residential Stained Glass: The Work of Nicola D'Ascenzo Studios from 1896 to 1954 Disciplines Historic Preservation and Conservation Comments Copyright note: Penn School of Design permits distribution and display of this student work by University of Pennsylvania Libraries. Suggested Citation: Weilbacker, Lisa (1990). A Study of Residential Stained Glass: The Work of Nicola D'Ascenzo Studios from 1896 to 1954. (Masters Thesis). University of Pennsylvania, Philadelphia,