DOCSLIB.ORG

2012 Imported Fire Ant Conference Proceedings Is Available on the Extension Web Site in .Pdf Format

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2012 Imported Fire Ant Conference Proceedings Is Available on the Extension Web Site in .Pdf Format Conference Proceedings Nashville, TN April 16-18, 2012 Hosted by Proceedings of the 2012 Imported Fire Ant Conference Nashville, Tennessee, USA April 16-18, 2012 Conference hosted by: Tennessee State University, College of Agriculture, Human, and Natural Sciences, 3500 John A. Merritt Blvd., Nashville, TN 37209 The University of Tennessee, Agricultural Extension Service, Plant and Pest Diagnostic Center, 5201 Marchant Drive, Nashville, TN 37211 Tennessee Department of Agriculture, Division of Regulatory Services - Plant Certification Section, Ellington Agricultural Center, P.O. Box 40627, Nashville, TN 37204 Organizing Committee Tennessee State University Jason B. Oliver, Chair Alicia M. Bray, Co-Chair Nadeer N. Youssef, Co-Chair Nick J. Gawel Holly Hodges University of Tennessee: Frank A. Hale Tennessee Department of Agriculture: Walker G. Haun Steve D. Powell Proceedings compiled by: Jason B. Oliver Tennessee State University, Nashville, TN 1 Proceedings Disclaimers These proceedings were compiled from author submissions of their presentations at the 2012 Imported Fire Ant Conference, held on April 16-18, 2012 at the Holiday Inn Express Downtown Nashville, Nashville, Tennessee. The 2012 annual conference was organized by Tennessee State University, College of Agriculture, Human, and Natural Sciences, Nashville, TN; The University of Tennessee, Agricultural Extension Service, Plant and Pest Diagnostic Center, 5201 Marchant Drive, Nashville, TN; and Tennessee Department of Agriculture, Division of Regulatory Services – Plant Certification Section, Ellington Agricultural Center, P.O. Box 40627 Nashville, TN. The opinions, conclusions, and recommendations are those of the participants and are advisory only. Mention of trade names or commercial products in this publication is solely for the purpose of providing specific information and does not imply recommendation or endorsement by Tennessee State University, The University of Tennessee, or the Tennessee Department of Agriculture. The papers and abstracts published herein have been included as submitted and have not been peer reviewed. They have been collated and duplicated solely for the purpose to promote information exchange and may contain preliminary data not fully analyzed. For this reason, the authors should be consulted before referencing any of the information printed herein. This proceedings issue does not constitute a formal peer review publication. However, ideas expressed in this proceedings are the sole property of the author(s) and set precedence in that the author(s) must be given due credit for their ideas. A copy of the 2012 Imported Fire Ant Conference Proceedings is available on the eXtension web site in .pdf format. To access the 1984 – 2012 Proceedings use the following link: http://www.extension.org/pages/Proceedings_of_the_Imported_Fire_Ant_Conference 2 Table of Contents Page Proceedings Disclaimers 2 Table of Contents 3 Remarks from the Conference Chairman 4 Acknowledgements 5 Index to Submitted Presentation Abstracts / Manuscripts 6 Index to Submitted Poster Abstracts / Manuscripts 9 Submitted Abstracts / Manuscripts 11 List of Registrants 85 Conference Sponsors 90 Appendix 1: 2012 Program Agenda 93 Appendix 2: Conference Photos 105 3 Remarks from the Conference Chairman Greeting from Tennessee to the imported fire ant and invasive ant participants, I want to thank you for attending the 2012 Imported Fire Ant Conference held at the Holiday Inn Express Downtown, Nashville, Tennessee. I hope everyone had a great time in Music City Tennessee, and the conference provided valuable information and enlightenment on imported fire ants and other important invasive ants. The final tally for meeting attendance was 65. The conference began with a Monday evening reception that doubled as a poster viewing and corporate sponsor exhibit area in the Entertainment District reception room. The research conference began Tuesday morning with a welcome from the Tennessee Commissioner of Agriculture, Julius Johnson. Mr. Johnson provided compliments to our group for working to manage such a serious pest issue for citizens in Tennessee, the southern and western United States, and globally. Next, the Dean and Director of Research / Administrator of Extension from the Tennessee State University (TSU) College of Agriculture, Human, and Natural Sciences, Dr. Chandra Reddy, provided a welcome to conference participants from TSU and our co-hosting institutions. Dr. Reddy also conveyed a welcome from the President of TSU, Dr. Portia Shields, and Interim Provost and Executive Vice President for Academic Affairs, Dr. Millicent Lownes-Jackson. Dr. Reddy especially expressed the honor TSU had in co-hosting the Imported Fire Ant Conference this year because TSU was celebrating its Centennial Celebration during the same week as the Imported Fire Ant Conference, as well as TSU Ag Week. Following the opening Welcome Session, this year’s meeting featured a special session on Invasive Ants, which included Dr. Pat Zungoli (Clemson University) speaking on Asian needle ant, Dr. David Oi (USDA-ARS Center for Medical, Agricultural, and Veterinary Entomology) speaking on invasive crazy ants, and Dr. Karen Vail (The University of Tennessee) speaking on other invasive ants. We were also fortunate to have three contributed talks this year on other invasive ants like little fire ants, European red ant, and crazy ants, which immediately followed the special Invasive Ant session. Due to the increased significance of other invasive ants besides imported fire ants, meeting participants decided during the business meeting to formally change the conference name to the “Imported Fire Ant and Invasive Ant Conference”. In addition to the three special session invasive ant presentations, this year’s conference had 17 oral papers and 9 posters on topics pertaining to invasive ants, ecology, genetics, behavior and physiology, management, biological control, fire ant identification, morphology, and extension. The conference concluded with the eXtension Imported Fire Ant Community of Practice workshop held Wednesday afternoon and Thursday morning. The 2012 conference would not have been possible without the dedication, commitment, and hard-work of our conference committee: Dr. Alicia Bray (co-chair), Nadeer Youssef (co-chair), Dr. Nick Gawel, Holly Hodges, Dr. Frank Hale, Walker Haun, and Steve Powell. I am especially appreciative to Alicia and Nadeer, who worked many hours on meeting planning, gift bags, registration, and program development. I hope to see all of you at next year’s conference in Virginia Beach. Please be on the lookout for emails from Dr. Peter Schultz (Virginia Tech, Hampton Roads Agricultural Research and Extension Center) with details on the 2013 Imported Fire Ant and Invasive Ant Conference. Jason B. Oliver, Chairman, 2012 Imported Fire Ant and Invasive Ant Conference 4 Acknowledgements The organizers of the 2012 Imported Fire Ant and Invasive Ant Conference and participants would like to express their appreciation and gratitude to the sponsors for their generous support. Sponsor support was vital in making the conference a success and financially feasible. We are very grateful for their continued generosity. Sponsor ads can be found on page 90 of the proceeding. Corporate Sponsors: Platinum Bronze We would also like to thank Kelli Galloway, Lauren Jensen, Kristin Palmer, and Wayne Coghiel of the Holiday Inn Express Downtown Nashville, Nashville, Tennessee for the excellent accommodations and service in meeting the needs of the conference participants and organizers. We also thank Dennis DeVoto from Conference Direct for his assistance with hotel selection, negotiations with hotel and meeting vendors, and for his invaluable advice on meeting planning. Special thanks go to Joseph Lampley (Tennessee State University, Entomology Laboratory Assistant, Otis L. Floyd Nursery Research Center, McMinnville, TN) for his artistic talent in designing the logo for this year’s conference program, t-shirts, and conference tote bag. Thanks also to former conference organizers and members, Paul Nester, Kelly Loftin, Kathy Flanders, Bastiaan ‘Bart’ Drees, and Neal Lee for their most helpful advice. I would also like to thank Scotts Miracle-Gro for supplying the note pads for the conference and everyone who provided door prizes including Nadeer Youssef (ant fishing flies and framed atlas moth), Alicia Bray (framed cross-stitched ant pictures), Charlotte Oliver (insect-related pottery mugs), Michael Owen (Advion bait), and Fire Ants book (donated by Texas A&M University Press). We also thank Carol Russell (USDA-APHIS) for her continued annual support of the conference with numerous door prize items from Hawaii. 5 Index to Submitted Presentation Abstracts / Manuscripts NOTE: NS denotes Not Submitted. Speaker name in bold. Page Submitted Abstracts / Manuscripts Special Session on Invasive Ants NS Asian needle ant. Patricia Zungoli (Clemson University, Entomology, Soils, and Plant Science, 230 Parkway Drive, Clemson, SC) 11 Invasive crazy ants. David Oi (USDA-ARS, Center for Medical, Agricultural, and Veterinary Entomology,100 S. W. 23rd Drive, Gainesville, FL) NS Other invasive ants. Karen Vail (The University of Tennessee, Department of Entomology and Plant Pathology, 214 Ellington Plant Science Building, Knoxville, TN) USDA Imported Fire Ant Program 13 Overview of the APHIS Imported Fire Ant Program – 2012. Anne-Marie Callcott (USDA, APHIS, PPQ-CPHST, Gulfport, MS), Charles Brown (USDA, APHIS, PPQ-EDP, Riverdale,
Load more

Recommended publications
  • King Crimson Improvattakc Volume # 1 Mp3, Flac, Wma
    King Crimson iMPRoVaTTaKc Volume # 1 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: iMPRoVaTTaKc Volume # 1 Country: Russia Released: 2001 Style: Prog Rock MP3 version RAR size: 1990 mb FLAC version RAR size: 1806 mb WMA version RAR size: 1448 mb Rating: 4.9 Votes: 153 Other Formats: MPC MMF FLAC AIFF AC3 TTA WMA Tracklist iMPRoVaTTaKc #1 (including: Daniel Dust / Clueless And Spightly Slack Parts 1&2 / The 1 20:06 Golden Walnut) iMPRoVaTTaKc #2 (including: Some Pussyfooting / Is There Life Out There? / The Law Of 2 26:20 Maximum Distress Parts 1&2 / Wilton Carpet) iMPRoVaTTaKc #3 (including: A Voyage To The Center Of The Cosmos / Providence / Some 3 30:27 More Pussyfooting / Coda) Credits Bass – John Wetton Drums – Bill Bruford Guitar, Mellotron – Robert Fripp Music By – King Crimson Percussion, Other [Allsort] – Jamie Muir Violin, Viola, Mellotron – David Cross Notes © 2001 Discipline Global Mobile. The phonographic copyright in these performances is operated by Discipline Global Mobile on behalf of the artists, wich whom it resides. Discipline Global Mobile accepts no reason for artists to give away such copyright interests in their work by virtue of a "common practice" which is out of tune with the time, was always questionable and is now indefensible. Music by King Crimson. All themes and variations recorded during the European tour 1973-1974 and based on the original concept. Mixed & mastered for DGM at November, 2001. Cover and sleeve design by Collage Gallery. Engineer & editor coordinator Andrew Lipatoff. Issued in a jewel case with clear tray and 4-page booklet. Barcode and Other Identifiers Matrix / Runout: KCIM-39309 Related Music albums to iMPRoVaTTaKc Volume # 1 by King Crimson Robert Fripp - Radiophonics (1995 Soundscapes Volume 1 - Live In Argentina) King Crimson - The ConstruKction Of Light King Crimson - Epitaph King Crimson - THRAK King Crimson - The Deception Of The Thrush (A Beginner's Guide To ProjeKcts) King Crimson - Larks' Tongues In Aspic King Crimson - Absent Lovers (Live In Montreal 1984) King Crimson - USA.
    [Show full text]
  • John Zorn Artax David Cross Gourds + More J Discorder
    John zorn artax david cross gourds + more J DiSCORDER Arrax by Natalie Vermeer p. 13 David Cross by Chris Eng p. 14 Gourds by Val Cormier p.l 5 John Zorn by Nou Dadoun p. 16 Hip Hop Migration by Shawn Condon p. 19 Parallela Tuesdays by Steve DiPo p.20 Colin the Mole by Tobias V p.21 Music Sucks p& Over My Shoulder p.7 Riff Raff p.8 RadioFree Press p.9 Road Worn and Weary p.9 Bucking Fullshit p.10 Panarticon p.10 Under Review p^2 Real Live Action p24 Charts pJ27 On the Dial p.28 Kickaround p.29 Datebook p!30 Yeah, it's pink. Pink and blue.You got a problem with that? Andrea Nunes made it and she drew it all pretty, so if you have a problem with that then you just come on over and we'll show you some more of her artwork until you agree that it kicks ass, sucka. © "DiSCORDER" 2002 by the Student Radio Society of the Un versify of British Columbia. All rights reserved. Circulation 17,500. Subscriptions, payable in advance to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN ilsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money ordei payable to DiSCORDER Magazine, DEADLINES: Copy deadline for the December issue is Noven ber 13th. Ad space is available until November 27th and can be booked by calling Steve at 604.822 3017 ext. 3. Our rates are available upon request.
    [Show full text]
  • King Crimson Collectors' Club (1969-1974)
    King Crimson Collectors' Club (1969-1974) Scritto da Gianluca Livi Mercoledì 30 Marzo 2016 19:23 King Crimson 1 / 10 King Crimson Collectors' Club (1969-1974) Scritto da Gianluca Livi Mercoledì 30 Marzo 2016 19:23 Collectors' Club (1969-1974) di Gianluca Livi Articolo originariamente apparso in due puntate sui nn. 35 e 37 (rispettivamente Marzo/Aprile e Luglio/Agosto del 2008) di "Musikbox. Rivista di cultura musicale e guida ragionata al collezionismo", qui pubblicato, con alcune varianti, per gentile concessione dell'autore. Premessa (2008) Alla fine degli anni '90, stanco dei bootleg, Robert Fripp decise di commercializzare ufficialmente alcuni live dei King Crimson su cd, muovendo dal presupposto che, se fino a quel momento i fan avevano acquistato materiale del gruppo dal vivo di scarsa qualità, facendo guadagnare esclusivamente biechi 2 / 10 King Crimson Collectors' Club (1969-1974) Scritto da Gianluca Livi Mercoledì 30 Marzo 2016 19:23 imprenditori pirata, poteva egli stesso vendere le medesime esibizioni, ufficializzandone l'uscita sul mercato discografico e, congiuntamente, perseguendo anche un (legittimo) fine di lucro. Poiché anche parte delle registrazioni in suo possesso erano qualitativamente scadenti, conscio dell'impossibilità di immetterle nel mercato senza suscitare polemiche, decise di distribuirle solo agli iscritti di un club, il cosiddetto “Collector's Club”. Coloro che vi avessero aderito, previo versamento di una cifra iniziale abbastanza consistente, avrebbero ricevuto i titoli pubblicati di volta in volta, vedendosi scalato il valore di ogni singolo disco dalla quota d'iscrizione. L'iniziativa andò avanti con ottimi risultati fino al 2002, quando - abbandonato definitivamente il metodo dell'iscrizione al Club - i cd furono inseriti nel catalogo della DGM, unitamente ad album ufficiali dei Crimson e di altri artisti della scuderia.
    [Show full text]
  • Keith Carlock
    APRIZEPACKAGEFROM 2%!3/.34/,/6%"),,"25&/2$s.%/.42%%3 7). 3ABIANWORTHOVER -ARCH 4HE7ORLDS$RUM-AGAZINE 'ET'OOD 4(%$25--%23/& !,)#)!+%93 $!.'%2-/53% #/(%%$ 0,!.4+2!533 /.345$)/3/5.$3 34!249/52/7. 4%!#().'02!#4)#% 3TEELY$AN7AYNE+RANTZS ,&*5)$"3-0$,7(9(%34(%-!.4/7!4#( s,/52%%$34/.9h4(5.$%2v3-)4( s*!+),)%"%:%)4/&#!. s$/5",%"!3335"34)454% 2%6)%7%$ -/$%2.$25--%2#/- '2%43#(052%7//$"%%#(3/5,4/.%/,$3#(//,3*/9&5,./)3%%,)4%3.!2%3%6!.34/-0/7%2#%.4%23 Volume 35, Number 3 • Cover photo by Rick Malkin CONTENTS 48 31 GET GOOD: STUDIO SOUNDS Four of today’s most skilled recording drummers, whose tones Rick Malkin have graced the work of Gnarls Barkley, Alicia Keys, Robert Plant & Alison Krauss, and Coheed And Cambria, among many others, share their thoughts on getting what you’re after. 40 TONY “THUNDER” SMITH Lou Reed’s sensitive powerhouse traveled a long and twisting musical path to his current destination. He might not have realized it at the time, but the lessons and skills he learned along the way prepared him per- fectly for Reed’s relentlessly exploratory rock ’n’ roll. 48 KEITH CARLOCK The drummer behind platinum-selling records and SRO tours reveals his secrets on his first-ever DVD, The Big Picture: Phrasing, Improvisation, Style & Technique. Modern Drummer gets the inside scoop. 31 40 12 UPDATE 7 Walkers’ BILL KREUTZMANN EJ DeCoske STEWART COPELAND’s World Percussion Concerto Neon Trees’ ELAINE BRADLEY 16 GIMME 10! Hot Hot Heat’s PAUL HAWLEY 82 PORTRAITS The Black Keys’ PATRICK CARNEY 84 9 REASONS TO LOVE Paul La Raia BILL BRUFORD 82 84 96
    [Show full text]
  • Tesi Del Dott. Jacopo Conti: Minimalismo ... -.:: Franco Fabbri
    UNIVERSITÀ DEGLI STUDI DI TORINO FACOLTÀ DI SCIENZE DELLA FORMAZIONE CORSO DI STUDIO TRIENNALE IN D.A.M.S. DISSERTAZIONE FINALE Minimalismo, modalità e improvvisazione nella musica dei nuovi King Crimson Relatore: Candidato: Ernesto Napolitano Jacopo Conti matr. n° 259083 Anno accademico 2006 - 2007 A mia zia, che credeva in me e mi ha sempre sostenuto. 1 PREMESSA “King Crimson was more a revolving door than a band. ” - Robert Palmer La cronologia dei King Crimson (KC) dal 1969 al 2003 è assai articolata, e include vari stili e molti musicisti con una sola presenza fissa, quella di Robert Fripp (1946), chitarrista e compositore inglese fondatore del gruppo. Considerati tra i fondatori del progressive rock, pubblicano l’album In The Court Of The Crimson King 1 nel 1969 con Fripp alla chitarra, Ian McDonald (1946) al sax e al mellotron, Michael Giles (1942) alla batteria, Greg Lake (1948) al basso e alla voce e Peter Sinfield (1943) nel ruolo di paroliere. I lunghi brani strutturati, gli elaborati riff suonati all’unisono e i testi di ispirazione fantastica e fiabesca non solo diventano la caratteristica principale del gruppo, ma anche gli elementi fondanti del nuovo genere. Già con il secondo lp, In The Wake Of Poseidon (1970), la formazione viene rimodellata: Mel Collins (1947) prende il posto di McDonald al sax, Gordon Haskell canta in alcuni brani (durante la lavorazione del disco Greg Lake abbandona il gruppo per andare a costituire il trio Emerson, Lake & Palmer), si aggiunge al pianoforte Keith Tippett (1947). Il gruppo si scioglie per qualche mese dopo l’incisione del disco per poi tornare, con un’altra formazione, alla fine del 1970.
    [Show full text]
  • Discografia King Crimson
    Discografia king crimson Continue 1992 The Great Deceiver -- Live 1973-1974 Registrato dal vivo durante il Tour Heavy Horses in Europe (1978). CD 1 - Things aren't as they seem... Theatre Registry Al Palace, Providence, USA, il 30 giugno 1974. 1 - Walk by ... No Pussyfooting - 0:52 2 - Lark Languages in Aspic, Part 2 - 6:12 3 - Crying - 4:04 4 - Exiles - 7:00 5 - Journey to the Center of Space - 14:4 1 6 - Easy Money - 7:14 7 - Providence - 9:47 8 - Rift - 10:47 9 - Starless - 11:56 CD 2 - Hand sleight of hand Tracce 1-2 registered Al Palace Theatre, Providence, Stati Uniti d'America, il 30 giugno 1974. Tracce 3-11 registrar Al Apollo, Glasgow, GB, il 23 ottobre 1973. Tracce 12-13 Registrar al Penn State University, State College, Pennsylvania, Stati Uniti d'America, il 29 giugno 1974. 1 - 21st Century Schizoid Man - 7:32 2 - Walk from Providence ... No Pussyfooting - 1:15 3 - Sharks lightweight at Lemsip - 2:38 4 - Lark tongues in Aspic, Part One - 7:25 5 - Saturday Book - 2:49 6 - Easy Money - 6:43 7 - We Let You Know - 4:54 8 - Night's Watch - 4:5 5 4 9 - Tight Scrummy - 8:27 10 - World: Theme - 1:01 11 - Cat Food - 4:14 12 - Easy Money - 2:19 13 - ... It's for you, but not for us - 7:25 CD 3 - ... Acts of Deception Tracce 1-11 Registration Al Stanley Warner Theater, Pittsburgh, USA, il 29 aprile 1974. Tracce 12-13 Registrar al Penn State University, State College, Pennsylvania, USA, il 29 giugno 1974.
    [Show full text]
  • Of Virtual Spatiality: Surround Sound Mixing in King Crimson's Back
    Toivo Burlin: The creation (and re-creation) of virtual spatiality: Surround sound mixing in King Crimson’s back catalog box sets Proceedings of the 12th Art of Record Production Conference Mono: Stereo: Multi Burlin, T. (2019). The creation (and re-creation) of virtual spatiality: Surround sound mixing in King Crimson’s back catalog box sets. In J.-O. Gullö (Ed.), Pro- ceedings of the 12th Art of Record Production Conference Mono: Stereo: Multi (pp. 37-53). Stockholm: Royal College of Music (KMH) & Art of Record Produc- tion. ISBN 978-91-983869-9-8 © The editors and authors own the copyright of their respective contrubutions. Toivo Burlin: The creation (and re-creation) of virtual spatiality: Surround sound mixing in King Crimson’s back catalog box sets Abstract: The article analyzes surround mixing of King Crimson’s analog recordings. “Lizard,” “Larks’ Tongues in Aspic (Part 1),” “The Night Watch,” “Trio,” and “One Time” are analyzed using the theoretical perspec- tives of the music recording as representation and spatial design. There is a difference between live and studio recordings in surround: live recordings tend to be mixed according to the direct/ambient principle, while studio re- cordings are mixed according to the principle of direct-sound all around. Live recordings in surround can also often be understood as examples of documentarism, and studio recordings as examples of hyper realism. The spatial design of the surround mix tends to emphasize aspects of spatiality in the broad sense: where the recording can, for example, be interpreted as a landscape in sound. Introduction This essay discusses some tendencies in the emerging conventions in con- temporary surround mixing of popular music.
    [Show full text]
  • Article-P236 11.Pdf
    Religion and the Arts 21 (2017) 236–258 RELIGION and the ARTS brill.com/rart “Turning Ourselves” Fripp, Bennett, Gurdjieff David G. Robertson University of Edinburgh Abstract In 1974, Robert Fripp—leader of the progressive rock group King Crimson—had a spiritual experience in which “the top of [his] head blew off.” He became a student of J. G. Bennett, himself a former student of G. I. Gurdjieff, at Sherborne House in Gloucestershire, and remains a member of the Bennett Foundation to this day. When Fripp returned to the music industry, it was with an approach that favored disciplined and geometric compositions over the jagged improvisation of the earlier period. This article explores the influence of Gurdjieff and Bennett’s teaching upon Fripp and his work, and his apparent attempts to realize the former’s idea of “objective art” through his music. I pay particular attention to the development of Guitar Craft, in which Fripp applies Gurdjieff’s techniques through the teaching of the guitar. I argue that Fripp’s teaching is a little examined scion of the Gurdjieff lineage, and a case study of discrete cultural production. Keywords Robert Fripp – G. I. Gurdjieff – J. G. Bennett – Fourth Way – progressive rock … Spirituality is not identical with religion.The artist, who looks for a quality in his art that this world cannot give, is a spiritual man even if he denies religion. bennett, A Spiritual Psychology 9 ∵ © koninklijke brill nv, leiden, 2017 | doi: 10.1163/15685292-02101010 Downloaded from Brill.com09/25/2021 10:37:42PM via free access “turning ourselves” 237 i Introduction In 1974,Robert Fripp, the phlegmatic guitarist and leader of the progressive rock group King Crimson, claimed that “the top of [his] head blew off” while reading the First Inaugural Address of J.
    [Show full text]
  • King Crimson Barclay James Harvest
    King Crimson Barclay James Harvest Oplæg af Flemming Vestergaard til Gladsaxe Bib. Rocklytteklub nov. 2016 King Crimson & Barclay James Harvest Koncertaktuelle efterår 2016 i København Dannet i slut-60'erne og stadig aktive Spiller progressiv rock og anvender mellotron King Crimsons musik er intellektuel, eksperimentel, kompleks og abstrakt. Teksterne er ofte litterære, filsofiske, dybsindige eller sarkastiske Barclay James Harvests musik er lyrisk, melodisk, ofte folkemusikinspireret. Teksterne er fortællende og fyldt med poesi og følelser. Vi hører King Crimson - ”Moonchild” King Crimson – Robert Fripp Født 1946 i Dorset, Storbritanien Ingen musikalsk baggrund i familien Lærte at spille guitar som 11- årig Er den eneste som har spillet med King Crimson i alle årene. Spiller guitar og mellotron på næsten alle albums Dannede trioen Giles, Giles & Fripp i 1967 som spillede tidens psykedeliske musik iblandet tale og eksperimenter. Dannede King Crimson i 1968 med Ian McDonald (voc,ts,fl,kb), Michael Giles (voc,dr, perc), Greg Lake (voc,b) In the Court of the Crimson King Udkom 1969 på Island Records Vi hører ”In the Court of the Crimson King” Anses for et banebrydende album for den progressive rock. Musikken er symfonisk og eksperimenterende. Teksterne blev skrevet af Pete Sinfield, som fulgte bandet nogle år Greg Lake forlod KC året efter og gik med i Emerson, Lake & Palmer. Mellotron Analog sampler opfundet 1963 Vi ser Paul McCartney demonstrere den Fungerer ved at hver tangent er tilknyttet sin egen båndafspiller med 8 sekunders bånd Hvert bånd har et antal forudindspillede orkesterlyde. Visse af dem blev meget populære i rock. De første modeller var meget dyre og kostede 1/3 af prisen for et hus.
    [Show full text]
  • The Responsible Design Framework — Case Studies
    THE RESPONSIBLE DESIGN FRAMEWORK — CASE STUDIES Design School Projects compiled by the Conscientious Communicators Research Hub INTRODUCTION ‘Design, if it is to be ecologically responsible and socially responsive, must be revolutionary and radical.’ Victor Papanek – Design for the Real World The Responsible Design Framework Case The following case studies demonstrate Studies have been designed to evidence approaches to exploring ‘the way’ and a developing range of practices within the ‘the why’ of design – seeking to create in LCC Design School and to inspire students environmentally responsible and socially to consider a way to practice design that responsive ways. responds to the eco-social challenges of our time with the skills and values of The projects share common traits, they are: responsible creative citizens. driven by a desire to address challenges; they identify a clear purpose; they utilise While the Responsible Design Framework co-design research, resourceful making, gives guidance for embedding responsible prototyping, circular thinking and approaches and principles within the evaluate the projects as they develop curriculum by clearly identifying this with project partners. explicit/tacit knowledge to students, the case studies highlight student and Above all, these case studies support the staff learning and achievement. These belief that design can be the ‘site of action are projects that have been created and agency to radically transform our with diverse external communities and world,’ (LCC Design School Manifesto). in collaboration with NGO and local They are active and brave – seeking to organisations which reflect the Design explore lesser known subjects, challenge School’s environmental and social the status quo, change behaviour, raise design imperatives.
    [Show full text]
  • King Crimson - Live in Toronto 1974 (2011)
    King Crimson - Live In Toronto 1974 (2011) Written by bluesever Friday, 20 June 2014 16:09 - Last Updated Monday, 28 May 2018 20:16 King Crimson - Live In Toronto 1974 (2011) CD1 1. Larks' Tongues In Aspic: Part II (6:17) 2. Lament (5:05) 3. Exiles (8:22) 4. Improv - The Golden Walnut (11:38) 5. The Night Watch (4:38) 6. Fracture (11:11) CD2 1. Improv - Clueless And Slightly Slack (9:53) 2. Easy Money (7:12) 3. Starless (14:50) 4. 21st Century Schizoid Man (9:37) Line-up : David Cross - violin, mellotron, electric piano Robert Fripp - guitar, mellotron, electric piano John Wetton - bass guitar, vocals Bill Bruford - drums, percussion "King Crimson is, as always, more a way of doing things. When there is nothing to be done, nothing is done: Crimson disappears. When there is music to be played, Crimson reappears. If all of life were this simple". Robert Fripp King Crimson was conceived in November 1968 and born on January 13th 1969 in the Fulham Palace Cafe, London (Fripp/Ian McDonald/Greg Lake/Michael Giles/Pete Sinfield), coming to prominence after supporting The Rolling Stones at Hyde Park. Their ground-breaking debut In The Court Of The Crimson King (1969) described by Pete Townshend as "an uncanny masterpiece", began a career that has spanned four decades and influenced many bands and individuals including Yes, Genesis, Tool, and Porcupine Tree. Despite the original line-up imploding after an American tour King Crimson continued to produce constantly challenging and intriguing music on albums such as In The Wake of Poseidon (1970), Lizard (1970), Islands (1971), Earthbound (1972), Larks' Tongues in Aspic (1973) and Red (1974).
    [Show full text]
  • Mellotron ORDER 08
    NEW FROM DESERT♥HEARTS BOOKS SUMMER 2008 ORDER YOUR COPY NOW! GENESIS • KING CRIMSON • YES • MOODY BLUES • STRAWBS • BARCLAY JAMES HARVEST • PAVLOV’S DOG • STEVE HACKETT • FLOWER KINGS • IQ • ENGLAND • XTC • ORCHESTRAL MANOEUVRES IN THE DARK • 21ST CENTURY SCHIZOID BAND • Mellotron The Machine and the Musicians that Revolutionised Rock A history of one of rock’s mythical keyboards — by Nick Awde 592 pages, 300 B&W photos • £19.95 • ISBN: 978-1-898948-02-5 (Hardback) Order your special preview copy DIRECT from Desert Hearts, shipping Monday July 14 (official release date Sept 1). Order online at www.deserthearts.com, or by post sending cheque with the order form below. The Mellotron changed music forever when it appeared in the 60s. Long before the advent of synthesizers, this extraordinary keyboard revolutionised rock and pop music. For the first time, it brought a potentially unlimited range of sounds to a musician’s fingertips. As the world’s first sampler, its pre-recorded tapes included everything from a symphony orchestra and church choir to samba combo and rock’n’roll drum rhythms. The result is an insight into the social history of British pop and rock music—in particular progressive rock—and explains some of the reasons why British music came to rock the whole world. Top musicians, songwriters and producers chart their careers with the Mellotron, the first sampler keyboard whose eccentric mechanism led to it being affectionately called “The Beast”: Tony Banks (Genesis), Mike Pinder (Moody Blues), Ian McDonald (King Crimson, Foreigner),
    [Show full text]