's keel was laid on February 25th, 1942. With the tug's Atlas Imperial engines where engine set on March 27th 1942. The tug was launched on March 18th, 1942 and delivered on April 29th 1942.
In 1950, the tug was acquired by the Tucker Towing Company of Philadelphia, Pennsylvania. Where she was renamed as the Joseph P. Tucker.
In 1960, the Oliver Transportation Company became Express Marine Incorporated of Camden, New Jersey. Where the tug retained her name.
In 1994, the tug was acquired by the Norfolk Shipbuilding and Drydock Company of Norfolk, Virginia. where the tug was renamed as the John L. Roper II.
In 2000, she was acquired by Robbins Maritime Incorporated of Norfolk, Virginia. Where the tug was renamed as the Bay Hawk. And the tug's wheelhouse was cut down.
In 2010, the tug was later acquired by Commonwealth Marine Towing Company of Nofolk, Virginia. Where she was renamed as the Hawk.
In 2012, she was acquired by Blaha Towing Company of Suffolk, Virginia. Where the tug was renamed as the Hill Carter.
Re powered in 1972, with a new engine and a steerable kort nozzle. She is a single screw tug, rated at 400 horsepower.The new National Forum of Music (NFM) in Wroclaw, which houses an 1800-seat concert auditorium and three smaller chamber halls (ranging from 250-450 seats), will become home to all Wrocław's major orchestral and vocal ensembles and festivals. In addition to staging jazz and pop concerts, it will also double as a movie theatre.
Optocore founder Marc Brunke has been nominated to give a keynote address at the 139th AES Convention this month, as part of the Live Sound Expo.
Summary/Abstract: Ataraxia is an important subject of philosophical reflection. This term has rather a deep knowledge of harmonious spirit of being rooted in everyday life. However, the state of scientific discourse does not give us sufficient reason to believe that the definition of the problem and its requirements in terms of philosophical reflection has entered the final decision. Exploring the meaning of ataraxia, we found that for the definition of ataraxic state purely aesthetic categories such as "harmony", "measure" and "eurhythmy" can be used. To moral and aesthetic ideals of the ancient polis the ideal of rational comparison and proportionality is inherent as the most significant element. In this regard, the main provisions of Protagoras – "Man is the measure of all things" – gets an aesthetic sense. The category of degree plays an important role in the study of moral virtues. Moderation is one of the cardinal virtues of antiquity. Ethics as a doctrine of virtue is essentially a doctrine of moderation, avoiding the extremes of redundancy and failure, and is expressed in the following terms: symmetry, moderation, middle, ethos, equality, justice and so on. The peripatetics express the category of measure in the doctrine of metriopaty (moderation of passion), and Epicureanism, Stoicism and skepticism in the doctrine of ataraxia. Thus, the extent understood as structural formation and hierarchical ordering is characteristics not only of ethical and political life. Ataraxia as a state of peace of mind, which is understood as a measure of the power of mind is a state of mind feelings of subordination, supports life building of all space, so ataraxia is the keeper of order and proportionality, the cause of beauty and the very concept of beautiful. Rhythm is the most important formative characteristic of spatial and temporal unity and, therefore, one of the foundations of the universe, worldview and creativity. Fundamentality of this category is that rhythm is an aesthetic category of ontological unity of the world and man, the macrocosm and the microcosm. The mechanism of interaction between rhythm and the universe is revealed in the way the tree branches move in the rhythm of the wind, the noise of the sea, murmur of the breeze, whistling of the wind in the rocks, between the hills and mountains, flashes of lightning and crashes of thunder, the harmony of the sun and moon, in the motion of stars and planets, flowering plants, defoliation, in regular changes of mornings and evenings, day and night – all this opens the music of nature up for the one who contemplates. Eurythmy is the human capacity to find the right rhythm in every aspect of life – singing, playing, dancing, speech, gestures, thoughts, birth and death. The doctrine of the powerful and miraculous influence of music on mood is inherent throughout antiquity. For the first time the exact wording of the content of musical ethos we find in the works of the Athenian Damon. He believed that the different rhythms and melodies have different effects on the human soul. Knowledge of music content inherent to ethos led him to the idea of a musical virtue, Paideia. We can consciously form personality through music. The criterion of aesthetic evaluation by Damon’s school is the attitude to the social-democratic morality of the polis. Musical compositions, musical form and tools are considered full-fledged that require Paideia, in which the individual rises to the level of community perceptions. Thus, the individual feels and understands the world as its own internal unity of the polis and its content community connectedness. For Aristoxenus, an ancient Greek philosopher and theorist of music, eurythmy is important as means of public moral education, which he understands as education of courageous, noble and simple character. And, as is typical for the whole of antiquity, human moral ideal he interprets not as arbitrary setting, but as a reflection of cosmic beauty and cosmic order in the human society. Music is capable of moral influence because it imbued with this beauty and this order. M. Rice notes that Aristoxenus denied reliance on abstract mathematical patterns that are perceived only speculatively. The basis of his views is primarily sensory perception. Harmony for him is not the state of the world, but first of all human condition. So ataraxia 1) as a measure is understood as structural formation and hierarchical ordering, and is characteristic of the ethical and political life, and the life building of the whole cosmos, so ataraxia in understanding of the measure, which is in the soul, lets us act justly, and it maintains order and proportionality, reveals the beauty and the beautiful; 2) as eurythmy provides ability of the individual to find the right rhythm in every aspect of life and harmonically to log into the rhythm of polis harmony, and then connect to the cosmic rhythm of the whole world; 3) as the harmony is focused on understanding the universe, both in general and its fragments, and a man from the standpoint of their deep inner order.
Endowed with the kind of liquid phrasing and sheer wisdom that comes from depth of experience on the jazz performance campaign trail, Vanessa Rubin is an ever-evolving classic singer. The development of a true jazz singer is a long-range prospect, laden with learning experiences that forge the voice into a true instrument, rich with passion, deeply invested in living through life’s joys and perils; such is the journey of Vanessa Rubin, jazz singer extraordinaire. Capable of employing the gamut of emotions, the mature Ms. Rubin can range from whisper to shout in the blink of an eye; from honey-laden ballads purring like a kitten, to up tempo swinging and scatting like a fluent saxophone, she delivers the goods.
One of the surest tests of a jazz singer is her acceptance by skilled players; the relationship between instrumentalist and vocalist is so often fraught with distrust. Vanessa Rubin has never experienced such travails. From the time she joined the New York jazz community in the early 80s, under the guidance of such grandmasters as Barry Harris and Frank Foster, Rubin’s acceptance has been universal. Instrumentalists have always been impressed by her way around a song, her willingness to flow with their muse, and her innate ability to swing that music.
The list of great musicians who have graced her recordings and bandstands is quite impressive: Monty Alexander, Cecil Bridgewater, Kenny Burrell, Frank Foster, Billy Higgins, Etta Jones, Lewis Nash, Houston Person, Patience Higgins, Don Braden, Toots Thielemans, Steve Turre, Cedar Walton, Grover Washington, Jr., and James Williams are just a few of the masters who’ve lent their skills to support Ms. Rubin’s artistry. More recently she has completed auspicious global tours with Herbie Hancock, the Woody Herman Orchestra, and the Jazz Crusaders.<filename>application/views/pedidorepartidor_table.php
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