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Sir John Barley-Come and Sir Richard Rum (And Captain Whiskey)
The Transit of 'Small^ Merjy ' Anglo-American Culture: Sir John Barley-Come and Sir Richard Rum (and Captain Whiskey) JOEL BERNARD As the ideas and feelings embodied in the old unwritten ballads brought over the sea grew dim and remote, these same ballads absorbed by degrees, and with no more change than was necessary, a flavor of America. (Edward Eggleston, The Transit of Civilization from England to America in the Seventeenth Century) ISTORIANS of books and their readers in early America have recently begun to sort out many ofthe complexities H in the common stereotypes about colonial reading. They have focused on the role of mediators such as ministers, writers, and printers in creating, enforcing, and testing authority; they have quantified colonial literacy and book imports; and they have investigated imprints, inventories, and booksellers' stocks to find out what people actually read. Much recent scholarship has fo- cused on the relative isolation of colonial American readers from For help in the preparation of this essay, the author would like to thank Robert Gross, David Hall, John Hench, Jane Hunter, David Lubin, Sheila McAvey, and Elizabeth Reilly. Joel Bemard is also the author of'Authority, Autonomy, and Radical Commitment: Stephen and Abby Kelley Foster,' in these Proceedings i)it (lyHo): 347-S6. Copyright © 1 yyu by American Antiquarian Society 82 American Antiquarian Society all but a carefully defined, largely religious, body of print. Accord- ingly, this suggests that colonial readers—even in highly Hterate New England —lived in a culture of scarce print. In New England, from which the vast majority of early American imprints derive, these limitations are said to have reflected the religious dominance of Puritanism; in other colonies, they were the natural concomi- tants of social and economic underdevelopment. -
*Holiday Special
december 2005 issue 278 free jazz now in our 31st year www.jazz-blues.com &blues report Christmas 2005 On CD Also... 31st Annual Holiday Gift Guide PART II December 2005 – January 2006 • Holiday Special • Issue 278 Published by Martin Wahl Communications Editor & Founder Bill Wahl Christmas Layout & Design Bill Wahl Operations Jim Martin 2005 Pilar Martin Contributors Michael Braxton, Mark Cole, On CD Chris Hovan, Nancy Ann Lee, Peanuts, Mark Smith, Duane one somewhat lesser-known song in- Verh and Ron Weinstock. cluded is her version of Irving Berlin’s “Count Your Blessings Instead Of Check out our new, updated web Sheep.” Krall, accompanying herself on page. Now you can search for CD piano, is heard with either Anthony Wil- Reviews by artists, Titles, Record liams or Russell Malone on guitar, either Labels or JBR Writers. Twelve years John Clayton or Ben Wolfe on bass and of reviews are up and we’ll be going Jeff Hamilton on drums, plus the all the way back to 1974! Clayton-Hamilton Jazz Orchestra for most tracks. Address all Correspondence to.... Jane Monheit, who is now on a ma- Jazz & Blues Report jor label with Epic Records, has also re- 19885 Detroit Road # 320 leased a sweet set of holiday songs. Rocky River, Ohio 44116 Other than “Have Yourself A Merry Little Main Office ...... 216.651.0626 Christmas,” “Santa Claus Is Coming To Editor's Desk ... 440.331.1930 DIANA KRALL Town” and “Sleigh Ride,” she picked a [email protected] different set of songs for her offering. The Web ................. -
Peter Price | [email protected] | +44 208 929 8434
For more than fve decades, Steve Winwood Winwood’s solo career has yielded a rich catalog of popular has remained a primary fgure in rock ‘n’ roll, songs including “Back In The High Life,” “When You See a respected innovator who has helped to A Chance,” “Valerie,” and “Higher Love”. His most recent create some of the genre’s most celebrated solo album, About Time, has continued that success, earning achievements. Winwood one of his highest Billboard chart entries. Winwood burst into prominence in 1963 with Winwood has since renewed his creative partnership with the Spencer Davis Group and since that time Eric Clapton. Their expansive CD and DVD Live At Madison his celebrated skills as a composer, vocalist, Square Garden was nominated for two Grammy Awards and multi-instrumentalist have developed an and rewarded their many fans with some of the impressive catalog of popular music. most exciting performances of their careers. Subsequent tours of the United States That extraordinary portfolio of music began at the and Japan make clear the lasting age of ffteen as the driving force of the Spencer appreciation fans have for their Davis Group. The group enjoyed a string of unique talents. chart success by way of such enduring classics as “Keep On Running” “Gimme Some Lovin’” Winwood continues to perform and “I’m A Man”. The international success of throughout the world and these singles bolstered Winwood’s confdence record new music, furthering and strengthened his resolve to seek out new his impressive legacy. rhythmic possibilities. In addition to his many achievements as a solo In 1967, Winwood left the Spencer Davis Group artist, Winwood remains and co-founded Traffc. -
Jack London, the Sailor
JACK LONDON, THE SAILOR The water around him beckoned Jack London at an early age. Growing up, mostly in Oakland, California, Jack London always had San Francisco Bay close by. This provided him the opportunity to experience adventures on the bay that inevitably led to adventures in far off waters. The main source for Jack London’s early experiences in sailing is found in his writing. The book John Barleycorn is the main source. Here he mentions sailing a skiff on the bay at age fourteen. The skiff was a large rowboat with a centerboard and a small sail. In San Francisco Bay the young London observed ships from foreign countries which triggered a yearning to experience the adventures he envisioned were to be found in other parts of the world. THE RAZZLE DAZZLE Jack London’s next sailing adventures were on the Razzle Dazzle, a sloop for which he paid oyster pirate, French Frank, three hundred dollars that he had borrowed from his wet nurse, Virginia Prentiss. With his own vessel, London now felt tremendously free and wasted no time in raiding the oyster beds with his one-man crew, Spider Healy. The oyster beds were on government land that had been taken over by the Southern Pacific Railroad and leased to oyster growers. London sailed the Razzle Dazzle until the mainsail burned, then he teamed up with young Scratch Nelson on his boat and continued as an oyster pirate. Eventually, London realized it was only a matter of time before he would be either caught or killed, so he agreed to become a deputy for the Fish Patrol operating out of Benicia. -
DSL92203.Pdf
1 1. John Barleycorn Anonymous 2. In a Garden so Green Anonymous 3. Mr. Dowland’s Midnight John Dowland (1563-1626) 4. Fortune my Foe John Dowland 5. My Lady Hunsdon’s Puffe John Dowland 6. Come Again John Dowland 7. Henry Martyn Anonymous 8. Lully lulle Anonymous 9. Solus cum Sola John Dowland 10. M. George Whitehead, His Almand John Dowland 11. Twa Corbies Anonymous 12. Woods so Wild William Byrd (1543-1623) 13. Ddoi di dai Anonymous Tracks 2, 7, 8, 11, 13 & 14 arranged by Brian Kay Tracks 3, 4, 5, 9 & 10 arranged by Ray Nurse and Ronn McFarlane 14. Nottamun Town Anonymous Track 6 arranged by Brian Kay, Ronn McFarlane and Ray Nurse Tracks 1 & 12 arranged by Ronn McFarlane. 2 What is folk music, what is art (with the happy and fervent partic- have come back to the comfort music; is there some difference? ipation by the “art” composers, level of the late Renaissance. This is an idea that has been like Sibelius). Where would our There may have been some debated (fruitlessly, it could be own American musical life be distinction, but there was no argued) over the centuries. had not Charles Seeger taken his discomfort in arranging a popular wife and his baby Pete (and that ditty of the day in any way that Some see the so-called rise of car and proto-trailer hitch) on struck a composers’ fancy. interest in folk music to be a a journey to the Southlands to We could ask, to what extent product of the nationalism of the “bring music to the people?” As Romantic era. -
Traffic's 'John Barleycorn' LP Still a Rock Classic
The Daily Collegian Wednesday, December 15, 1976 'John Barleycorn' LP still a rock classic Traffic's • • • • .f .. ••• • n • . ',.;.. .S 'PP° th,..1 0 . Winwood. • • ), . e a between Wood and by On "Stranger to I t al ►I I 4 , .. • 1 t •,, .• By GEORGE OSGOOD with mild jam cuts wt. U' .1 ••• ► . • •• • •• 11, • 4. .. ri r r . •, • .•• , w ' • •• , • y "Every Mother's Son," . Capaldi midwaythrough. Himself" and • . Collegian Staff Writer ~.., t EITMEE through ......,:, ;:.: 3 ,i ,14 what may be the Winwood, overdubbing, plays , "Glad" spirals into , .. ~ 4/ • a ... .... , ( t'ditor's note: This is the first'in series . : 4;, •l•• . r ft• of• f • -•• •• drums) ' '••• song on an album of great ones. all instruments (except and MEE= • .' • • best • 0 . • N . 5 r of .. E "• occasionally of reviews appearing ' 111 •••.. • •••• .„„,.... ~ 11 , , 1?1•10: .0 • 11 •r a . a as songs are .• ,••' begins with stun- provides vocals well. Both . 1• •.....d "Freedom . ~ 4 ~ out- Rider" 110. , .- • ~,,, •,.e, "classic" record albums those 1 .§!..„ . , , , • ' , ' • 4 ,°•• • , the former is slightly 4. .... ~ ir sax cer- .• i ning electric piece by Wood, good but better ' -. —:,.. .o• ' remain viable . ... standing records that • • IS •• woodwind than the latter, a on which the • 5; and through changing tainly the finest rock player cut in- "; ' . through time ; • . .:' ::• 17 ." L don't quite mesh as they • . moves on the where 1 • to flute, struments r• -ever. Wood - • *musical trends. • L'• I=l • In January, 1969, after two successful he is no less, outstanding and Winwood, should. - • -- . _• No• 01. • •.1,• piano organ, song a .44 1131. moving between and title is traditional English • split up and its four The • , • . -
Do Bad Things Happen When Works Enter the Public Domain?: Empirical Tests of Copyright Term Extension (With P
Chicago-Kent College of Law Scholarly Commons @ IIT Chicago-Kent College of Law All Faculty Scholarship Faculty Scholarship January 2012 Do Bad Things Happen When Works Enter the Public Domain?: Empirical Tests of Copyright Term Extension (with P. Heald) Christopher J. Buccafusco IIT Chicago-Kent College of Law, [email protected] Follow this and additional works at: https://scholarship.kentlaw.iit.edu/fac_schol Part of the Evidence Commons, and the Intellectual Property Law Commons Recommended Citation Christopher J. Buccafusco, Do Bad Things Happen When Works Enter the Public Domain?: Empirical Tests of Copyright Term Extension (with P. Heald), 28 Berkeley Tech. L.J. 1 (2012). Available at: https://scholarship.kentlaw.iit.edu/fac_schol/148 This Article is brought to you for free and open access by the Faculty Scholarship at Scholarly Commons @ IIT Chicago-Kent College of Law. It has been accepted for inclusion in All Faculty Scholarship by an authorized administrator of Scholarly Commons @ IIT Chicago-Kent College of Law. For more information, please contact [email protected], [email protected]. DO BAD THINGS HAPPEN WHEN WORKS ENTER THE PUBLIC DOMAIN?: EMPIRICAL TESTS OF COPYRIGHT TERM EXTENSION Christopher Buccafusco. & Paul J. Heald ABSTRACT According to the current copyright statute, in 2018, copyrighted works of music, film, and literature will begin to transition into the public domain. While this will prove a boon for users and creators, it could be disastrous for the owners of these valuable copyrights. Accordingly, the next few years will witness another round of aggressive lobbying by the film, music, and publishing industries to extend the terms of already-existing works. -
Musicalmosaicplaylist 61521
MusicalMosaicPlaylist 61521 Name Artist Album John Barleycorn Traffic John Barleycorn Must Die Donkey Jaw America America This Flight Tonight Joni Mitchell Blue Bluebird (Remastered Version) Bonnie Raitt Bonnie Raitt (Remastered Version) Me and Bobby McGee Janis Joplin Pearl Caravan Van Morrison Moondance (Expanded Edition) Proud Mary Ike & Tina Turner Proud Mary: The Best of Ike and Tina Turner Brown Sugar The Rolling Stones Sticky Fingers When I Paint My Masterpiece The Band Cahoots Old Man Neil Young Harvest Box of Rain Grateful Dead American Beauty Rock Me On The Water Jackson Browne Saturate Before Using Bangla Desh George Harrison Concert for Bangladesh Ohio (Live) Crosby, Stills, Nash & Young 4 Way Street Ain't No Sunshine Bill Withers Just As I Am I'll Take You There The Staple Singers The Best of the Staple Singers Inner City Blues (Make Me Wanna Holler) Marvin Gaye What's Going On Superstition Stevie Wonder Talking Book Trouble No More (Live at the Fillmore East, 1971) The Allman Brothers Band At Fillmore East (Deluxe Edition) [Live] When the Levee Breaks Led Zeppelin Led Zeppelin IV (Remastered) Walk On The Wild Side Lou Reed 20 Feet From Stardom - Music From The Motion Picture Tiny Dancer Elton John Madman Across the Water It's Too Late Carole King The Essential Carole King, Vol. 1: The Singer You've Got a Friend (2019 Remaster) James Taylor Mud Slide Slim and the Blue Horizon (2019 Remaster) Imagine (Remastered) John Lennon 1971: The Year That Music Changed Everything 1. -
ABSTRACT Jack London Is Not Just an Author of Dog Stories. He Is
UNIVERSIDAD DE CUENCA ABSTRACT Jack London is not just an author of dog stories. He is according to some literary critics, one of the greatest writers in the world. His stories are read worldwide more than any other American author, alive or dead, and he is considered by many as the American finest author. This work presents Jack London as a man who is valiant, wise, adventurous, a good worker, and a dreamer who tries to achieve his goals. He shows that poverty is not an obstacle to get them. His youth experiences inspire him to create his literary works. His work exemplifies traditional American values and captures the spirit of adventure and human interest. His contribution to literature is great. We can find in his collection of works a large list of genders like AUTORAS: María Eugenia Cabrera Espinoza Carmen Elena Soto Portuguéz 1 UNIVERSIDAD DE CUENCA novels, short stories, non-fiction, and autobiographical memoirs. These genders contain a variety of literary styles, adventure, drama, suspense, humor, and even romance. Jack London gets the materials of his books from his own adventures; his philosophy was a product of his own experiences; his love of life was born from trips around the world and voyages across the sea. Through this work we can discover that the key of London's greatness is universality that is his work is both timely and timeless. Key Words: Life, Literature, Work, Contribution, Legacy. AUTORAS: María Eugenia Cabrera Espinoza Carmen Elena Soto Portuguéz 2 UNIVERSIDAD DE CUENCA INDEX ACKNOWLEDGMENTS DEDICATIONS INDEX ABSTRACT INTRODUCTION CHAPTER ONE: JACK LONDON´S BIOGRAPHY 1.1 Childhood 1.2 First success 1.3 Marriage 1.4 Death CHAPTER TWO: WORKS 2.1 Short stories 2.2 Novels 2.3 Non-fiction and Autobiographical Memoirs 2.4 Drama AUTORAS: María Eugenia Cabrera Espinoza Carmen Elena Soto Portuguéz 3 UNIVERSIDAD DE CUENCA CHAPTER THREE: ANALYSIS OF ONE OF LONDON´S WORKS 1.1 “The Call of the Wild 1.2 Characters 1.3 Plot 1.4 Setting CHAPTER FOUR: LONDON´S LEGACY 1. -
Nate Jones Song List C/O CLE Music Group
Nate Jones Song List c/o CLE Music Group PRIVATE EVENT SONG LIST Alicia Keys “No One” Allman Brothers Band “Midnight Rider” America “Horse with No Name” “Ventura Highway” Amos Lee “Sweet Pea” “Keep It Loose, Keep It Tight” ”Windows are Rolled Down” Arlo Guthrie ”City of New Orleans” “Coming into Los Angeles” “Darkest Hour” Art Garfunkel “All I Know” “A Heart In New York” Badfinger “Day After Day” “No Matter What” The Band “Ophelia” “The Weight” “The Night They Drove Old Dixie Down” The Beatles “Yesterday” “In My Life” “Here, There and Everywhere” “When I’m Sixty-Four” “Strawberry Fields Forever” “Blackbird” “Dear Prudence” “Julia” “Rocky Raccoon” “I Will” “While My Guitar Gently Weeps” “Mother Nature’s Son” “Revolution No. 1” “Honey Pie” “Hey Jude” “Let It Be” “Get Back” “The Long and Winding Road” “Come Together” “Something” “Maxwell’s Silver Hammer” “Oh! Darling” “Here Comes The Sun” Bill Withers “Lean On Me” “Ain’t No Sunshine” “Use Me” Billy Joel “Piano Man” “Only the Good Die Young” “Movin’ Out” “Just the Way You Are” “She’s Always a Woman” “My Life” “She’s Got A Way” “Miami 2017 (Seen The Lights Go Out on Broadway)” “Honesty” “Everybody Loves You Now” “Don’t Ask Me Why” “You’re My Home” “Through the Long Night” “An Innocent Man” “The Longest Time” The Black Keys “Tighten Up” Blind Faith “Can’t Find My Way Home” “Presence of the Lord” Blues Traveler “Run-Around” “Hook” Bob Dylan “Don't Think Twice (It’s Alright)” “I Shall Be Released” “Mr. Tambourine Man” “Like a Rolling Stone” “Tangled Up in Blue” “Shelter From the Storm” Bob Seger “Turn the Page” “Still The Same” Bonnie Raitt “Something to Talk About” Bread “Everything I Own” “The Guitar Man” Buffalo Springfield “For What It’s Worth” “Mr. -
SPECIAL COLLECTIONS: Inventory
SPECIAL COLLECTIONS: Inventory UNIVERSITY LIBRARY n SONOMA STATE UNIVERSITY n library.sonoma.edu Jack London Collection Pt. 1 Box and Folder Inventory Photocopies of collection materials 1. Correspondence 2. First Appearances: Writings published in magazines 3. Movie Memorabilia (part 1) 4. Documents 5. Photographs and Artwork 6. Artifacts 7. Ephemera 8. Miscellaneous Materials Related to Jack London 9. Miscellaneous Materials Related to Carl Bernatovech Pt. 2 Box and Folder Inventory Additional materials 1. Published books: First editions and variant editions, some with inscriptions. 2. Movie Memorabilia (part 2) Series 1 – Correspondence Twenty-six pieces of correspondence are arranged alphabetically by author then sub-arranged in chronological order. The majority of the correspondence is from Jack and Charmian London to Mr. Wiget, the caretaker of their ranch in Glen Ellen, or to Ed and Ida Winship. The correspondence also includes one love letter from Jack to Charmian. Series 2 – First Appearances: Writings published in magazines Magazines often provided the first appearances of Jack London’s short stories and novels in serialized form. For example, The Call of the Wild first appeared in the Saturday Evening Post in June of 1903. It was then published later that same year by the Macmillan Company. Studying first appearances in magazines gives the researcher the opportunity to analyse textual changes that occurred over time and provides an opportunity to view the original illustrations. In several instances, Jack London specifically chose the illustrator for his stories. The collection contains two hundred and thirty-seven of Jack London’s magazine publications, both fiction and non-fiction, including many first appearances. -
Biography of Jack London to Be Used in Support of Lessons from to Build a Fire and Other Stories • to Build a Fire
Biography of Jack London to be used in support of lessons from To Build a Fire and Other Stories • To Build a Fire This Level 1 ELLSA lesson can be accessed on the internet at http://www.rdlthai.com/ellsa_londonbio.html Lesson plan and text: Jeffrey Taschner, John Morgan, 1999 Print and web-adaptation: John Morgan, 1999 © USIA, 1999. All rights reserved 1. Biographical details Jack London (1876-1916) Jack London's full name was John Griffith London, and he was born in San Francisco. After completing grammar school, London worked at various jobs to help support his family. He briefly enrolled in a university and took English classes, for he loved to read and write. However, he was not happy with this formal education and he soon dropped out. In 1897 and 1898, London, like many other American and Canadian men, went north to Alaska and the Klondike region of Canada to search for gold. This was the Alaska Gold Rush. Although London never found any gold, his experience in the extreme environment of this cold part of the world gave him ideas for the stories he would write when he decided to return to California. Upon his return to the San Francisco area, he began to write about his experiences. After winning a writing contest, he succeeded in selling some of his stories and in 1900, he published a collection of his short stories, The Son of the Wolf. Like Stephen Crane, London wrote in a Naturalistic style, in which a story's actions and events are caused mainly by man's internal biological needs, or by the external forces of nature and the environment.