DOCSLIB.ORG

Two Kinds of Trouble

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2011 Two Kinds Of Trouble Rebecca Minnich CUNY City College of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/507 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Two Kinds Of Trouble A Novel by Rebecca Minnich March 16th, 2011 Submitted in partial fulfillment of the requirement of the requirements for a degree of Master of Fine Arts of the City College of New York 1 Table of Contents Two Kinds Of Trouble……………………………………………………….1-419 2 August, 10, 1977 – Madison, Wisconsin Chapter One “Does he have to move out? Can’t you make up? Are you sure? Did you try?” These are the questions Patty asked her mother. “Sweetie, yes. And I don’t expect you to understand. It’s just the way it has to be,” said Gloria. Her voice was cracking, her glasses fogging behind the wet dish towel in her hand, wrapped around red knuckles, rubbing a plate dry. “It’s all our fault,” said Patty’s brother, David, who was leaning over the back of a chair with his head in his hands like he was on a soap opera. “If we hadn’t been such rotten kids, this wouldn’t have happened.” Patty looked at David to see if he was serious. God, he was. She had heard about this. Children blaming themselves for their parents’ divorce. She had seen it on an ABC After-School Special. She had heard it was “normal” and a “common reaction.” “No, it isn’t our fault, David,” she said. “They weren’t fighting about us.” The eyes of their dog, Jinx looked up at Patty from under the dinner table. Could he tell what was going on? Was that why his eyes looked so sad? Or did he just want the last scraps of meat loaf on her plate? Without even knowing she was doing it, Patty found herself dipping her napkin in her water glass and wiping the smears off the vinyl placemat in front of her. 3 “Clean something. That’s what I do, too.” She looked up at Dad, who had said it. His eyes were blinking hard. She knew what he meant. He meant That’s what I do, too, when something is just so totally awful that there’s nothing to do. She wanted to disappear, to sink into a hole, to become a cat or a dog – too stupid to understand what was going on. And now, just to make everything extra horrible, her brother had become an After School Special kid. And he was the older one -- he was about to turn fourteen next month. Shouldn’t it be the other way around? Shouldn’t he be the one telling her about life? **** Two weeks later, their dad moved into a “fully furnished” apartment near James Madison park. The carpeting in the hallway had mysterious spill stains the size of trash can lids. The apartment doors were painted pumpkin orange and had smeared peepholes that you couldn’t see through. The living room set was two dingy yellow-and-green chairs with foam rubber poking out of the cushions and a couch where you could feel the plywood through the arm when you sat on it. David and Patty had to bring their sleeping bags when they spent the night there. Dad said it was just for a little while. “Why don’t you make yourself at home, kids? I’ll order a pizza.” Dad tripped over the phone cord that was stretched across the living room floor. Back at their house they had four phones. He only had one. Dad punched in the number, reading it off a menu stuck to the fridge with a magnet. David watched him sideways. The kitchen was practically empty; just a couple of plates and glasses, and hardly any food. Dad’s whiskers were sticking out all over like he’d forgotten to shave and he kept wrapping the phone cord around his thumb, something he never normally did. When he got off the 4 phone his eyes kept darting back and forth to Patty, to the walls, the floor, to David once, but David wasn’t looking at him anymore. He was pulling little chips of foam rubber out of the hole in the couch arm. “Well, there’s the TV,” Dad said, and kind of waved at it behind him. Patty figured this was her cue to go turn it on, so she did. **** He used to slip little comic strips under her door late at night. Bunny’s Revenge! one comic was called. A cute little bunny with a fluffy cotton tail in the first panel; in the next, it grew giant fangs and claws. The bunny was coming for their cat, Mimi, who loved to devour the tiny baby rabbits that appeared in the back yard every spring. It ended with Mimi treed on the roof of the house crying for mercy while the bunnies bore fierce teeth and threw bunny poop at her from below. The comics were goofy and fabulous, full of cartoon animals and half-dirty words. David never got comics under his door. Dad only made them for Patty. Patty never showed them to anybody. She never saw him making them. She always found them in the morning, so she figured he must have drawn them in his study at night, when he was supposed to be writing, when nobody was allowed to knock or interrupt him for any reason. She wanted to ask him what would happen to the comics now. Who would slide pictures under her door at night, now? Nobody, probably. Mom didn’t understand comics. She didn’t even read them in the Sunday paper. Not even Peanuts. She wanted to ask Dad what she should do with the comics he’d made for her. Save them forever, 5 because she’d probably never get another one? But that seemed the wrong thing to ask, and she didn’t know how to ask it anyway. More and more things were becoming things not to talk about. Dad’s visits were every Saturday at 1:00. He usually took David and Patty out to Pizza Hut or to the Plaza Bar and Grill where they would eat cheeseburgers and fries, and Dad would teach them how to play pool. Patty got pretty good at the bank shot after a while. It was weird, in a way, spending all that time with him. He hung a few pictures on the walls of the apartment and that made it better. But it still had a kind of sad smell – like somebody else’s stale cooking. “So, when do you guys start school?” Dad asked one Saturday night, not to either one of them in particular. He was unwrapping some Jell-o cups for dessert. Patty was peeling off the bits of hardened cheese from the inside lid of the pizza box on the counter. “Right after my birthday. Last week of August. Don’t you even know?” asked David. He was trying to get the loose knob back on the stove, the one that kept falling off. Dad looked at him, but David didn’t look back. The knob needed all of his attention. “Mine is a day later. ‘cause it’s a different school,” said Patty. “I know it’s a different school, honey,” said Dad. He handed her a green Jell-o and his eyes looked sad and a little red around the edges. “Seventh grade already, wow.” “Yeah, wow,” said David, who’d already done seventh grade so obviously it was no big deal to him. “Well,” said Dad, handing David an orange Jell-o and wiping his wet hands on the tail of his shirt, “New schools for both of you. Should be an adventure!” 6 “Yep. I guess,” said Patty. They both dug into their Jell-o. David didn’t say anything. From the other room, Walter Cronkite’s voice was going on about people dying in Bangladesh. David walked out, eating his Jell-o. “Where are you going?” asked Dad. “Watch the news. I gotta be informed, you know.” When Patty looked up, Dad was rubbing his eyes in circles with his fingers. “Dad? Is it okay if I--” “Sure, go ahead,” he sighed. **** Mom said there was another woman. She said the other woman was someone who’d been over to their house a few times. A friend, even, who Mom was now calling “that backstabbing bitch.” Dad didn’t mention anything about her, and Patty figured that that was one of the things on the big, growing list of things not to talk about. It wasn’t a real list, of course. Just a big empty space growing between all of them, a blank, like an erased blackboard. “They were messing around for months, you know? Did you know that?” Gloria was taking the spices out of the spice rack, opening their greasy caps and sniffing them one by one, tossing out ones the didn’t measure up for some reason. She had sent David upstairs to take a shower. That meant she could tell Patty everything she was really thinking. Patty concentrated on being a good listener. That was one of her goals. She wanted her friends to say about her that she was a Good Listener.
Recommended publications
  • RHYTHM & BLUES...63 Order Terms

    RHYTHM & BLUES...63 Order Terms

    5 COUNTRY .......................6 BEAT, 60s/70s ..................71 AMERICANA/ROOTS/ALT. .............22 SURF .............................83 OUTLAWS/SINGER-SONGWRITER .......23 REVIVAL/NEO ROCKABILLY ............85 WESTERN..........................27 PSYCHOBILLY ......................89 WESTERN SWING....................30 BRITISH R&R ........................90 TRUCKS & TRAINS ...................30 SKIFFLE ...........................94 C&W SOUNDTRACKS.................31 AUSTRALIAN R&R ....................95 C&W SPECIAL COLLECTIONS...........31 INSTRUMENTAL R&R/BEAT .............96 COUNTRY AUSTRALIA/NEW ZEALAND....31 COUNTRY DEUTSCHLAND/EUROPE......32 POP.............................103 COUNTRY CHRISTMAS................33 POP INSTRUMENTAL .................136 BLUEGRASS ........................33 LATIN ............................148 NEWGRASS ........................35 JAZZ .............................150 INSTRUMENTAL .....................36 SOUNDTRACKS .....................157 OLDTIME ..........................37 EISENBAHNROMANTIK ...............161 HAWAII ...........................38 CAJUN/ZYDECO ....................39 DEUTSCHE OLDIES ..............162 TEX-MEX ..........................39 KLEINKUNST / KABARETT ..............167 FOLK .............................39 Deutschland - Special Interest ..........167 WORLD ...........................41 BOOKS .........................168 ROCK & ROLL ...................43 BOOKS ...........................168 REGIONAL R&R .....................56 DISCOGRAPHIES ....................174 LABEL R&R
  • Introduction to 2D-Animation Working Practice

    Introduction to 2D-Animation Working Practice

    Prelims-K52054.qxd 2/6/07 5:18 PM Page i Character Animation: 2D Skills for Better 3D This page intentionally left blank Prelims-K52054.qxd 2/6/07 5:18 PM Page iii Character Animation: 2D Skills for Better 3D Second edition Steve Roberts AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD PARIS • SAN DIEGO • SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Prelims-K52054.qxd 2/6/07 5:18 PM Page iv This eBook does not include ancillary media that was packaged with the printed version of the book. Focal Press is an imprint of Elsevier Linacre House, Jordan Hill, Oxford OX2 8DP, UK 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA First published 2004 Second edition 2007 Copyright © 2007, Steve Roberts. Published by Elsevier Ltd. All rights reserved The right of Steve Roberts to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise without the prior written permission of the publisher Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone (ϩ44) (0) 1865 843830; fax (ϩ44) (0) 1865 853333; e-mail: [email protected]. Alternatively you can submit your request online by visiting the Elsevier web site at http://elsevier.com/locate/permissions, and selecting Obtaining permission to use Elsevier material Notice No responsibility is assumed by the publisher for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions or idead contained in the material herein.
  • Maria Sofia Pimentel Biscaia Leituras Dialógicas Do Grotesco: Dialogical

    Maria Sofia Pimentel Biscaia Leituras Dialógicas Do Grotesco: Dialogical

    Universidade de Aveiro Departamento de Línguas e Culturas 2005 Maria Sofia Pimentel Leituras Dialógicas do Grotesco: Biscaia Textos Contemporâneos do Excesso Dialogical Readings of the Grotesque: Texts of Contemporary Excess Universidade de Aveiro Departamento de Línguas e Culturas 2005 Maria Sofia Pimentel Leituras Dialógicas do Grotesco: Biscaia Textos Contemporâneos do Excesso Dialogical Readings of the Grotesque: Texts of Contemporary Excess Dissertação apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Literatura, realizada sob a orientação científica do Doutor Kenneth David Callahan, Professor Associado do Departamento de Línguas e Culturas da Universidade de Aveiro e da Doutora Maria Aline Salgueiro Seabra Ferreira, Professora Associada do Departamento de Línguas e Culturas da Universidade de Aveiro o júri Presidente Prof. Doutor José Carlos da Silva Neves Professor Catedrático da Universidade de Aveiro Prof. Doutor Mário Carlos Fernandes Avelar Professor Associado com Agregação da Universidade Aberta Profª. Doutora Ana Gabriela Vilela Pereira de Macedo Professora Associada da Universidade do Minho Prof. Doutor Anthony David Barker Professor Associado da Universidade de Aveiro Profª. Doutora Maria Aline Salgueiro Seabra Ferreira Professora Associada da Universidade de Aveiro Prof. Doutor Kenneth David Callahan Professor Associado da Universidade de Aveiro Profª. Doutora Adriana Alves de Paula Martins Professora Auxiliar da Universidade Católica Portuguesa - Viseu Agradecimentos A elaboração desta dissertação foi possível graças ao apoio financeiro da FCT e do FSE, no âmbito do III Quadro Comunitário. As condições de acolhimento proporcionadas pelo Departamento de Línguas e Culturas e pelo Centro de Línguas e Culturas foram essenciais para o cumprimento atempado do projecto.
  • Columbia Poetry Review Publications

    Columbia Poetry Review Publications

    Columbia College Chicago Digital Commons @ Columbia College Chicago Columbia Poetry Review Publications Spring 4-1-2014 Columbia Poetry Review Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cpr Part of the Poetry Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Columbia College Chicago, "Columbia Poetry Review" (2014). Columbia Poetry Review. 27. https://digitalcommons.colum.edu/cpr/27 This Book is brought to you for free and open access by the Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Columbia Poetry Review by an authorized administrator of Digital Commons @ Columbia College Chicago. For more information, please contact [email protected]. review• columbiapoetryreview no. 27 Columbia Poetry Review is published in the spring of each year by the Department of Creative Writing, Columbia College Chicago, 600 South Michigan Avenue, Chicago, Illinois, 60605. SUBMISSIONS Our reading period extends from July 1 to November 1. Please submit up to 5 pages of poetry (one poem per page) during our reading period via Submittable: http://columbiapoetry. submittable.com/submit. The cost of the submission through Submittable is $3.00. PURCHASE INFORMATION Single copies are available for $10.00, $13.00 outside the U.S. but within North America, and $16.00 outside North America. Please send personal checks or money orders made out to Columbia Poetry Review to the above address. You may also purchase online at http://english.colum.edu/cpr. WEBSITE INFORMATION Columbia Poetry Review’s website is at http://english.colum.edu/cpr.
  • Download (5Mb)

    Download (5Mb)

    University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/58049 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Processes of ‘positive multiculturalism’ in practice: an extended case study with Warwick Arts Centre (WAC) Research undertaken as part of Arts and Humanities Research Council’s (AHRC) Collaborative Doctorate Award (CDA) By Rachel King PhD Thesis University of Warwick School of Theatre, Performance and Cultural Policy Studies May 2013 i Table of Contents List of Figures iii Acknowledgements iv Abstract v Chapter 1 Introduction 1 Overall Methodological Framework 27 Conceptual Framework 49 Locating WAC 102 Chapter 2 Case Study A: Creating spaces for collaboration 129 between WAC users Chapter 3 Case Study B: Making connections across 203 Coventry Chapter 4 Case Study C: Devising a performance for 232 WAC’s new Creative Space Conclusion 327 Bibliography 369 Appendix 1 387 Appendix 2 388 Appendix 3 389 Appendix 4 392 Appendix 5 393 Appendix 6 394 Appendix 7 396 Appendix 8 397 ii List of Figures Figure 1: Photograph of Warwick Arts Centre's foyer space. Copyright of WAC, date unknown. ......... 1 Figure 2: Key conceptual framework of overall case study. ................................................................. 18 Figure 3: Extract from Reflective Journal: annotation of original title. ................................................ 20 Figure 4: Final image in Shaun Tan's The Arrival (2007).
  • “PRESENCE” of JAPAN in KOREA's POPULAR MUSIC CULTURE by Eun-Young Ju

    “PRESENCE” of JAPAN in KOREA's POPULAR MUSIC CULTURE by Eun-Young Ju

    TRANSNATIONAL CULTURAL TRAFFIC IN NORTHEAST ASIA: THE “PRESENCE” OF JAPAN IN KOREA’S POPULAR MUSIC CULTURE by Eun-Young Jung M.A. in Ethnomusicology, Arizona State University, 2001 Submitted to the Graduate Faculty of School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2007 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Eun-Young Jung It was defended on April 30, 2007 and approved by Richard Smethurst, Professor, Department of History Mathew Rosenblum, Professor, Department of Music Andrew Weintraub, Associate Professor, Department of Music Dissertation Advisor: Bell Yung, Professor, Department of Music ii Copyright © by Eun-Young Jung 2007 iii TRANSNATIONAL CULTURAL TRAFFIC IN NORTHEAST ASIA: THE “PRESENCE” OF JAPAN IN KOREA’S POPULAR MUSIC CULTURE Eun-Young Jung, PhD University of Pittsburgh, 2007 Korea’s nationalistic antagonism towards Japan and “things Japanese” has mostly been a response to the colonial annexation by Japan (1910-1945). Despite their close economic relationship since 1965, their conflicting historic and political relationships and deep-seated prejudice against each other have continued. The Korean government’s official ban on the direct import of Japanese cultural products existed until 1997, but various kinds of Japanese cultural products, including popular music, found their way into Korea through various legal and illegal routes and influenced contemporary Korean popular culture. Since 1998, under Korea’s Open- Door Policy, legally available Japanese popular cultural products became widely consumed, especially among young Koreans fascinated by Japan’s quintessentially postmodern popular culture, despite lingering resentments towards Japan.
  • Reel-To-Real: Intimate Audio Epistolarity During the Vietnam War Dissertation Presented in Partial Fulfillment of the Requireme

    Reel-To-Real: Intimate Audio Epistolarity During the Vietnam War Dissertation Presented in Partial Fulfillment of the Requireme

    Reel-to-Real: Intimate Audio Epistolarity During the Vietnam War Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Alan Campbell, B.A. Graduate Program in Music The Ohio State University 2019 Dissertation Committee Ryan T. Skinner, Advisor Danielle Fosler-Lussier Barry Shank 1 Copyrighted by Matthew Alan Campbell 2019 2 Abstract For members of the United States Armed Forces, communicating with one’s loved ones has taken many forms, employing every available medium from the telegraph to Twitter. My project examines one particular mode of exchange—“audio letters”—during one of the US military’s most trying and traumatic periods, the Vietnam War. By making possible the transmission of the embodied voice, experiential soundscapes, and personalized popular culture to zones generally restricted to purely written or typed correspondence, these recordings enabled forms of romantic, platonic, and familial intimacy beyond that of the written word. More specifically, I will examine the impact of war and its sustained separations on the creative and improvisational use of prosthetic culture, technologies that allow human beings to extend and manipulate aspects of their person beyond their own bodies. Reel-to-reel was part of a constellation of amateur recording technologies, including Super 8mm film, Polaroid photography, and the Kodak slide carousel, which, for the first time, allowed average Americans the ability to capture, reify, and share their life experiences in multiple modalities, resulting in the construction of a set of media-inflected subjectivities (at home) and intimate intersubjectivities developed across spatiotemporal divides.
  • Fine Art, Antiques, Jewellery, Gold & Silver, Porcelain and Quality

    Fine Art, Antiques, Jewellery, Gold & Silver, Porcelain and Quality

    Fine Art, Antiques, Jewellery, Gold & Silver, Porcelain and Quality Collectables Day 1 Thursday 12 April 2012 10:00 Gerrards Auctioneers & Valuers St Georges Road St Annes on Sea Lancashire FY8 2AE Gerrards Auctioneers & Valuers (Fine Art, Antiques, Jewellery, Gold & Silver, Porcelain and Quality Collectables Day 1 ) Catalogue - Downloaded from UKAuctioneers.com Lot: 1 Lot: 14 A Russian Silver And Cloisonne 9ct Gold Diamond & Iolite Cluster Enamel Salt. Unusual angled Ring, Fully Hallmarked, Ring Size shape. Finely enamelled in two T. tone blue, green red & white and Estimate: £80.00 - £90.00 with silver gilt interior. Moscow 84 Kokoshnik mark. (1908-1917). Maker probably Henrik Blootenkleper. Also French import mark. Estimate: £100.00 - £150.00 Lot: 15 9ct White Gold Diamond Tennis Lot: 2D Bracelet, Set With Three Rows A Russian 14ct Gold Eastern Of Round Cut Diamonds, Fully Shaped Pendant Cross. 56 mark Hallmarked. & Assay Master RK (in cyrillic). Estimate: £350.00 - £400.00 Maker P.B. Circa 1900. 2" in length. 4 grams. Estimate: £80.00 - £120.00 Lot: 16 9ct Gold Opal And Diamond Stud Lot: 8D Earrings. Pear Shaped Opal With Three Elegant Venetian Glass Diamond Chips. Vases Overlaid In Silver With Estimate: £35.00 - £45.00 Scenes Of Gondolas And Floral Designs. Two in taupe colour and a larger one in green. Estimate: £30.00 - £40.00 Lot: 17 Simulated Pearl Necklace, White Lot: 10 Metal Clasp. Platinum Diamond Stud Earrings, Estimate: £25.00 - £30.00 Cushion Shaped Mounts Set With Princess Cut Diamonds, Fully Hallmarked, As New Condition. Estimate: £350.00 - £400.00 Lot: 18 9ct Gold Sapphire Ring, The Lot: 12 Central Oval Sapphire Between Large 18ct Gold Diamond Cross, Diamond Set Shoulders, Ring Mounted With 41 Round Modern Size M, Unmarked Tests 9ct.
  • Two Day Fine Arts, Antiques, Jewellery, Silver, and Quality Collectables Sale - Day One Thursday 09 February 2012 10:00

    Two Day Fine Arts, Antiques, Jewellery, Silver, and Quality Collectables Sale - Day One Thursday 09 February 2012 10:00

    Two Day Fine Arts, Antiques, Jewellery, Silver, and Quality Collectables Sale - Day One Thursday 09 February 2012 10:00 Gerrards Auctioneers & Valuers St Georges Road St Annes on Sea Lancashire FY8 2AE Gerrards Auctioneers & Valuers (Two Day Fine Arts, Antiques, Jewellery, Silver, and Quality Collectables Sale - Day One) Catalogue - Downloaded from UKAuctioneers.com Lot: 1 Lot: 9 A Quality Japanese Cloisonne 18ct Gold Single Stone Diamond Enamel on White Metal Serving Ring, Illusion Set Round Cut Dish, white metal tests silver, Diamond, Stamped 18ct, Ring square shape with gently sloping Size M. inward sides, nicely enamelled in Estimate: £200.00 - £250.00 pink and green with a flowering Chrysanthemum on a white background, the reverse enamelled in black, makers label to the reverse for the 'Ando Cloisonne Co. of Tokyo, measuring 7 inches square. Lot: 9D An Oriental Green Jade and Estimate: £60.00 - £80.00 Sterling Silver Pendant. Oval shape decorated with a silver lily leaf and tendrils on which sits a Lot: 3 silver frog. The ring suspension A Highly Desirable German Silver marked '925'. 2 inches long. and Enamel Brooch, of stylish Estimate: £40.00 - £60.00 concave triangular shape, the main body enamelled in a spectrum of colour (navy blue, pink, green, white and lemon), marked to the reverse '935, K Lot: 10 and L', for Kordes and Lichtenfels 9ct Gold Rope Chain, fully of Pforzheim hallmarked, measuring 28 inches Estimate: £40.00 - £60.00 long and weighing 21.9 grams. Estimate: £200.00 - £300.00 Lot: 4 An Unusual and Very Well Made Walnut and Silver Moneybox, in the realistic shape of a post box, the base unscrewing, vacant silver plaque below the post box Lot: 11 opening, hallmarked for A Quality Silver Bookmark, Birmingham 1993, for Douglas featuring a realistically modelled Pell, measuring 4½ inches owl perched on top of an oval high.
  • On Wisconsin!!! Jeanie Dean of Milwaukee, WI by Blaise Di Pronio Dr

    On Wisconsin!!! Jeanie Dean of Milwaukee, WI by Blaise Di Pronio Dr

    NON-PROFIT THE US POSTAGE PAID MILWAUKEE, WI ITALIAN TIMES Permit No. 5716 Published 11 times annually by the Italian Community Center 631 E. Chicago St., Milwaukee, WI 53202 Become a member of the Italian www.ICCMilwaukee.com Community Center and you will receive SEPTEMBER 2019 • VOL. 41, NO. 2 home delivery of this publication. Your address label will be placed here. – CHANGE SERVICE REQUESTED – Festa Chair/ICC President Joe Emanuele reports on highs and lows of 42nd Festa Dear Members: nificantly larger gate ticket sales. Our 42nd annual Festa is now in Among the highlights this year the books. I think we accomplished a was the Mass, held for the first time lot by expanding the grounds and on the BMO Harris Stage. I want to giving the people more to see, taste compliment Sr. Marie Louise Bal- and enjoy. Our goal was to give this istreri and Sal Lo Coco and their year’s festival the feel and excitement committee for doing an outstanding of the Festas all of us remember from job. years ago. I think we accomplished The Italian Heritage Exhibit was that. outstanding. We received many nice People definitely enjoyed Festa. comments about the exhibit, all of Many people told me in person, and I which is due to the hard work put in received numerous letters with kind by Chris Conley and her committee. words. The Campari Club was very suc- Unfortunately, we lost a day and a cessful. It was an excellent addition half to the weather, which is going to to Festa and had a significant impact impact our bottom line.
  • Saturday Auction

    Saturday Auction

    SATURDAY AUCTION Modern & Vintage Furniture & Collectables, Electrical Goods, Jewellery & other interesting items Saturday 19th August 2017 at 10:00am VIEWING: Friday 18th August 2017 9:30am-7pm, Sale Day 9am until sale starts Brading Auction Rooms, Quay Lane, PO36 0AT Tel: 01983 402222 Email:[email protected] WELCOME TO HRD AUCTION ROOMS LTD OUR AUCTION ROOMS ARE SITUATED JUST OFF BRADING HIGH STREET, BEHIND THE OLD WAXWORKS AND ARE ACCESSIBLE VIA QUAY LANE. THERE ARE DIRECTION SIGNS AT THE JUNCTION OF QUAY LANE AND THE HIGH STREET. CARS CAN BE PARKED IN THE LARGE PUBLIC CAR PARK NEAR ST MARY'S CHURCH. TRAVEL BY ROAD: From PORTSMOUTH, take the 'Wightlink' car ferry to Fishbourne and then drive to Brading via Ryde. From SOUTHAMPTON, take the 'Red Funnel ' car ferry to East Cowes and then drive to Brading via Ryde. TRAVEL BY RAIL: London Waterloo to Portsmouth Harbour, then take the 'Wightlink' passenger catamaran to Ryde, and train to Brading. The saleroom is only a short distance from Brading station. Please note all lots are subject to a buyers premium of 18% inc VAT LOT 1 A bronze/brass model of a Roman charioteer, on white marble plinth - L33cm Guide £25-50 LOT 2 A Chessell Pottery 'coral reef fish' fountain, together with another water feature Guide £30-50 LOT 3 A reprint of George Brannon's Vectis Scenery, together with Isle of Wight and other Guide £20-30 ephemera LOT 4 An assortment of military prints Guide £20-40 LOT 5 A painted display cabinet, glazed upper section, two drawers and cupboards below - Guide £50-80
  • Innovators: Songwriters

    Innovators: Songwriters

    NBER WORKING PAPER SERIES INNOVATORS: SONGWRITERS David Galenson Working Paper 15511 http://www.nber.org/papers/w15511 NATIONAL BUREAU OF ECONOMIC RESEARCH 1050 Massachusetts Avenue Cambridge, MA 02138 November 2009 The views expressed herein are those of the author(s) and do not necessarily reflect the views of the National Bureau of Economic Research. NBER working papers are circulated for discussion and comment purposes. They have not been peer- reviewed or been subject to the review by the NBER Board of Directors that accompanies official NBER publications. © 2009 by David Galenson. All rights reserved. Short sections of text, not to exceed two paragraphs, may be quoted without explicit permission provided that full credit, including © notice, is given to the source. Innovators: Songwriters David Galenson NBER Working Paper No. 15511 November 2009 JEL No. N00 ABSTRACT Irving Berlin and Cole Porter were two of the great experimental songwriters of the Golden Era. They aimed to create songs that were clear and universal. Their ability to do this improved throughout much of their careers, as their skill in using language to create simple and poignant images improved with experience, and their greatest achievements came in their 40s and 50s. During the 1960s, Bob Dylan and the team of John Lennon and Paul McCartney created a conceptual revolution in popular music. Their goal was to express their own ideas and emotions in novel ways. Their creativity declined with age, as increasing experience produced habits of thought that destroyed their ability to formulate radical new departures from existing practices, so their most innovative contributions appeared early in their careers.