DOCSLIB.ORG

This Week's Essential Reading

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
This Week's Essential Reading 10 Saturday, February 23, 2013 www.thenational.ae The National thereview The National thereview Saturday, February 23, 2013 www.thenational.ae 11 this week’s essential reading ’Warrior Petraeus’ by Interesting essay on the former US army general David Petraeus’s career from Vietnam Thomas Powers, The to Afghanistan. The ideas that shaped him, and how he shaped Washington’s strategy music { New York Review of Books } playlist Four significant jazz fusion albums by Miles Freaky & fried-out Davis, Herbie Hancock and Chick Corea Weather Report The Columbia Albums 1971-1975 (2012) An album by the Stark Reality, recorded for a children’s show This recent box set gathers six albums on American public television, is one of the most memorable by a group featuring members of Miles examples of jazz fusion from the 1970s, writes Andy Battaglia Davis’s fitful fusion bands (Wayne Shorter and Joe Zawinful “Wouldn’t you like to be a whale wrote a clutch of charming, cheery Again Records, which grew out looseness, the Stark Reality were an and sail serenely by – an 80-foot of the popular Los Angeles label improbably tight band that locked among them). See the whale, from your tip to your tail, Stones Throw. into grooves and spacey excursions title of one for a taste: I and a tiny, briny eye?” It’s a good The set comes decorated with fortified enough to maintain their Sing the Body Elect. question, and one likely to lead to psychedelic cover art and photo- striking shapes as they travel for- an answer in the affirmative. graphs of a band full of hippie jazz- ward through time. It’s that qual- It is not, however, a question bos in zoned-out states, entranced ity of fusion that makes the genre a Herbie Hancock on any prospective lists of likely by the music they’re playing and treasure trove for sample-hunters subject matter for jazz songs. But maybe certain other tools of art at and aficionados of mind-bending Sextant (1973) there it is in “The Whale”, a pecu- work in their systems (smokable beats in the present day. liar bit of brilliance by a supremely tools, it seems safe to infer from But all sorts of other fusion as- In 1973, this classic in- odd jazz fusion band known as the the liner notes). All of that signals pects are as otherworldly in their troduced fusion to great Stark Reality. that the realm of children’s music effects. For a wealth of those, atten- spacey sounds from the Formed in the late 1960s in the has been left far, far behind. tion is well-rewarded by a new archi- pioneering Arp 2600 United States, in Boston, the Stark But the Stark Reality were val set featuring jazz legend Miles synthesizer (played by Reality made just a few records Hoagy Carmichael’s Music strange even in the realm of jazz Davis in the quintet with which he Patrick Gleeson) and before being cast off and forgot- Shop fusion, which made strangeness first launched forth into fusion in sweeping ideas of a kind ten in the annals of music history. The Stark Reality and experimentalism a high prior- earnest. With three CDs and a DVD that seemed to rush out There they remained, forgotten Now Again Records ity. Few genres have been as exces- of performance footage, Live in Eu- with changes in tone while trying for decades, until some of their Dh33 sive in their zeal for both as fusion rope 1969: The Bootleg Series Vol. 2 things out on new tunes (like Miles of Herbie Hancock’s stirring sounds found new life in was in its late-1960s and 1970s captures a fleeting time of transi- Runs the Voodoo Down, released in head. samples for modern-day hip-hop heyday, when jazz reached out to tion, after Davis’s adventurous but recorded form the next year on the beats and many-textured backing tunes for children gathered on an incorporate the electrified sounds still recognisably “jazz”-minded epochal Bitches Brew) and old fa- tracks. album titled Hoagy Carmichael’s of funk and rock. run in the mid-’60s and right before vourites (among them Milestones, It’s a common story, visited upon Havin’ a Party. The Stark Reality were proficient the release of his radical electric- dating back to an album in 1958, Miles Davis thousands of strange records col- It was endearing but a little hok- with all the disparate sounds at storm of an album Bitches Brew. and ’Round Midnight, from a little lecting dust in consignment stores ey, with an innocent sort of gee- their disposal, as exemplified by an The sounds are electrified but not earlier). On the Corner (1972) and speciality shops all across the whiz 1950s air about it, but the early song of their own called The yet completely, signalling a change It’s fusion in the truest sense, in world. They’re numerous enough – songs changed shape considerably New Generation. It starts out slow, still in the early real-time stages of that you can hear the fusing actu- For a sense of where and rediscovered so constantly and when the Stark Reality gave them with bleary notes from an electri- being conceived. In Directions, the ally going on. Much that came to Davis would go when consistently – to make one wonder another pass. The band did so in fied vibraphone, before bolting up- first song in a fierce live set from follow in the wide-reaching name he delved most fully if in the archives of time lurk hid- 1970 for a public television series right with a funky walking bass line Antibes, a resort town in south-east of “fusion” suggests a wonky pag- into funk, this 1972 den depths that may never, ever, be to educate kids in America, at the and rhythmic sounds from horns. France, the band launches into a eant of excess guided by noble manifesto carries a fully understood. behest of Carmichael’s son. When They carry on in a familiar sort of sort of free-form jam that leans but often ultimately misbegotten resonant message Not unlike the oceans called they got their re-recorded versions jazz-funk vamp before layered mul- forward into the future without ideas. Indeed, short of prog-rock in more than 40 years on. home by the whale, a curious crea- to Carmichael himself, the com- ti-part vocals wander in, with signs foregoing its ties to the past. Saxo- the 1970s (that graveyard of bloated ture that comes under observation poser, then 70 years old, wrote, of the times in tow. “We’re the new phonist Wayne Shorter remains double-albums and “rock-operas” by the Stark Reality in phantasma- “Out came the damnedest music world generation, full of war, strife, from Davis’s famous mid-60s quin- about space), it’s hard to think of a gorical musical mode. [I] ever heard. This is children’s and hate,” the band sings. “The sta- tet, but other than the bandleader, musical movement more maligned. The song The Whale is winningly music!? I say, ‘Stark mad’.” tus quo has got to go – we hope it’s he is the only player not new to the But fusion offers the true thrill of weird in its own right, but it also He went on to describe the effect not too late.” enterprise. searching out to find moments of Return to Forever happens to reside on an album of bandleader Monty Stark’s sing- A similar tone plays out on The Drummer Jack DeJohnette sounds magic in music that is by no means with an even weirder distinction: ing voice as “somewhere between Stark Reality Discovers Hoagy like he has a lot to prove, pounding magic all the time. Those moments The Anthology (2008) its singular status as a freaky, the filings on the edge of a pie pan Carmichael’s Music Shop, which out flurries of rhythm with momen- are there, though, and the best of fried-out remake of a children’s and the singing voice of a guru marries elements of the original tous energy and force. Bassist Dave them are wowing enough to make a This tidy two-CD set com- record by the early 20th-century during one of his most exalted mo- children’s tunes with surprise di- Holland lays out fat, round, robust whale wonder what exactly is going piles highlights from Chick pop whiz Hoagy Carmichael. ments”. gressions like a call-out to notori- lines that bob and float around, on with all those weird humans up Corea’s wildly kinetic fu- Carmichael wrote the music for He wasn’t far off in his evalua- ous cult leader and convicted mass subtly but significantly. On electric The Stark Reality, left to right: Phil Morrison, John Abercrombie, Vinnie above. sion band from the 70s, a store of classic pop songs that tions, but all of that conspires to murderer Charles Manson. What piano, Chick Corea sounds curious Johnson and Monty Stark. Courtesy of Score Press with an endearing excess became standards of the form, make The Stark Reality Discovers might have been meant by such a about the new instrument beneath Andy Battaglia is a New York-based of energy in action on including Stardust, Georgia on My Hoagy Carmichael’s Music Shop disorienting invocation is hard to his fingers, excited by its potential writer whose work appears in The every track. Mind, Heart and Soul, and many a very good album indeed. That divine, but fusion was nothing if but maybe not yet fully convinced whose presence is felt even when and mystique while handling a so much tradition and history be- Wall Street Journal, The Wire, Spin more.
Load more

Recommended publications
  • Seeing (For) Miles: Jazz, Race, and Objects of Performance
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College
    [Show full text]
  • 1St First Society Handbook AFB Album of Favorite Barber Shop Ballads, Old and Modern
    1st First Society Handbook AFB Album of Favorite Barber Shop Ballads, Old and Modern. arr. Ozzie Westley (1944) BPC The Barberpole Cat Program and Song Book. (1987) BB1 Barber Shop Ballads: a Book of Close Harmony. ed. Sigmund Spaeth (1925) BB2 Barber Shop Ballads and How to Sing Them. ed. Sigmund Spaeth. (1940) CBB Barber Shop Ballads. (Cole's Universal Library; CUL no. 2) arr. Ozzie Westley (1943?) BC Barber Shop Classics ed. Sigmund Spaeth. (1946) BH Barber Shop Harmony: a Collection of New and Old Favorites For Male Quartets. ed. Sigmund Spaeth. (1942) BM1 Barber Shop Memories, No. 1, arr. Hugo Frey (1949) BM2 Barber Shop Memories, No. 2, arr. Hugo Frey (1951) BM3 Barber Shop Memories, No. 3, arr, Hugo Frey (1975) BP1 Barber Shop Parade of Quartet Hits, no. 1. (1946) BP2 Barber Shop Parade of Quartet Hits, no. 2. (1952) BP Barbershop Potpourri. (1985) BSQU Barber Shop Quartet Unforgettables, John L. Haag (1972) BSF Barber Shop Song Fest Folio. arr. Geoffrey O'Hara. (1948) BSS Barber Shop Songs and "Swipes." arr. Geoffrey O'Hara. (1946) BSS2 Barber Shop Souvenirs, for Male Quartets. New York: M. Witmark (1952) BOB The Best of Barbershop. (1986) BBB Bourne Barbershop Blockbusters (1970) BB Bourne Best Barbershop (1970) CH Close Harmony: 20 Permanent Song Favorites. arr. Ed Smalle (1936) CHR Close Harmony: 20 Permanent Song Favorites. arr. Ed Smalle. Revised (1941) CH1 Close Harmony: Male Quartets, Ballads and Funnies with Barber Shop Chords. arr. George Shackley (1925) CHB "Close Harmony" Ballads, for Male Quartets. (1952) CHS Close Harmony Songs (Sacred-Secular-Spirituals - arr.
    [Show full text]
  • A Journal for Contemporary Music (1971-1988)
    Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Reynolds, Lyndon. 1975. ‘Miles et Alia’. Contact, 11. pp. 23-26. ISSN 0308-5066. ! [I] LYNDON REYNOLDS Ill Miles et Alia The list of musicians who have played with Miles Davis since 1966 contains a remarkable number of big names, including Wayne Shorter, Herbie Hancock, Tony Williams, Chick Corea, Joe Zawinul, Jack de Johnette, Dave Hol l and, John McLaughlin and Miroslav Vitous. All of these have worked success fully without Miles, and most have made a name for themselves whilst or since working with him. Who can say whether this is due to the limelight given them by playing alongside , Miles, the musical rewards of working with him, or Miles's talent-spotting abili- ties? Presumably the truth is a mixture of all these. What does Miles's music owe to the creative personalities of the musicians working with him? This question is unanswerable in practice, for one cannot quan- tify individual responsibility for a group product - assuming that is what Miles's music is. It is obvious that he has chosen very creative musicians with which to work, and yet there has often been an absence of conspicuous, individual, free solo playing in his music since about 1967. It would appear that Miles can absorb musical influences without losing his balance. What we find then, is a nexus of interacting musicians, centring on Miles; that is, musicians who not only play together in various other combinations, but influence each other as well. Even if the web could be disentangled (I know not how, save with a God's-eye-view), a systematic review of all the music that lies within it would be a task both vast and boring.
    [Show full text]
  • Kajikawa, Loren. 2015. Sounding Race in Rap Songs. Oak- Land: University of California Press
    Kajikawa, Loren. 2015. Sounding Race in Rap Songs. Oak- land: University of California Press. Reviewed by Tracy McMullen In 1991, Scott Deveaux warned that an “official history of jazz had taken hold,” aided and abetted by the work of academics. From a “chaotic di- versity of style and expression” came a “coherent whole, . a skillfully contrived and easily comprehended narrative” (525). Deveaux attributed this primarily to textbooks, which reinforced the narrative of neat stylistic decades (1920s New Orleans jazz, 1930s Swing, 1940s Bebop, etc.) and the institutionalization of jazz studies within colleges and universities. Because jazz was a relatively recent art form, Deveaux could watch the official his- tory develop and cohere before his eyes. Now it may be hip-hop’s turn. Like jazz, hip-hop is a new art form minted in the United States through the ex- pressive practices of African Americans. The rise of hip-hop has been con- current with the rise of ethnic studies departments and, more recently, the inclusion of popular music as a serious field of study in the academy. Thus, while jazz studies took decades to be accepted as a legitimate field within music departments, hip-hop studies is better positioned to find its way into a multitude of academic disciplines. It is important, therefore, to take les- sons from the development of jazz studies as the field of hip-hop studies takes shape. Is it possible for hip-hop studies to resist the model of “official history” with monograph-style counters from the margins (“women in hip-hop,” “Latinx in hip-hop”)? What would the field look like if scholars could collectively eschew the tendency to create a dominant narrative with its immutable “key elements,” masterpieces, and great innovators? Rather than center and margin, perhaps hip-hop as a field could choose flow as a model—an early example of which might be the foundational and help- fully plural text, The Hip-Hop Studies Reader (Forman and Neal 2012).
    [Show full text]
  • UNDERSTANDING MILES DAVIS in 9 PARTS by Greg Cwik and David Marchese ______
    UNDERSTANDING MILES DAVIS IN 9 PARTS by Greg Cwik and David Marchese ________________________________________________________ [*This article appeared in the September 21, 2015 issue of New York Magazine.] PHOTO CREDIT DAVID REDFERN/REDFERNS/GETTY IMAGES hen Miles Ahead, directed by and starring Don Cheadle, premieres at the New York Film Festival in October, 2015, it’ll mark the first time that the W jazz genius Miles Davis has been the subject of a non-documentary film. It wasn’t a lack of interest that has kept Davis from movie theaters till now. Nor was it lack of material: Davis, who died in 1991, lived a dynamic and controversial life, both personally and musically. (Multiple biopics wound up in development hell.) Cheadle’s film focuses on a period when the trumpeter was living in seclusion, so here’s a broader overview of one of American music’s true giants. 1. What to Know About His Sound ____________________________________________ Grammy-nominated trumpeter and jazz educator Jon Faddis explains: “The thing that is special about his sound is economy when he was improvising. Before Miles, most people thought of the trumpet as a very extroverted instrument. Miles was more introverted in his approach. He used a Harmon mute — it wasn’t really popular before he started to use it — and it’s a very beautiful sound. I also 1 Jon Faddis: one of the things that set Miles apart was his use of space, making the space a part of the music… think his minimal use of vibrato was a tremendous influence on instrumentalists. Recordings like Round Midnight, Someday My Prince Will Come, I Thought About You were ingenious.
    [Show full text]
  • SCHEDULE of EVENTS Special Thanks to Our Sponsors
    10th AnnualSunday, Arby’s Dairyfest June Fling Disc4 Golf Tournament, 8:00am Special Thanks Braem Park DG Course, Marshfield North Park DG course, Pittsville On-site registration/check-in from 8:00-9:00am at Braem Park Shelter To Our Sponsors Professional, Amateur & Recreational Divisions offered. Download a Dairyfest Fling Registration form on “wausau area disc golf enthusiasts event page” on Facebook and save $5. Awards ceremony follows at Braem Park Shelter. USA Sanctioned Coed Softball Tournament, 9:00am-4:00pm Central Wisconsin State Fairgrounds Free admission. Concessions sponsored by the Marshfield Softball Association. 2001 E 29th Street | Marshfield | 715-384-2131 Laminate Never Looked So Good For additional information please contact the Marshfield Fabricators of Post Form and Custom Laminate Countertops Area Chamber of Commerce & Industry at 715-384-3454 or 1-800-422-4541, email us at www.counter-form.com [email protected], check out our web page at www.marshfieldchamber.com. ENRICHING LIVES Follow us on Facebook! TOGETHER Dairyfest is sponsored by the Marshfield Area Chamber of Home mortgage financing Commerce & Industry, Marshfield Convention & Visitors SCHEDULE OF EVENTS Bureau, City of Marshfield, Wisconsin Milk Marketing Board, with great options. FOR GENERATIONS and supported by many businesses and the community. June 2 - June 4, 2017 Jake Heyroth Mortgage Loan Originator Marshfield, WI [email protected] Presented by the Marshfield Area 715.498.9004 Chamber of Commerce & Industry, City NMLS #: 502454 of Marshfield and the Wisconsin Milk Marketing Board. Mark your calendars for Dairyfest 2018, weekend after Memorial Day, June 1-2-3! Equal Housing Lender. Loan approval subject to credit approval and program guidelines.
    [Show full text]
  • Directed by Maggie Mancinelli-Cahill Musical Direction by Josh D. Smith Choreography by Freddy Ramirez
    Directed by Maggie Mancinelli-Cahill Musical Direction by Josh D. Smith Choreography by Freddy Ramirez FOR MORE INFORMATION, PLEASE CONTACT: MARGARET E. HALL AARON MARQUISE Associate Artistic Director Arts Education Manager [email protected] [email protected] 518.462.4531 x410 518.382.3884 x128 1 Table of Contents Capital Repertory Theatre’s 39th Season - 2019-2020 LOBBY HERO by Kenneth Lonergan 3 A Letter from our Education Department SEPT 29 – OCT 20, 2019 4 About Us 5 Attending a Performance IT’S A WONDERFUL LIFE 6 Literary Context: Synopsis of the Play Live from the WVL Radio Theatre Frank McCourt Bio Adapted by WVR Repoley from the motion From the Original Production picture by Frank Capra Vocabulary Words NOV 22 – DEC 22, 2019 10 Historical Context: Counties of Ireland Events Mentioned in the Script YOUR BEST ONE by Meridith Friedman Irish Potato Famine East Coast Premiere Immigration JAN 17 – FEB 09, 2020 Figures Mentioned in the Script 15 Scientific Context: Potato Blight THE IRISH AND HOW THEY GOT THAT WAY Famine and other Illnesses By Frank McCourt, featuring the music of 17 Musical Context: Songs … Ireland Instruments in the Show MAR 06 – APRIL 05, 2020 Song Sheet for 15 Miles on the Erie Canal 20 Who’s Who in the Production SISTER ACT 21 Ideas for Curriculum Integration Music by Alan Menken, Lyrics by Glenn Slater, 24 Resources Consulted Book by Cheri and Bill Steinkellner 25 Teacher Evaluation Based on the Touchstone Pictures Motion 26 theREP’s Mission In Action Picture, SISTER ACT, written by Joseph Howard *Parts of this guide were researched and written by Dramaturgy Intern Eliza Kuperschmid.
    [Show full text]
  • Day Labor in the United States
    ON THE CORNER: Day Labor in the United States Abel Valenzuela Jr. UCLA Center for the Study of Urban Poverty Nik Theodore University of Illinois at Chicago Center for Urban Economic Development Edwin Meléndez New School University Milano Graduate School of Management and Urban Policy Ana Luz Gonzalez UCLA Center for the Study of Urban Poverty January 2006 The National Day Labor Study was made possible through generous support from The Ford Foundation, The Rockefeller Foundation, The Community Foundation for the National Capital Region’s Washington Area Partnership for Immigrants and UCLA’s Center for the Study of Urban Poverty through the dean of social sciences. The report can be viewed or downloaded at http://www.sscnet.ucla.edu/issr/csup/index.php or http://www.uic.edu/cuppa/uicued ON THE CORNER: Day Labor in the United States Executive Summary This report profiles, for the first time, the national phenomenon of day labor in the United States. Men and women looking for employment in open-air markets by the side of the road, at busy intersections, in front of home improvement stores and in other public spaces are ubiquitous in cities across the nation. The circumstances that give rise to this labor market are complex and poorly understood. In this report, we analyze data from the National Day Labor Survey, the first systematic and scientific study of the day-labor sector and its workforce in the United States. This portrait of day labor in the United States is based on a national survey of 2,660 day laborers. These workers were randomly selected at 264 hiring sites in 139 municipalities in 20 states and the District of Columbia.
    [Show full text]
  • Functional Mobility of Community-Dwelling Older Persons: an Ethnographic Pre-Feasibility Study
    Functional Mobility of Community-Dwelling Older Persons: An Ethnographic Pre-Feasibility Study by Uirá Duarte Wisnesky A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Faculty of Nursing University of Alberta © Uirá Duarte Wisnesky, 2019 Abstract The purpose of this pre-feasibility study was two-fold: first, to examine perceptions and experiences of mobility challenges in the urban Brazilian community-dwelling older persons; second, to examine study participants’ perceptions about a sit-to-stand activity. The method of exploration was qualitative focused ethnography. Convenience and purposive sampling were used to recruit 23 older persons living in Paquetá, Rio de Janeiro, Brazil. Data was collected via observant participation and semi-structured interviews. Data analysis utilized qualitative content analysis to describe and interpret the phenomena under study. Findings revealed that perceptions of urban Brazilian community-dwelling older persons with mobility are culturally transmitted and influenced by the social, physical and health environments they are part. Older persons’ experiences with mobility challenges was an integral part of sense of self and strongly related to contextual factors. Accordingly, the experience of mobility challenged older persons with the sit- to-stand activity was dependent on their mobility expectations involving many factors that worked together to influence their activity beliefs and attitudes, preferences, behaviors, and cultural perceptions; however, the most noticeable shortcomings for participants’ engagement in the sit-to-stand activity emerged as gaps in their personal and intrapersonal needs. The recommendations generated from my findings call for the design of implementation strategies of the sit-to-stand intervention that are tailored to this particular population’s needs.
    [Show full text]
  • From Birth to Death of Cool
    Western Michigan University ScholarWorks at WMU Honors Theses Lee Honors College 4-2009 From Birth to Death of Cool Brandon Theriault Western Michigan University, [email protected] Follow this and additional works at: https://scholarworks.wmich.edu/honors_theses Part of the Music Commons Recommended Citation Theriault, Brandon, "From Birth to Death of Cool" (2009). Honors Theses. 1657. https://scholarworks.wmich.edu/honors_theses/1657 This Honors Thesis-Open Access is brought to you for free and open access by the Lee Honors College at ScholarWorks at WMU. It has been accepted for inclusion in Honors Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. FROM BIRTH TO DEATH OF COOL by Brandon Theriault An Honors Thesis Submitted to the Lee Honors College of Western Michigan University April, 2009 INTRODUCTION "Miles Davis was a bad dude. He was one of the baddest men in jazz... baddest jazzman ever." -Alvin Jones. Who is Alvin Jones? Alvin Jones is the man I just met outside of the Bernhard Center on Western Michigan University's campus in Kalamzoo, MI. I have been laboring over my honors thesis for months now; I am approaching its completion and was at a loss for a way to start the piece. As Alvin Jones stumbled up to me panhandling for a cigarette I could not help but notice his physical similarity to Miles. He looked to be approaching 65, white whiskers sparsely covering his face and making appearances throughout his eyebrows. He was slender, taller than average, and had exaggerated facial features; large luminous eyes, long eyelashes and high cheekbones.
    [Show full text]
  • Camp Hanoum Plaque a 76 - Farnsworth Uniform BV 197-199, Bound Photo Albums FF Oversized Mounted Photographs Glass Plate Negatives
    Thetford Historical Society M37 A 46 - Camp Hanoum Plaque A 76 - Farnsworth Uniform BV 197-199, Bound Photo Albums FF Oversized mounted photographs Glass Plate Negatives CAMP HANOUM COLLECTION 8 Boxes Provenance: Marjorie Wentworth (Willum) Traut Related Collections: OP 4 - Betty Clark Hanoum Photos OP 5 - Clara Sipprell Photos A 46 - 1909 Camp Hanoum Plaque M 38 - Charles Hubert Farnsworth papers Processed by: Dolly Adams, 1990 Martha Howard, 2004 Inventory Contents Page Historical Sketch 2 Scope and Content 3 Box & Folder Inventory 4 HISTORICAL SKETCH: Camp Hanoum was the inspiration of Charles and Charlotte Farnsworth, as a place where young women could gain strength, confidence, and practical skills, while enjoying an exceptional natural setting. In its first year, 1909, the camp was simply an outing of a dozen or so students from Horace Mann School at Columbia Teacher’s College, who summered with the Farnsworths in Thetford. Farnsworth had been brought up in Turkey by his missionary father, and the camp always had a Turkish flavor. The Camp’s name, “Hanoum” is a Turkish word meaning “gracious lady”. Charles Farnsworth was known as “Chelebe” (Master) and Charlotte Farnsworth was affectionately known as “Madama” (Mistress). In subsequent years, the Camp expanded from its original location on Houghton Hill Road to the shores of Mud Pond (Lake Abenaki), and formalized its offerings to an eight-week program that included nature study, swimming, canoeing and water safety, crafts, and hiking. Music also played a large role in camp life, and Camp Hanoum was known locally as “the singing camp”, with instructors and professional musicians who summered in Thetford and taught at the Camp.
    [Show full text]
  • West Palm Beach by DORA DOSTER UTZ*
    West Palm Beach by DORA DOSTER UTZ* It was not long after this that Papa decided to move down to West Palm Beach which he did, and again set up his merchandising business. This lovely resort town was just eighteen miles south of Jupiter. He built a comfortable two-story house on a big lot with a picket fence around it and a gate to swing on. Since all the streets were named for tropical plants and were laid out alphabetically, we were just one block from his store on Datura Street, whereas his store was on Clematis Avenue, the main street. In fact, he could step out the back door of our home, walk through a vacant lot, and reach his store in a few minutes. We occupied this home about a year and Papa had such a profitable offer to sell it that he sold and built another two-story home on Evernia Street another block away. Again he was offered a price for the house which he felt he could not afford to turn down, so that house was sold also. Then Papa brought the house we had owned and lived in on the shell mound at Jupiter, and another house he owned in Jupiter, on big lighters to West Palm Beach and deposited them on a half block lot he owned there. This lot was on the corner of Fern and Poinsettia Streets. We rented out one house, and the other one in which we had lived in Jupiter he placed on the corner and built an addition to it.
    [Show full text]