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| erika zantzinger: Social Register , 1989 |
| erika zantzinger: Sitte, Hegemann and the Metropolis Charles Bohl, Jean-François Lejeune, 2009-06-02 These essays, from leading names in the field, weave together the parallels and differences between the past and present of civic art. Offering prospects for the first decades of the twenty-first century, the authors open up a broad international dialogue on civic art, which relates historical practice to the contemporary meaning of civic art and its application to community building within today’s multi-cultural modern cities. The volume brings together the rich perspectives on the thought, practice and influence of leading figures from the great era of civic art that began in the nineteenth century and blossomed in the early twentieth century as documented in the works of Werner Hegemann and his contemporaries and considered fundamental to contemporary practice. |
| erika zantzinger: Who's who in Finance and Industry , 1995 |
| erika zantzinger: Stay Close Libby Cataldi, 2009-04-28 During his early teens, Jeff Bratton started using drugs. At first, alcohol and pot, but quickly he spiraled into using cocaine, ketamine, crystal meth and eventually heroin. How could this wonderful son, loving brother, and star athlete lose himself to drugs? How could his parents be so clueless? How could his mother, the long-term head of a private school, be so blind? Stagli vicino, an Italian recovering addict told the author. Stay close—never leave him, even when he is most unlovable. This is not a book about saving a child. It is a book about what it means to stay close to a loved one gripped by addiction. It is about one son who came home and one mother who never gave up hope. Stay Close is one mother's tough, honest, and intimate tale that chronicles her son's severe drug addiction, as it corroded all relationships from the inside out. It is a story of deep trauma and deep despair, but also of deep hope—and healing. Here is Libby Cataldi's story about dealing with addiction without withdrawing love, learning to trust again while remaining attuned to lies, and the cautious triumph of staying clean one day at a time. He told her, Mom, never quit believing. And she didn't. |
| erika zantzinger: Pure-bred Dogs, American Kennel Gazette , 1970 |
| erika zantzinger: The Language of Law School Elizabeth Mertz, 2007-02-03 In this linguistic study of law school education, Mertz shows how law professors employ the Socratic method between teacher and student, forcing the student to shift away from moral and emotional terms in thinking about conflict, toward frameworks of legal authority instead. |
| erika zantzinger: Speeches Edmund Burke, 1862 |
| erika zantzinger: American Law School Degrees James Parker Hall, 1907 |
| erika zantzinger: Step it Down Bessie Jones, Bess Lomax Hawes, 1987 Gathers traditional baby games, clapping plays, jumps and skips, singing plays, ring plays, dances, outdoor games, songs, and stories |
| erika zantzinger: Race on Trial Barrington Walker, 2010-01-01 While slavery in Canada was abolished in 1834, discrimination remained. Race on Trial contrasts formal legal equality with pervasive patterns of social, legal, and attitudinal inequality in Ontario by documenting the history of black Ontarians who appeared before the criminal courts from the mid-nineteenth to the mid-twentieth centuries. Using capital case files and the assize records for Kent and Essex counties, areas that had significant black populations because they were termini for the Underground Railroad, Barrington Walker investigates the limits of freedom for Ontario's African Canadians. Through court transcripts, depositions, jail records, Judge's Bench Books, newspapers, and government correspondence, Walker identifies trends in charges and convictions in the Black population. This exploration of the complex and often contradictory web of racial attitudes and the values of white legal elites not only exposes how blackness was articulated in Canadian law but also offers a rare glimpse of black life as experienced in Canada's past. |
| erika zantzinger: The Fiercest Debate: Cecil a Wright, the Benchers, and Legal Education in Ontario 1923-1957 C. Ian Kyer, Jerome Bickenbach, 1987-12 From its earliest days the Law Society of Upper Canada adhered to the traditions of English legal practice and education. In the 1930s and 1940s, however, some of the most cherished of those traditions were challenged in a bitter debate about the nature of legal education in Ontario. This book tells the story of that debate and one of its leading participants, Cecil Augustus Wright. 'Caesar' Wright was one of the first Canadian legal academics to attend Harvard Law School, and his Harvard background played a significant role in the development of his position in the controversy over legal education. The established lawyers who served as benchers of the law society insisted that legal training should be principally a matter of practical experience. Wright, who sought to bring American notions of the roles of lawyers and legal academic to Ontario, tried unsuccessfully to persuade the benchers that the job of educating young lawyers should be transferred to the universities. Decades of contention culminated in 1949 with Wright's dramatic resignation from Osgoode Hall Law School and his appointment as dean of the newly created Faculty of Law at the University of Toronto. The debate between the benchers of the law society and the proponents of academic legal education touched the lives of many prominent lawyers and law professors, and its resolution permanently changed the nature of legal education in Ontario. Ian Kyer and Jerome Bickenbach offer an account of the conflict and a portrait of the energetic and often acerbic figure who has been called Canada's most influential law teacher. |
| erika zantzinger: LSU Law W. Lee Hargrave, 2004-09-01 From its founding in 1906, the Louisiana State University Law School has offered its students a truly distinctive legal education. Integrated programs in Louisiana’s unique civil law, in Anglo-American common law and federal law, and in international and comparative law create a global law curriculum recognized for both its academic excellence and its outstanding teaching, research, and public service faculty. In LSU Law, alumnus and professor W. Lee Hargrave chronicles the first seventy years of this institution—from its opening classes to the death of its longtime dean, Paul M. Hebert, and its transformation into an autonomous Law Center. He reveals the faces and forces that have helped to create the special mystique surrounding the school and the significance attached to a law degree from LSU. After an initial discussion of the legal profession in Louisiana before the establishment of formal academic instruction, Hargrave maps the school’s growth and development. He charts the organizational difficulties of the early years, reputation building in the twenties, politically influenced extravagance in the thirties, wartime challenges in the forties, return to normalcy in the fifties, steady growth in the sixties, and overcrowding in the seventies. Throughout, he explores all aspects of the school—its administrators and faculty, student body, shifting admission requirements, curriculum, grading system debates, influence on Louisiana’s legal community and state government, and much more. He also describes how students lived and learned during each era and discusses the effects of outside people and events—including Huey P. Long, World War II, and the civil rights movement—on the school. Hargrave tells the history of the LSU Law School in the context of changes that occurred in legal education throughout the United States, making his work of interest to legal historians and the national law school community. Alumni will also appreciate this detailed study of what has become a Louisiana institution. |
| erika zantzinger: The Oxford Companion to American Law Kermit L. Hall, David S. Clark, James W. Ely, Joel B. Grossman, N. E. H. Hull, 2002-05-02 A landmark in legal publishing, The Oxford Companion to the Supreme Court is a now classic text many of whose entries are regularly cited by scholars as the definitive statement on any particular subject. In the tradition of that work, editor in chief Kermit L. Hall offers up The Oxford Companion to American Law, a one-volume, A-Z encyclopedia that covers topics ranging from aging and the law, wiretapping and electronic eavesdropping, the Salem Witch Trials and Plessy vs. Ferguson. The Companion takes as its starting point the insight that law is embedded in society, and that to understand American law one must necessarily ask questions about the relationship between it and the social order, now and in the past. The volume assumes that American law, in all its richness and complexity, cannot be understood in isolation, as simply the business of the Supreme Court, or as a list of common law doctrines. Hence, the volume takes seriously issues involving laws role in structuring decisions about governance, the significance of state and local law and legal institutions, and the place of American law in a comparative international perspective. Nearly 500 entries are included, written by over 300 expert contributors. Intended for the working lawyer or judge, the high school student working on a term paper, or the general adult reader interested in the topic, the Companion is the authoritative reference work on the subject of American law. |
| erika zantzinger: Reiser + Umemoto Andrew Benjamin, Reiser + Umemoto, 1998-08-31 This is an architectural monograph on the work of New York-based Jesse Reiser and Nanako Umemoto. It provides descriptions of their theories and design, and is illustrated in colour with original images-- |
| erika zantzinger: The Wire Tiffany Potter, C. W. Marshall, 2010-06-01 The first collection of critical essays on HBO's The Wire - the most brilliant and socially relevant television series in years The Wire is about survival, about the strategies adopted by those living and working in the inner cities of America. It presents a world where for many even hope isn't an option, where life operates as day-to-day existence without education, without job security, and without social structures. This is a world that is only grey, an exacting autopsy of a side of American life that has never seen the inside of a Starbucks. Over its five season, sixty-episode run (2002-2008), The Wire presented several overlapping narrative threads, all set in the city of Baltimore. The series consistently deconstructed the conventional narratives of law, order, and disorder, offering a view of America that has never before been admitted to the public discourse of the televisual. It was bleak and at times excruciating. Even when the show made metatextual reference to its own world as Dickensian, it was too gentle by half. By focusing on four main topics (Crime, Law Enforcement, America, and Television), The Wire: Urban Decay and American Television examines the series' place within popular culture and its representation of the realities of inner city life, social institutions, and politics in contemporary American society. This is a brilliant collection of essays on a show that has taken the art of television drama to new heights. |
| erika zantzinger: Jazz Performers , 1990-07-18 This work puts together in one volume all the book and scholarly materials related to jazz lives and organizes them in such a way that the reader, at a glance, can see the entire sweep of writings on a given artist and grasp the nature of their contents. The bibliography includes many different kinds of biographical source material published in all languages from 1921 to the present, such as biographies, autobiographies, interview collections, musical treatises, bio-discographies, anthologies of newspaper articles, Master theses, and Ph.D. dissertations. With few exceptions, a work of at least 50 pages in length merits inclusion, providing it has a substantive biographical component or aids jazz research. The main section of the work is an alphabetical listing of sources on individual jazz artists and ensembles. Jazz artists, as defined by Carner, are those who have made their mark as jazz performers and who have led the jazz life, playing the clubs and joints, not the legitimate concert stage, Broadway, Las Vegas, or the like. Thus, musicians such as Ray Charles or Frank Sinatra, who have recorded and performed with jazz ensembles, do not qualify for inclusion. Each bonafide jazz musician is given a separate section with birth, death, and primary instrumentation provided. Biographical sources about the artist or ensemble follow. Each entry is annotated to differentiate it from another and to present basic data on the source's content, such as the inclusion of a discography, bibliography, music examples and transcriptions, footnotes, indexes, illustrations, filmographies, and glossaries. An invaluable tool for jazz researchers and historians, Jazz Performers will also appeal to jazz enthusiasts in general. |
| erika zantzinger: Colour-Coded Constance Backhouse, 1999-11-20 Historically Canadians have considered themselves to be more or less free of racial prejudice. Although this conception has been challenged in recent years, it has not been completely dispelled. In Colour-Coded, Constance Backhouse illustrates the tenacious hold that white supremacy had on our legal system in the first half of this century, and underscores the damaging legacy of inequality that continues today. Backhouse presents detailed narratives of six court cases, each giving evidence of blatant racism created and enforced through law. The cases focus on Aboriginal, Inuit, Chinese-Canadian, and African-Canadian individuals, taking us from the criminal prosecution of traditional Aboriginal dance to the trial of members of the 'Ku Klux Klan of Kanada.' From thousands of possibilities, Backhouse has selected studies that constitute central moments in the legal history of race in Canada. Her selection also considers a wide range of legal forums, including administrative rulings by municipal councils, criminal trials before police magistrates, and criminal and civil cases heard by the highest courts in the provinces and by the Supreme Court of Canada. The extensive and detailed documentation presented here leaves no doubt that the Canadian legal system played a dominant role in creating and preserving racial discrimination. A central message of this book is that racism is deeply embedded in Canadian history despite Canada's reputation as a raceless society. Winner of the Joseph Brant Award, presented by the Ontario Historical Society |
| erika zantzinger: American Popular Song Alec Wilder, James T. Maher, 1975 |
| erika zantzinger: The Song of the Hawk John Chilton, 1990 Hawkins, the most imitated and influential saxophonist in jazz up to Charlie Parker#x19;s modern revolution, stood virtually alone among jazz musicians who came to prominence in the 1920s and successfully made the transition to modern jazz 25 years later. He also set a standard of dignity for black musicians that was rarely equalled. #x14;Choice, July 1991. |
| erika zantzinger: Arts in Earnest Daniel W. Patterson, Charles G. Zug (III.), 1990 Arts in Earnest explores the unique folklife of North Carolina from ruddy ducks to pranks in the mill. Traversing from Murphy to Manteo, these fifteen essays demonstrate the importance of North Carolina’s continually changing folklife. From decoy carving along the coast, to the music of tobacco chants and the blues of the Piedmont, to the Jack tales of the mountains, Arts in Earnest reflects the story of a people negotiating their rapidly changing social and economic environment. Personal interviews are an important element in the book. Laura Lee, an elderly black woman from Chatham County, describes the quilts she made from funeral flower ribbons; witnesses and friends each remember varying details of the Duke University football player who single-handedly vanquished a gang of would-be muggers; Clyde Jones leads a safari through his backyard, which is filled with animals made of wood and cement that represent nontraditional folk art; the songs and sermon of a Primitive Baptist service flow together as one—“it tills you up all over”; Durham bluesman Willie Trice, one of a handful of Durham musicians who recorded in the 1930s and early 1940s, remembers when the active tobacco warehouses offered ready audiences—“They’d tip us a heap of change to play some music”; and Goldsboro tobacco auctioneer H. L. “Speed” Riggs chants 460 words per minute, five to six times faster than a normal conversational rate. |
| erika zantzinger: The Speeches , 1848 |
| erika zantzinger: The Jazz Revolution Kathy J. Ogren, 1992-06-04 Born of African rhythms, the spiritual call and response, and other American musical traditions, jazz was by the 1920s the dominant influence on this country's popular music. Writers of the Harlem Renaissance (Langston Hughes, Claude McKay, Zora Neale Hurston) and the Lost Generation (Malcolm Cowley, F. Scott Fitzgerald, and Gertrude Stein), along with many other Americans celebrated it--both as an expression of black culture and as a symbol of rebellion against American society. But an equal number railed against it. Whites were shocked by its raw emotion and sexuality, and blacks considered it devil's music and criticized it for casting a negative light on the black community. In this illuminating work, Kathy Ogren places this controversy in the social and cultural context of 1920s America and sheds new light on jazz's impact on the nation as she traces its dissemination from the honky-tonks of New Orleans, New York, and Chicago, to the clubs and cabarets of such places as Kansas City and Los Angeles, and further to the airwaves. Ogren argues that certain characteristics of jazz, notably the participatory nature of the music, its unusual rhythms and emphasis, gave it a special resonance for a society undergoing rapid change. Those who resisted the changes criticized the new music; those who accepted them embraced jazz. In the words of conductor Leopold Stowkowski, Jazz [had] come to stay because it [was] an expression of the times, of the breathless, energetic, superactive times in which we [were] living, it [was] useless to fight against it. Numerous other factors contributed to the growth of jazz as a popular music during the 1920s. The closing of the Storyville section of New Orleans in 1917 was a signal to many jazz greats to move north and west in search of new homes for their music. Ogren follows them to such places as Chicago, New York, and San Francisco, and, using the musicians' own words as often as possible, tells of their experiences in the clubs and cabarets. Prohibition, ushered in by the Volstead Act of 1919, sent people out in droves to gang-controlled speak-easies, many of which provided jazz entertainment. And the 1920s economic boom, which made music readily available through radio and the phonograph record, created an even larger audience for the new music. But Ogren maintains that jazz itself, through its syncopated beat, improvisation, and blue tonalities, spoke to millions. Based on print media, secondary sources, biographies and autobiographies, and making extensive use of oral histories, The Jazz Revolution offers provocative insights into both early jazz and American culture. |
| erika zantzinger: The American Vitruvius Werner Hegemann, Elbert Peets, 1922 |
| erika zantzinger: The Meaning of the Blues Paul Oliver, 1969 |
| erika zantzinger: Signifying Rappers David Foster Wallace, Mark Costello, 2013-07-23 David Foster Wallace and Mark Costello's exuberant exploration of rap music and culture. Living together in Cambridge in 1989, David Foster Wallace and longtime friend Mark Costello discovered that they shared an uncomfortable, somewhat furtive, and distinctively white enthusiasm for a certain music called rap/hip-hop. The book they wrote together, set against the legendary Boston music scene, mapped the bipolarities of rap and pop, rebellion and acceptance, glitz and gangsterdom. Signifying Rappers issued a fan's challenge to the giants of rock writing, Greil Marcus, Robert Palmer, and Lester Bangs: Could the new street beats of 1989 set us free, as rock had always promised? Back in print at last, Signifying Rappers is a rare record of a city and a summer by two great thinkers, writers, and friends. With a new foreword by Mark Costello on his experience writing with David Foster Wallace, this rerelease cannot be missed. |
| erika zantzinger: Training for the Public Profession of the Law Alfred Zantzinger Reed, 1921 |
| erika zantzinger: Nordic Folklore Reimund Kvideland, Henning K. Sehmsdorf, Elizabeth Simpson, 1989 . . . it presents some of the most important folklore studies to appear in [Nordic] countries in the past thirty years. —The Scandinavian-American Bulletin . . . will . . . be of interest to folklorists in general. The selected essays . . . deal with issues that any folklorist who wishes to be up-to-date must consider. . . . A valuable addition to folklore studies . . . —Choice Nordic folklore studies have made major theoretical contributions to international folklore scholarship. The articles in this collection not only reflect areas in which Nordic folklore studies have been particularly strong, but also demonstrate recent changes in theoretical paradigms and empirical application. |
| erika zantzinger: Engadin express & alpine post , 1932-12-09 |
| erika zantzinger: Music and Discourse Jean-Jacques Nattiez, 1990 Series statement on p. [4] of cover, paperback edition. |
| erika zantzinger: Italian Wind Bands Emma Scogna Rocco, 1990 |
| erika zantzinger: From Rice Paddies and Temple Yards Thuyết Phong Nguyễn, Patricia Shehan Campbell, 1990 Features an examination of the traditional music of Vietnam & its place in the society, presented in English. Includes history, cultural information, information about each piece, translations, pronunciation, numerous photos of the country & instruments, bibliography, index, & information for teachers on how to work with the pieces in the classroom. Designated Best Folk Recording of 1990. Folk Life Center Library of Congress. |
| erika zantzinger: Ballad Scholarship Winthrop Edson Richmond, 1989 |
| erika zantzinger: Everybody Says Freedom Pete Seeger, Robert Reiser, 2009-06-02 “Filled with beautiful music, glorious lyrics, and the soul of one of the most important historical and social revolutions of our history.” —Judy Collins In words, photographs, and music, Pete Seeger and Bob Reiser tell the story of the civil rights movement, building their narrative around the accounts of people involved and the songs that inspired their struggle. It documents the sit-ins, freedom rides, and marches that occurred along the long path to triumph in an uncertain age. This narrative scrapbook collects forty songs and includes profiles of activists and a chronological outline of the extraordinary events from 1955 to 1968. It is a story of courage and resilience on the part of ordinary people. From “This Little Light of Mine” to “We Shall Overcome,” the music of the time was both encouragement and catharsis for those who struggled against adversity in an effort to change the world. |
| erika zantzinger: Erika Geiger's weeks Erika Geiger, 1996 |
When and why did the song “Erika” become so associated ... - Reddit
Erika was very much a love child of the Nazi era and it is difficult to separate the two as the answer I linked mentions. There were however popular militaristic German songs from the …
Erika! Song made by Herms Niel : r/VirtualPiano - Reddit
Oct 20, 2022 · Erika In der Heimat wohnt ein blondes Mägdelein Und das heißt Erika Dieses Mädel ist mein treues Schätzelein Und mein Glück Erika Wenn das Heidekraut rot-lila blüht …
Is the German "Erika" song a Nazi song, or could it be ... - Reddit
Nov 2, 2017 · Erika was written at some point in the 1930s by Herms Niel, who became what essentially was a musical propagandist for the Nazi regime after the Nazi rise to power in …
Is it rude to like/play this song? : r/AskAGerman - Reddit
Bei Erika im speziellen kommt noch dazu, dass es einfach DAS Soldatenlied ist dass ein Großteil derer, der sich im entferntesten mit Militär auseinandergesetzt hat, kennt und auch DAS Lied …
Germans, What do you think of the song Erika? : r/germany - Reddit
Jun 7, 2022 · The song I heard the German Army/Air Force use was "I had a Komrad." And "Germany Over All" Never Erika. Even that was just at formal parades and other ceremonies. …
Do you still sing the song 'Erika' in the military? I'm just ... - Reddit
Feb 23, 2021 · When I served in the 80ies, we still sang some pretty questionable songs in the infantry. Some examples are „Königin der Waffen, deutsche Infanterie“ and especially this part …
What item do i give erika to cure her gloom? : …
Nov 14, 2021 · A subreddit to discuss everything about the amazing fire red hack named Radical Red from asking questions to showing your hall of fame and everything in between!
Erika - Herms Niel : r/VirtualPiano - Reddit
Jan 10, 2021 · Erika - Herms Niel . REQUEST Looking to play Erika on the virtual piano but cant seem to find any sheet ...
Weekly discussion- What are your thoughts about Erika? Do you
I think Erika did add a lot to the show, in terms of glam and fashion. She also handed us a gem in “Merce is in the purse.” I never looked at the housewives as beacons of style until Erika came …
Losing weight during menopause - the Erika Jayne story : …
213 votes, 200 comments. Erika Jayne, 52, DENIES using Ozempic for dramatic weight loss and instead credits MENOPAUSE (but fellow WWHL guest Jackie…
When and why did the song “Erika” become so associated ... - Reddit
Erika was very much a love child of the Nazi era and it is difficult to separate the two as the answer I linked mentions. There were however popular militaristic German songs from the …
Erika! Song made by Herms Niel : r/VirtualPiano - Reddit
Oct 20, 2022 · Erika In der Heimat wohnt ein blondes Mägdelein Und das heißt Erika Dieses Mädel ist mein treues Schätzelein Und mein Glück Erika Wenn das Heidekraut rot-lila blüht …
Is the German "Erika" song a Nazi song, or could it be ... - Reddit
Nov 2, 2017 · Erika was written at some point in the 1930s by Herms Niel, who became what essentially was a musical propagandist for the Nazi regime after the Nazi rise to power in …
Is it rude to like/play this song? : r/AskAGerman - Reddit
Bei Erika im speziellen kommt noch dazu, dass es einfach DAS Soldatenlied ist dass ein Großteil derer, der sich im entferntesten mit Militär auseinandergesetzt hat, kennt und auch DAS Lied …
Germans, What do you think of the song Erika? : r/germany - Reddit
Jun 7, 2022 · The song I heard the German Army/Air Force use was "I had a Komrad." And "Germany Over All" Never Erika. Even that was just at formal parades and other ceremonies. …
Do you still sing the song 'Erika' in the military? I'm just ... - Reddit
Feb 23, 2021 · When I served in the 80ies, we still sang some pretty questionable songs in the infantry. Some examples are „Königin der Waffen, deutsche Infanterie“ and especially this part …
What item do i give erika to cure her gloom? : …
Nov 14, 2021 · A subreddit to discuss everything about the amazing fire red hack named Radical Red from asking questions to showing your hall of fame and everything in between!
Erika - Herms Niel : r/VirtualPiano - Reddit
Jan 10, 2021 · Erika - Herms Niel . REQUEST Looking to play Erika on the virtual piano but cant seem to find any sheet ...
Weekly discussion- What are your thoughts about Erika? Do you
I think Erika did add a lot to the show, in terms of glam and fashion. She also handed us a gem in “Merce is in the purse.” I never looked at the housewives as beacons of style until Erika came …
Losing weight during menopause - the Erika Jayne story : …
213 votes, 200 comments. Erika Jayne, 52, DENIES using Ozempic for dramatic weight loss and instead credits MENOPAUSE (but fellow WWHL guest Jackie…
