“Let the Children Come”
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The Story of Johnstown
m HBBH ^H HT I m Mmm tflSJS *m»xff>. Class "Fl_sig_ -<3~7 Rook N^l v>. Copyright N° COPffilGHT DEPOSfT. The Story of Johnstown. ; "/ could a tale unfold, whose lightest word Would harrow up thy soul; freeze thy young bicod Make thy two eyes, like stars, start from their spheres. ' —Shakespeare. K<V*>> The Story of Johnstown ITS EARLY SETTLEMENT, RISE AND PROGRESS, INDUSTRIAL GROWTH, AND APPALLING FLOOD ON MAY 3 1ST, 11 By J. J. McLAURIN Editor Harrisburg Telegram Prefatory Note by REV. JOHN R. PAXTON, D. D., of New York Illustrated by Baron de Grimm, George Spiel, Coultaus, A. Heuche, Victor Perard, G. E. Burr and August Bruno, from Original Designs, Sketches and Photographs harrisburg, pa. James M. Place, Publisher 1890 Copyrighted, JAMES M. PLACE, 1889. INTRODUCTION A book on such a subject, written to give a plain statement of facts and do something for a good cause, could have no intro- duction better than this letter from one of the eminent divines of the age : 57 West Forty-Sixth Street, New York, Nov. 4, 18S9. Esq., Harrisburg, Pa. J. J. McLaurin, My Dear Sir ; I see by Governor Beaver's letter to the publisher that you propose to write a book on the Johnstown Flood. It should be done at once, while the scenes and incidents of those dreadful days are fresh and unfaded in our minds. Let the story of the awful calamity be put into enduring type for future gene- rations. It ranks among the great calamities of the world and deserves a place in History. -
Dan Dechellis Trio
ada–music.com @ada_music NEW RELEASE GUIDE February 19 February 26 ORDERS DUE JANUARY 15 ORDERS DUE JANUARY 22 2021 ISSUE 5 February 19 ORDERS DUE JANUARY 15 OVERVIEW: NECTAR TRACKLIST: Japan-born singer and producer Joji is a multi-talented visionary, with a cult following from every corner of the inter- net. Joji is one of the most enthralling artists of the digital age. He has a total vision for his work, not just in the writ- 1. Ew ing and producing of his music, but artwork, videos, merch, and live performances as well. It’s a fully realized world 2. MODUS that his fans can inhabit and explore—and see themselves in. “My music is not biographical,” he says, but even still, 3. Tick Tock the deep, heavily shaded emotions in his songs are genuine and they speak to anyone who has ever felt stuck on 4. Daylight (w/ Diplo) the outside looking in, who knows what it means to not belong. In 2019, Joji sold-out his North America tour within 5. Upgrade minutes and performed at some of the most coveted festivals across the world, including Reading & Leeds in the UK 6. Gimme Love and Lollapalooza. As Joji surpasses 5 billion global streams, 2020 promises to be his biggest year to date. 7. Run 8. Sanctuary Joji’s sophomore studio album, Nectar, arrives September 25. With a star-studded cast of features across the 9. High Hopes (feat. Omar Apollo) 18- track album, Nectar is Joji’s most ambitious project to date. From the first 4 singles alon , Nectar has already 10. -
A Fictocritical Poetics of Detection
THE P(LOVER) PARADOX A Fictocritical Poetics of Detection Rosslyn Winifred Prosser Thesis submitted for the degree of Doctor of Philosophy in the Discipline of Gender, Work and Social lnquiry University of Adelaide, Australia December 2005 AN EXEGETTCRI. AIPTTRBET... .............'..,2 Antip o de an Art efoc t s ... ....'....''..,...2 10 B is for BEING Clues and detours........ 15 Detective... 23 Echo kiss is a poem..... 25 Fragment......... 27 Fictocriticism .. 30 For grief .......... 33 Hybrid 34 Incest 36 J ourney s, j oke s, j ournals...' 39 40 Innd is memory..... 41 Memory 44 Nomadology 46 48 O is for the ordinary and the mundane 49 P is for photographic mernory'... P(Iover) ..... 50 52 Queensland...... Recollection 58 9tory......... 60 62 T is for text ............... Uncertainty 63 Visible traces, suggested invisibility and woven writing 64 x/Yz^................ 66 iii IT STRRTBO WITH AN ANECDOTE ........67 Memorial Drive ........ ..,,.,,.7] Guilt Shame Fear..... ........76 Clue # 1 ................... ........81 On innocence............ 84 The Slq ..........88 Mud Map ..........90 Anecdotal Evidence.. ..........94 Sub-textual P\ot........ ..........98 Here lies: 99 The WaIk... 105 Story is to memory as memory is to story 108 Poeus oF MEMoRY AND UucpRrenrY.................... 110 Detective Fiction... Horizon Madness .. CIue # 2 Lesbian Detective Biographical Details'....'.. Unspoken Knowledge Inve FiIe. Sleepwalking ............... .......130 Manifu sto of Love ........ .......132 CIue # 3 ....................... .......136 CIue # 4 .......141 Clue # 5 Resolution........ .......144 Her house: the place of constructing identity .......150 Song of the Shirt........ 153 Cqnoe Tree.......... .....154 Memory cannot be cloned.. ..... 155 If there is an echo in me......... .....1s6 Skin Types. ..... 158 Embroidery .............. 160 The archetype is møde up ............. -
CARS in BLOOM by Giles He Town of Lone Pine Four Cemeteries
the PHOTO COURTESY OF FRANK FRIEVALT Debbie Frievalt with her father, Jerry Finley, at a 4th of July picnic, News,sheet Views & Culture of the Eastern Sierra showing off her famous “Strawberry Pop Cake.” See Frievalt’s obituary, p. 4. Saturday, May 6, 2017 FREE Vol. 15, No. 18 A GRAVE AFFAIR Dying to know more about Lone Pine’s cemeteries? CARS IN BLOOM By Giles he Town of Lone Pine four cemeteries. It’s more is a small place. When laborious than collecting TMount Whitney Cem- census data about the exist- etery District Director Linda ing population—there’s more Haun moved there from information to catalogue. Orange County in the early Haun is a published author 2000s, a neighbor offered a of five novels of historical few pithy words of advice: non-fiction, all based in the “Don’t even kick a dog,” it Eastern Sierra. She is also a could belong to someone you photographer, and used to know. travel to the Owens Valley According to the 2015 cen- for work before relocating to sus, Lone Pine has a popula- Lone Pine. She became fasci- tion of 1,923 people. Since nated with the local cemeter- being hired as the Manager of ies while doing research for the Mount Whitney Cemetery her first book, “Dear Carrie: District ten years ago, Haun Letters from the Eastern has partnered with staff, lo- Sierra 1878-1899.” cal businesses, visitors and “Back in about 2003, I historians to catalogue and was using names of people computerize information in the Pioneer Cemetery in about the more than 2,000 PHOTO:SEARLES people interred in Lone Pine’s see GRAVE, page 12 As the snow melts, cars are in bloom all around Mammoth. -
Szabo Cleveland, Ohio
Ambient Music as Popular Genre: Historiography, Interpretation, Critique Victor Louis Franco Szabo Cleveland, Ohio B.Mus., Music Theory, University of Michigan, 2007 B.A., Philosophy, University of Michigan, 2007 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Music University of Virginia May, 2015 © Copyright by Victor Louis Franco Szabo All Rights Reserved May 2015 iii ABSTRACT In September 1978, Brian Eno coined the term “Ambient music” to describe a type of audio recording designed to create atmosphere. Ambient music, he proposed, should foster calm while registering doubt, and accommodate various different levels of listening attention. Since Eno’s proposal, Ambient music has become a genre of drone- and loop-based electronic music within the popular music market. This dissertation examines several key recordings in the formation of the Ambient genre of popular music, with focus on releases from the U.S. and England between the late 1960s and early 1990s. Through music analyses of these recordings, as well as media analyses of their promotional rhetoric, this dissertation traces the sonic tropes and social practices discursively organized by the “Ambient” label. It describes how Ambient music serves users as a means of relaxing, regulating mood, and fostering an atmosphere or sense of place. Unlike most extant accounts of the genre, it also explores how Ambient recordings reflect aesthetically upon their instrumentality through musical techniques, metaphors, and moods. A survey of approximately one-hundred Ambient listeners rounds out the study, illuminating from a diachronic perspective how reception practices relate to the production and interpretation of Ambient recordings.