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Articulating Culturally Sensitive Knowledge Online: a Cherokee Case Study*
Articulating Culturally Sensitive Knowledge Online: A * Cherokee Case Study Robert Leopold Abstract: This article examines the online management of culturally sensitive knowledge through a discussion of a collaboration between the Museum of the Cherokee Indian and the Smithsonian Institution. It discusses the roles of the two institutions in a digital repatriation project involving an extensive body of 19th and 20th century manuscripts as well as the assumptions that informed their respective decisions regarding the online presentation of traditional cultural expressions. The case study explores some challenges involved in providing online access to culturally sensitive materials: first, by probing disparate senses of the term community, and then through a close examination of a particular class of heritage materials about which many Cherokee feel deeply ambivalent and for which notions of collective ownership are especially problematic. The Cherokee knowledge repatriation project offers a novel model for the circulation of digital heritage materials that may have wider applicability. The success of the project suggests that collaboration between tribal and non-tribal institutions may lead to more creative solutions for managing traditional cultural expressions than either alone can provide. [Keywords: Access Restrictions, Digital Repatriation, Culturally Sensitive Materials, Ethnographic Archiving, Knowledge Management. Keywords in italics are derived from the American Folklore Society Ethnographic Thesaurus, a standard nomenclature for the ethnographic disciplines.] Not long ago, I was giving a behind-the-scenes tour of the Smithsonian’s National Anthropological Archives when a member of the group asked me how our archives deals with culturally sensitive collections. Coincidentally, we were standing in front of a recent acquisition: the papers of Frederica de Laguna (1906-2004), an eminent anthropologist who conducted research among the Tlingit people of the Pacific Northwest Coast between 1949 and 1954. -
Eddie Who? - Eddie Harris Amerikansk Tenorsaxofonist, Født 20.10.1934 I Chicago, IL, D
Eddie Who? - Eddie Harris Amerikansk tenorsaxofonist, født 20.10.1934 i Chicago, IL, d. 5.11.1996 Sanger og pianist som barn i baptistkirker og spillede senere vibrafon og tenorsax. Debuterede som pianist med Gene Ammons før universitetsstudier i musik. Spillede med bl.a. Cedar Walton i 7. Army Symphony Orchestra. Fik i 1961 et stort hit og jazzens første guldplade med filmmelodien "Exodus", hvad der i de følgende år gav ham visse problemer med accept i jazzmiljøet. Udsendte 1965 The in Sound med bl.a. hans egen komposition Freedom Jazz Dance, som siden er indgået i jazzens standardrepertoire. Spillede fra 1966 elektrificeret saxofon og hybrider af sax og basun. Flirtede med rock på Eddie Harris In the UK (Atlantic 1969). Spillede 1969 på Montreux festivalen med Les McCann (Swiss Movement, Atlantic) og skrev 1969-71 musik til Bill Cosbys tv-shows. Spillede i 80'erne med bl.a. Tete Montoliu og Bo Stief (Steps Up, SteepleChase, 1981) og igen med Les McCann. Som sideman med bl.a. Jimmy Smith, Horace Silver, Horace Parlan og John Scofield (Hand Jive, Blue Note, 1993). Optrådte trods sygdom, så sent som maj 1996. Indspillede et stort antal plader for mange selskaber, fra 80'erne mest europæiske. Med udgangspunkt i bopmusikken udviklede Harris sine eksperimenter til en meget personlig stil med umiddelbart genkendelig, egenartet vokaliserende tone, fra 70'erne krydret med (ofte lange), humoristisk filosofisk/satiriske enetaler. Følte sig ofte underkendt som musiker og satiriserede over det i sin "Eddie Who". Kilde: Politikens Jazz Leksikon, 2003, red. Peter H. Larsen og Thorbjørn Sjøgren There's a guys (Chorus) You ought to know Eddie Harris .. -
PROGRAM NOTES Guided Tour
13/14 Season SEP-DEC Ted Kurland Associates Kurland Ted The New Gary Burton Quartet 70th Birthday Concert with Gary Burton Vibraphone Julian Lage Guitar Scott Colley Bass Antonio Sanchez Percussion PROGRAM There will be no intermission. Set list will be announced from stage. Sunday, October 6 at 7 PM Zellerbach Theatre The Annenberg Center's Jazz Series is funded in part by the Brownstein Jazz Fund and the Philadelphia Fund For Jazz Legacy & Innovation of The Philadelphia Foundation and Philadelphia Jazz Project: a project of the Painted Bride Art Center. Media support for the 13/14 Jazz Series provided by WRTI and City Paper. 10 | ABOUT THE ARTISTS Gary Burton (Vibraphone) Born in 1943 and raised in Indiana, Gary Burton taught himself to play the vibraphone. At the age of 17, Burton made his recording debut in Nashville with guitarists Hank Garland and Chet Atkins. Two years later, Burton left his studies at Berklee College of Music to join George Shearing and Stan Getz, with whom he worked from 1964 to 1966. As a member of Getz's quartet, Burton won Down Beat Magazine's “Talent Deserving of Wider Recognition” award in 1965. By the time he left Getz to form his own quartet in 1967, Burton had recorded three solo albums. Borrowing rhythms and sonorities from rock music, while maintaining jazz's emphasis on improvisation and harmonic complexity, Burton's first quartet attracted large audiences from both sides of the jazz-rock spectrum. Such albums as Duster and Lofty Fake Anagram established Burton and his band as progenitors of the jazz fusion phenomenon. -
Downloaded PDF File of the Original First-Edi- Pete Extracted More Music from the Song Form of the Chart That Adds Refreshing Contrast
DECEMBER 2016 VOLUME 83 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin -
December 2002
PORTABLE • BILL STEWART • CONSUMERS POLL RESULTS DENNISDENNIS CHAMBERS,CHAMBERS, KARLKARL PERAZZO,PERAZZO, RAULRAUL REKOWREKOW SSANTANAANTANA’’SS FFINESTINEST RRHYTHMHYTHM TTEAMEAM?? WWEEZEREEZER’’SS PPATAT WWILSONILSON TTHROUGHHROUGH TTHEHE YYEARSEARS WWITHITH TTERRYERRY BBOZZIOOZZIO NNEWEW FFOUNDOUND GGLORYLORY’’SS CCYRUSYRUS BBOLOOKIOLOOKI TTRADINGRADING FFOURSOURS WWITHITH PPHILLYHILLY JJOEOE $4.99US $6.99CAN 12 PPLUSLUS CCARLOSARLOS SSANTANAANTANA TTALKSALKS DDRUMMERSRUMMERS!! 0 74808 01203 9 ContentsContents Volume 27, Number 12 Cover photo by Paul La Raia SANTANA’S DENNIS CHAMBERS, RAUL REKOW, AND KARL PERAZZO The heaviest rhythm section in rock has just gotten heavier. Even Carlos Santana himself is in awe of his new Dennis Chambers–led ensemble. a a by Robin Tolleson i i a a R R a a L L l l u u a a 56 P P UPDATE 24 Portable’s Brian Levy WEEZER’S Wayward Shamans’ Barrett Martin AT ILSON 80 P W Fugazi’s Brendan Canty From Neil Peart obsessive to Muppet hostage, Pat Wilson has Mickey Hart been through a lot in ten years with Daryl Stuermer’s John Calarco pop gods Weezer. Oh, he plays the heck out of the drums, too. by Adam Budofsky MD CONSUMERS POLL RESULTS 50 The best in today’s gear—according to you. A DIFFERENT VIEW 74 a a i i a a NEW FOUND R R CARLOS SANTANA a a L L Just a sample of his drum cohorts over the l l GLORY’S u u a a years: Michael Shrieve, Jack DeJohnette, Horacio P P CYRUS BOLOOKI Hernandez, Tony Williams, Carter Beauford, 150 Chester Thompson, and now, Dennis Chambers. Even a disastrous fall from a Take your seats, class is about to begin. -
Sidawaiks May Be Day Life
Jacksonville State Uni versity New blood at brothers Volume 48 Issue 19 Chocolate flavors up laughs By Kristin Rowel1 cially when she was doing shows Staff Writer such as "Bad Girls" on D.E.F. and channels such as B.E.T., but that President Bill Clinton on Laughter engulfed the little space changed when she realized she Tuesday will endorse the cre- left in Leone Cole Auditorium wasn't being a "Godly person." ation of a national cyber security Thursday when 'Chocolate' satis- She said peer pressure is a big part center where Internet and e-com- fied everyone's sweet tooth. of the entertainment industry, but merce companies can work Chinnitta Morris, who goes by it was still her choice. That's together to cope with hacker Chocolate on stage, has been doing when she chose. to change. attacks, administration officials comedy for about nine years. She "[Public figures] are paid a lot of said. always knew she was going to be a money to be role models, we need Germany parliament President comedian, although her degree in to do it right." Wolfgang Thierse announced business management has allowed Although she admits she had Tuesday that the scandal- her to do her own business planned to be a lot farther along in plagued Christian Democrats finances. comedy by now, she does have fun must forfeit 41 million marks Yards Apart: The now infamous crosswalks in front of Merrill Hall and Brewer Hall. .- Since her debut on "Comedy going on stage on the college cam- ($20 5 million) in matching gov- -Act," the first black comedy chan- puses. -
Bill Carrothers Press Pack
605 Ridge Road Mass City, MI 49948 Bill Carrothers (906)883-3820 www.bridgeboymusic.com [email protected] “The relentlessly inventive pianist Bill Carrothers' harmonic sophistication has to be heard to be believed." - Chicago Tribune Bill Carrothers has been a professional pianist for 35 years. He has played many venues throughout the U.S. and Europe including the The Village Vanguard, Village Gate, Knitting Factory, Birdland, Blues Alley, New Morning (Paris), the Monterey Jazz Festival, Gilmore Keyboard Festival, the Audi Jazz Festival, the Nevers Jazz Festival, the Montreal Jazz Festival, Jazz Middelheim, AngraJazz, and the Marciac Festival in France. In October of 2000, Mr. Carrothers headlined the prestigious Rising Star Tour throughout Germany, Austria, and Switzerland. He has been a leader on twenty-six recordings, all of which have received critical acclaim. His sideman credits include some of the greatest names in jazz including Scott Colley, Buddy DeFranco, Dave Douglas, Curtis Fuller, Drew Gress, Tim Hagans, Billy Hart, Billy Higgins, Ari Hoenig, Freddie Hubbard, Dave King, Lee Konitz, James Moody, Gary Peacock, Dewey Redman, Charlie Rouse, James Spaulding, Bill Stewart, Ira Sullivan, Toots Thielemans, and Benny Wallace. Mr. Carrothers has been an adjunct professor at Lawrence University in Appleton, Wisconsin since 2011. Discography As a leader Label As a sideman Label The Artful Dodger (1987) Bridge Boy Bill Stewart - Snide Remarks (1995) Bluenote The Blues and the Greys (1997) Bridge Boy Bill Stewart - Telepathy (1997) Bluenote A Band In All Hope (1997) Bridge Boy Jay Epstein - Long Ago (1997) Gone Jazz After Hours (1999) Bridge Boy Scott Colley - Subliminal (1998) Criss Cross The Language of Crows (1999) Bridge Boy Dave Douglas - Moving Portrait (1999) DIW / Sony Duets With Bill Stewart (2000) Birdology / Dreyfus Ira Sullivan - After Hours, Vol. -
Goldings-Bio.Pdf
Larry Goldings Larry Goldings is a Grammy-nominated pianist and composer. His organ trio with Peter Bernstein and Bill Stewart has been recognized in the New York Times as "the best organ trio of the last decade." Goldings’ musical inspirations draw from a lifetime of absorbing jazz, pop, funk, R&B, electronic and classical music. As a performer and recording artist, he is known for long-term collaborations that straddle the realms of jazz and pop with such artists as Jim Hall, Maceo Parker, John Scofield, Steve Gadd, Jack DeJohnette, Pat Metheny, Michael Brecker, Sia Furler, John Mayer, and others. Goldings has been recording and touring with singer-songwriter James Taylor since 2001, and is the featured musician on Taylor's One Man Band CD/DVD, the culmination of a two year world-wide tour with James and Larry in duet. In 2007, Scofield/Goldings/DeJohnette's Trio Beyond - Saudades (ECM) was recognized with a Best Instrumental Jazz Album Grammy nomination for their searing live recording at London's Queen Elizabeth Hall. Goldings’ music graces the soundtracks of many film and television projects. He contributed to the jazzy fabric of Clint Eastwood's Space Cowboys and enhanced John Madden's Proof and Judd Apatow's Funny People with original compositions, as well as providing ghoulish organ music for "Lurch" to play in the animated film, The Addams Family. Goldings' Nino Rota-inspired score to Jeff Garlin's Dealin' With Idiots is the backdrop to this hilarious film about the zany parents of a Little League baseball team. Listeners of NPR's This American Life can hear Goldings' music underscoring many of its dramatic stories. -
The Mormons and the Ghost Dance
The Mormons and the Ghost Dance Lawrence G. Coates ate in the nineteenth century, thousands of Indians resentful of reserva- tion life gathered in groups to chant and dance themselves into hyp- notic trances until they collapsed from exhaustion. Some Plains Indians, while shuffling steps to this native ritual, wore special shirts decorated with symbols to protect them from bullets. These same Indians claimed that the biblical Messiah, allegedly seen by a Nevada Indian prophet, would soon return and cleanse the earth of the white man, restore abundance to the land, and reunite the living and dead Indians. Fearing a native uprising, government officials forcefully suppressed these Ghost Dances, leading to the infamous massacre at Wounded Knee, South Dakota, on a cold December day in 1890. Some blamed the Mormons for the "Messiah Craze," accusing their mis- sionaries of posing as the Messiah and claiming that the Ghost Shirt was modeled after their temple clothing. Subsequently scholars have not only perpetuated these ideas but have added their own fabrications to this tradition. In actuality, the Ghost Dance religion originated with the native Americans themselves as they tried to revive the life style of a previous generation. Mor- mon links were peripheral, not central. HISTORY OF THE GHOST DANCE The Ghost Dance of the 1890s was not the first adventist movement to spread among the natives of the American west. Twenty years earlier in re- sponse to the encroaching Europeans, an Indian prophet named Wodziwob arose among the Paviotso of Walker Lake near Reno, taught a special dance LAWRENCE C. COATES teaches history at Ricks College in Rexburg, Idaho. -
Peter Bernstein
Peter Bernstein Jazz guitarist Peter Bernstein (b. 1967, New York City) has been a part of the jazz scene in New York and abroad since 1989. During that time he has participated in over 80 recordings and numerous festival, concert and club performances with musicians from all generations. As a leader, Peter has released nine albums and a DVD, Live at Smoke. He got his first break while attending the New School when he met the legendary guitarist Jim Hall. Hall asked Peter to participate in his Invitational Concert as part of the 1990 JVC Jazz Festival. The event featured such guitarists as John Scofield and Pat Metheny and was release as Live at Town Hall Vol. 2. by Music Masters. Hall noted that Peter “…has paid attention to the past as well as the future. He is the most impressive guitarist I’ve heard. He plays the best of them all for swing, logic, feel and taste.” Also in 1990, Peter Bernstein was discovered by alto saxophonist Lou Donaldson and took part in the first of four recordings with him. He was a regular member of his group throughout the 1990s. “Some people just have it.” Donaldson said. “…most of the time you have to teach someone what to do, but Peter knows it all.” Peter has also enjoyed long musical associations with legendary drummer Jimmy Cobb (Cobb’s Mob), as well as organist Larry Goldings and drummer Bill Stewart as a member of their highly acclaimed trio. The New York Times called them “the best organ trio of the last decade”. -
The National Anthropological Archives, Simthsonian Institution
History of Anthropology Newsletter Volume 1 Issue 2 Spring 1974 Article 3 January 1974 The National Anthropological Archives, Simthsonian Institution Curtis M. Hinsley Jr. Follow this and additional works at: https://repository.upenn.edu/han Part of the Anthropology Commons, and the History of Science, Technology, and Medicine Commons Recommended Citation Hinsley, Curtis M. Jr. (1974) "The National Anthropological Archives, Simthsonian Institution," History of Anthropology Newsletter: Vol. 1 : Iss. 2 , Article 3. Available at: https://repository.upenn.edu/han/vol1/iss2/3 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/han/vol1/iss2/3 For more information, please contact [email protected]. -2- SOURCES FOR THE HISTORY oF· ANTHROPOLOGY THE NATIONAL ANTHROPOLOGICAL ARCHIVES, SMITHSONIAN INSTITUTION Curtis M. Hinsley, Jr. National Anthropological Archives of the Smithsonian Institu- tion is a mine of vast, untapped resources in the history of American anthropology in the nineteenth and twentieth centuries. The official records and correspondence of the Bureau of American Ethnology, from its founding in 1879 to its dissolution in 1965, form the central col- lection of the Archives. These records not only tell the story of the Bureau but also trace developments in every field of American anthro- pology for nearly a century. The records of.the first thirty years (1880 to 1910), when the Bureau was the undisputed center of anthropo- logical activity in the western hemisphere, are particularly critical for examining the professional development of American anthropology. From 1879 to 1906 outgoing correspondence is filed in various series of letterbooks, some according to official -- John Wesley Powell, Frank Hamilton Cushing, W.J. -
The Project Gutenberg Ebook of Myths of the Cherokee, by James Mooney
4/10/2019 Myths of the Cherokee The Project Gutenberg EBook of Myths of the Cherokee, by James Mooney This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Myths of the Cherokee Extract from the Nineteenth Annual Report of the Bureau of American Ethnology Author: James Mooney Release Date: May 11, 2014 [EBook #45634] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK MYTHS OF THE CHEROKEE *** Produced by Jeroen Hellingman and the Online Distributed Proofreading Team at http://www.pgdp.net/ for Project Gutenberg (This file was produced from images generously made available by The Internet Archive/American Libraries.) [Contents] https://www.gutenberg.org/files/45634/45634-h/45634-h.htm#s1 1/565 4/10/2019 Myths of the Cherokee [Contents] https://www.gutenberg.org/files/45634/45634-h/45634-h.htm#s1 2/565 4/10/2019 Myths of the Cherokee MYTHS OF THE CHEROKEE BY JAMES MOONEY https://www.gutenberg.org/files/45634/45634-h/45634-h.htm#s1 3/565 4/10/2019 Myths of the Cherokee EXTRACT FROM THE NINETEENTH ANNUAL REPORT OF THE BUREAU OF AMERICAN ETHNOLOGY WASHINGTON GOVERNMENT PRINTING OFFICE 1902 [3] [Contents] MYTHS OF THE CHEROKEE BY JAMES MOONEY [5] [Contents] CONTENTS https://www.gutenberg.org/files/45634/45634-h/45634-h.htm#s1 4/565 4/10/2019 Myths of the Cherokee XII.