DOCSLIB.ORG

Rodger Coleman Sun Ra Sundays

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rodger Coleman Sun Ra Sundays SUN RA SUNDAYS by Rodger Coleman This is a compilation of blog entries about SUN RA authored by RODGER G. COLEMAN from 2008 to 2015 and posted at nuvoid.blogspot.com. Coleman's blog contains hundreds of posts on a myriad of music subjects; we've culled only the Ra content. We have added no commentary, preferring to let this writing speak for itself. The vast Sun Ra knowledge base covered in Coleman's posts remains vital and historically valid. Identifiable historic inaccuracies (generally based on best-available sources at the time) are neither corrected nor footnoted. These are the posts and responses as they were published online at the time—the verbatim historic record. All copyrights belong to Coleman and the authors of the comments and quoted sources. This chronicle was collected, formatted & edited by Irwin Chusid, with assistance from Kristen Pierce, in November 2018. It is sequenced chronologically. Some unintentional misspelling has been corrected; idiosyncratic spelling, abbreviations, and casual disregard of capitalization niceties (mostly in the comments) were left as written. Most dead links are omitted. Reader comments are highlighted in red (although salutations- only comments have been omitted). Graphic images and photos from the blog are not included. (For graphics, see SAM BYRD's complementary collection of Sun Ra Sundays posts; Byrd also arranged all entries in discographical order.) This content has been collected for preservation, research, and circulation. In some cases, recent findings have amplified, clarified, or superseded particular details or assertions. It would be interesting to crowd-source updates with new information that's come to light since these posts were published. Such an undertaking would constitute yet a third version of this compilation. The opinions herein are exhaustive, authoritative, and worth reading. They are a valuable addition to Ra scholarship—particularly as regards Sun Ra's massive recorded output—and should be preserved in case the www disappears. Thank you Mr. Coleman for your monumental journalistic commitment. This chronicle belongs between covers. Irwin Chusid Hoboken NJ November 2018 [email protected] FOREWORD I am happy to have this writing preserved and shared with the world to help bring Sun Ra's discography into focus. After almost seven years, I eventually burned out on the Sun Ra Sundays project. There was too much going on my life and the posts had started to feel like an unwanted obligation. However, I am still proud of the writing. Looking back, it is astonishing to me that I had so much energy to devote to it. At some point in all that blogging, I talked about what prompted the whole Sun Ra Sunday project. It was a combination of things. I was working in a high-pressure law office where I was doing tremendous amounts of research and writing which was so stressful that Sundays were unbelievably depressing. I found that listening to Sun Ra's music cheered me up. Yet his massive (and ever-growing) discography was difficult to wrap my head around. That sparked my curiosity to hear and write about every Sun Ra recording I could get my hands on (official and bootleg), a task for which my law-office research skills turned out to be immensely helpful. Also, while I especially loved the Choreographer's Workshop period (1962–65), it was scattered across myriad Saturn releases. Sun Ra Sunday became a way to gradually map that part of Ra's discography. Inevitably, of course, the research and writing explored deep into Sun Ra's recorded cosmos. And therein lies the burnout. But it was quite a run while it lasted. An alternate PDF of all the Sun Ra Sundays was compiled by my friend and musical colleague Sam Byrd, who arranged the posts in discographical order. I had thought about self-publishing, even in its incomplete form, but never got it together. I'm happy for this work to be available to a wider, more interested audience. Thank you so much for your kind words in the introduction as well as for the all the work you've done formatting and correcting the text. I am honored. Rodger Coleman November 2018 INTRODUCTION Rodger Coleman and I have a long history together, dating back to the late 1980s in Boston with our band UYA. I had been aware of Sun Ra for some time before that—I had a few LPs but was not yet attuned to them. Rodger set me straight, encouraging me to check out Ra again—and I'm so glad he did. When he first started writing about Ra, Rodger often focused on the Choreographers Workshop era, but it soon became clear that his ambitions were much higher than that. Week after week, blog readers were treated to an incisive chronological romp through Ra's recordings, with Rodger doing a great job contextualizing them, leaning heavily on John Szwed's Space is the Place: The Lives and Times of Sun Ra for historical details but depending on his own finely attuned ear to provide a unique perspective on the music itself. My humble involvement was only as a friend and a fan. I didn't comment nearly as much as I wanted to. It's a busy world. After Rodger ended the series, I occasionally tried to talk him into revitalizing the feature, but to no avail. After it was apparent that there were to be no more Sun Ra Sundays, I took it on myself to grab all the postings and put them in a file. The version I compiled was both a labor of love and the fulfillment of a selfish practical need to have it all in chronological order for easy lookup in my ongoing journey of studying and learning about this music. I then printed it with Lulu and have a much-prized and well-thumbed copy of Sun Ra Sundays. I'm so glad Irwin has taken the initiative to put this compilation together and circulate it. Now you too can have it all in one place; after all, Saturn research continues. Sam Byrd December 2018 SUN RA SUNDAYS SePtember 1, 2008 Sun Ra & His Intergalactic Research Arkestra: Black Myth / Out In Space (MPS) Recorded live Donaueschingen 10/17/70 & Berlin 11/7/70 It's after the end of the world! Don't you know that yet?! SePtember 28, 2008 Sun Ra & His Intergalactic Myth Science Solar Arkestra: On Jupiter (Art Yard CD) Sun Ra & His Intergalactic Myth Science Solar Arkestra: Sleeping Beauty (Art Yard CD) These two 1979 Saturn sessions present Sun Ra at his most accessible – groovy, dreamy, spacey, and suitably cosmic while reigning in the full-blown freakouts that can make Sun Ra’s music difficult for some (or maybe not quite the right thing on a Sunday evening). That is not to say that these are lesser albums. Quite the contrary! This is simply beautiful music! Essential! Note that these CDs are extremely limited editions and sparsely distributed. I got mine from Downtown Music Gallery. See also Lanquidity (Evidence). October 26, 2008 Sun Ra & His Solar Arkestra: Secrets of the Sun (Atavistic ALP266 CD) Atavistic continues to make the rarest of the rare Saturn records available once again and to a mass audience all thanks to John Corbett’s “Unheard Music Series.” Rejoice! In fact, Secrets of the Sun is so rare, that the CD had to be mastered from a vintage LP, with its occasional (but inevitable) pops and clicks. But don’t let that stop you! This is primo Sun Ra, recorded in rehearsal at the Choreographer’s Workshop in New York City, where the relaxed vibe (free rent!) and pleasant acoustics inspired an amazing run of albums from 1962-1964. Many of those titles were (thankfully) re-issued by Evidence in the 1990s but this nearly-lost 1962 session is a most welcome addition indeed. Listened to chronologically, the Saturn LPs recorded during the Choreographer’s Workshop period exhaustively document the evolution of the Arkestra from the tightly arranged big-band material found on The Futuristic Sounds of Sun Ra (Savoy, 1962) to the adventurous and edgy avant-garde weirdness of Heliocentric Worlds, Vols.1-2 (ESP, 1965). As such, these Saturn records are some of the most intriguing (and downright pleasurable) albums in all of Sun Ra’s vast discography. Emerging from its decades-long obscurity, Secrets of the Sun presents a missing link in the history of this period. The smallish ensembles are simply recorded (in mono) in a lushly reverberant ambient space which gives the recordings a suitably unearthly quality that epitomizes that “Saturn Sound” so unique to Sun Ra’s home-brewed record label. The opening track, “Friendly Galaxy,” is typical in how it constructs a whole other world in miniature: the unusual frontline instrumentation (bass clarinet, flute, flugelhorn, and the rarely-deployed electric guitar) creates beautifully floating melodies and ethereal textures while the agile and propulsive rhythm section of Ronnie Boykins on bass and Tommy Hunter on drums combine with Sun Ra’s off-kilter piano to provide a buoyant and supple ostinato accompaniment. Individual solos briefly take flight before returning to the theme and ends, appropriately, after a mere four minutes and fifty-three seconds. Brilliant! “Solar Differentials” takes things a bit further out with “space bird sounds," “space voice," and primitive electronic echo and feedback (remember, this is 1962!), all of which is punctuated by Sun Ra’s percussive stabs on the piano. Ronnie Boykins once again shines with his rock solid bass anchoring the chaotic proceedings. “Space Aura” is slightly more conventional, beginning with a march-like processional before giving way to a relaxed swing, with everyone contributing pithy but exploratory solos – Pat Patrick’s honking and squealing baritone saxophone being a particular delight.
Load more

Recommended publications
  • Gov. Slates State Meeting Here *
    Y Enrollment unusual says Carnahan Dr. Orville D. Carnahan, increases in enrollment this HCC president, said the col- Fall. Full-time equivalent lege had an unanticipated figures are up 12.32 percent large enrollment increasethis from last Fall Quarter on the Fall. eighth day of instruction for HCC officials announced the 27-college system. recently that the college has Persons enrolled in classes experienced a 10.75 percent on the eighth day oPthe quar- increase in enrollment for ter numbered 128,128 on a !\,. Fall Quarter 1975 as com- headcount basis, which is an pared to the Same time last increase of 9.22 percent over year. the same period last year. The enrollment count was “The commrltrity. college taken on the eighth dayof in- system is facing a dilemma,” struction and showed 8,259 said John C. Mundt, director persons enrolledthis Fall. The of the State Board for Con)- growth in FTE’s (full-time munity’ College Education. equivalent students) is 15.2 “On one hand we have a percent higher this Fall as demand from. the public for compared to the same period more service andon the other last year. hand we have a fundinglevel “We assume much of it is covering a lower number of because of the scarcity of students,” he explained. jobs, but ,we also think we’ve “Right now we have an in- reached a point where high crease of. nearly 11,000 school ‘stop-out’ (when in- students on our campuses dividuals go directly into the compared to the same time job market or some other last year.
    [Show full text]
  • Subjective (Re)Positioning in Musical Improvisation: Analyzing the Work of Five Female Improvisers *
    Subjective (Re)positioning in Musical Improvisation: Analyzing the Work of Five Female Improvisers * Marc Hannaford NOTE: The examples for the (text-only) PDF version of this item are available online at: h+p:,,www.mtosmt.org,issues,mto.10.12.1,mto.17.12.1.hanna ord.php 4E5WORDS: Feminist music theory, gender, improvisation, jazz, Shannon 7arne+, Caroline Davis, Ingrid 9aubrock, 9inda Oh, Anna Webber A7STRACT: This article analyzes the music o :ve emale improvisers. I employ these women’s lived experiences o discrimination as a basis or my analysis o improvisation in terms o what I call subjective (re)positioning. Given these women’s experiences o discrimination, trust means something ar richer than musically working together during per ormance. Trusting improvising partners create a conceptual space in which musicians are able to position and reposition themselves, thus expressing agency. Received March 2016 Volume 23, Number 2, June 2010 Copyright © 2017 Society for Music Theory A/B At a recent per ormance o improvised music at a venue in New 5ork, some musicians and I noticed that the cover o the March 2015 DWomen’s Eistory Month” issue o The New York Jazz Record eatured male pianist Vijay Iyer on the cover. Our jokes about dishpan hands soon gave way to melancholy: it seems that, despite some jazz progressivists, neo-classicists, and academics arguing that jazz is a site or the realization o egalitarian or democratic ideals ( 7urns 2004 , Fischlin 2012 , Nicholls 1012 ), there is still work to be done. (1) A1B This article analyzes music by composer,improvisers Shannon 7arne+, Caroline Davis, Ingrid 9aubrock, 9inda Oh, and Anna Webber in conjunction with interviews I conducted with each o them ( 7arne+ 1015 , Davis 2015 , 9aubrock 2015 , Oh 2015 , Webber 2015 ).
    [Show full text]
  • “Until That Song Is Born”: an Ethnographic Investigation of Teaching and Learning Among Collaborative Songwriters in Nashville
    “UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2016 ABSTRACT “UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill With the intent of informing the practice of music educators who teach songwriting in K– 12 and college/university classrooms, the purpose of this research is to examine how professional songwriters in Nashville, Tennessee—one of songwriting’s professional “hubs”—teach and learn from one another in the process of engaging in collaborative songwriting. This study viewed songwriting as a form of “situated learning” (Lave & Wenger, 1991) and “situated practice” (Folkestad, 2012) whose investigation requires consideration of the professional culture that surrounds creative activity in a specific context (i.e., Nashville). The following research questions guided this study: (1) How do collaborative songwriters describe the process of being inducted to, and learning within, the practice of professional songwriting in Nashville, (2) What teaching and learning behaviors can be identified in the collaborative songwriting processes of Nashville songwriters, and (3) Who are the important actors in the process of learning to be a collaborative songwriter in Nashville, and what roles do they play (e.g., gatekeeper, mentor, role model)? This study combined elements of case study and ethnography. Data sources included observation of co-writing sessions, interviews with songwriters, and participation in and observation of open mic and writers’ nights.
    [Show full text]
  • Vindicating Karma: Jazz and the Black Arts Movement
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B.
    [Show full text]
  • The Future of Copyright and the Artist/Record Label Relationship in the Music Industry
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Saskatchewan's Research Archive A Change is Gonna Come: The Future of Copyright and the Artist/Record Label Relationship in the Music Industry A Thesis Submitted to the College of Graduate Studies And Research in Partial Fulfillment of the Requirements for the Degree Of Masters of Laws in the College of Law University of Saskatchewan Saskatoon By Kurt Dahl © Copyright Kurt Dahl, September 2009. All rights reserved Permission to Use In presenting this thesis in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other use of material in this thesis in whole or part should be addressed to: Dean of the College of Law University of Saskatchewan 15 Campus Drive Saskatoon, Saskatchewan S7N 5A6 i ABSTRACT The purpose of my research is to examine the music industry from both the perspective of a musician and a lawyer, and draw real conclusions regarding where the music industry is heading in the 21st century.
    [Show full text]
  • Mingus, Nietzschean Aesthetics, and Mental Theater
    Liminalities: A Journal of Performance Studies Vol. 16, No. 3 (2020) Music Performativity in the Album: Charles Mingus, Nietzschean Aesthetics, and Mental Theater David Landes This article analyzes a canonical jazz album through Nietzschean and perfor- mance studies concepts, illuminating the album as a case study of multiple per- formativities. I analyze Charles Mingus’ The Black Saint and the Sinner Lady as performing classical theater across the album’s images, texts, and music, and as a performance to be constructed in audiences’ minds as the sounds, texts, and visuals never simultaneously meet in the same space. Drawing upon Nie- tzschean aesthetics, I suggest how this performative space operates as “mental the- ater,” hybridizing diverse traditions and configuring distinct dynamics of aesthetic possibility. In this crossroads of jazz traditions, theater traditions, and the album format, Mingus exhibits an artistry between performing the album itself as im- agined drama stage and between crafting this space’s Apollonian/Dionysian in- terplay in a performative understanding of aesthetics, sound, and embodiment. This case study progresses several agendas in performance studies involving music performativity, the concept of performance complex, the Dionysian, and the album as a site of performative space. When Charlie Parker said “If you don't live it, it won't come out of your horn” (Reisner 27), he captured a performativity inherent to jazz music: one is lim- ited to what one has lived. To perform jazz is to make yourself per (through) form (semblance, image, likeness). Improvising jazz means more than choos- ing which notes to play. It means steering through an infinity of choices to craft a self made out of sound.
    [Show full text]
  • Download This List As PDF Here
    QuadraphonicQuad Multichannel Engineers of 5.1 SACD, DVD-Audio and Blu-Ray Surround Discs JULY 2021 UPDATED 2021-7-16 Engineer Year Artist Title Format Notes 5.1 Production Live… Greetins From The Flow Dishwalla Services, State Abraham, Josh 2003 Staind 14 Shades of Grey DVD-A with Ryan Williams Acquah, Ebby Depeche Mode 101 Live SACD Ahern, Brian 2003 Emmylou Harris Producer’s Cut DVD-A Ainlay, Chuck David Alan David Alan DVD-A Ainlay, Chuck 2005 Dire Straits Brothers In Arms DVD-A DualDisc/SACD Ainlay, Chuck Dire Straits Alchemy Live DVD/BD-V Ainlay, Chuck Everclear So Much for the Afterglow DVD-A Ainlay, Chuck George Strait One Step at a Time DTS CD Ainlay, Chuck George Strait Honkytonkville DVD-A/SACD Ainlay, Chuck 2005 Mark Knopfler Sailing To Philadelphia DVD-A DualDisc Ainlay, Chuck 2005 Mark Knopfler Shangri La DVD-A DualDisc/SACD Ainlay, Chuck Mavericks, The Trampoline DTS CD Ainlay, Chuck Olivia Newton John Back With a Heart DTS CD Ainlay, Chuck Pacific Coast Highway Pacific Coast Highway DTS CD Ainlay, Chuck Peter Frampton Frampton Comes Alive! DVD-A/SACD Ainlay, Chuck Trisha Yearwood Where Your Road Leads DTS CD Ainlay, Chuck Vince Gill High Lonesome Sound DTS CD/DVD-A/SACD Anderson, Jim Donna Byrne Licensed to Thrill SACD Anderson, Jim Jane Ira Bloom Sixteen Sunsets BD-A 2018 Grammy Winner: Anderson, Jim 2018 Jane Ira Bloom Early Americans BD-A Best Surround Album Wild Lines: Improvising on Emily Anderson, Jim 2020 Jane Ira Bloom DSD/DXD Download Dickinson Jazz Ambassadors/Sammy Anderson, Jim The Sammy Sessions BD-A Nestico Masur/Stavanger Symphony Anderson, Jim Kverndokk: Symphonic Dances BD-A Orchestra Anderson, Jim Patricia Barber Modern Cool BD-A SACD/DSD & DXD Anderson, Jim 2020 Patricia Barber Higher with Ulrike Schwarz Download SACD/DSD & DXD Anderson, Jim 2021 Patricia Barber Clique Download Svilvay/Stavanger Symphony Anderson, Jim Mortensen: Symphony Op.
    [Show full text]
  • Windward Passenger
    MAY 2018—ISSUE 193 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE BURRELL WINDWARD PASSENGER PHEEROAN NICKI DOM HASAAN akLAFF PARROTT SALVADOR IBN ALI Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2018—ISSUE 193 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : PHEEROAN aklaff 6 by anders griffen [email protected] Andrey Henkin: [email protected] Artist Feature : nicki parrott 7 by jim motavalli General Inquiries: [email protected] ON The Cover : dave burrell 8 by john sharpe Advertising: [email protected] Encore : dom salvador by laurel gross Calendar: 10 [email protected] VOXNews: Lest We Forget : HASAAN IBN ALI 10 by eric wendell [email protected] LAbel Spotlight : space time by ken dryden US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIVAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD ReviewS 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Mark Keresman, Marilyn Lester, Miscellany 43 Suzanne Lorge, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Event Calendar 44 Andrew Vélez, Scott Yanow Contributing Writers Kevin Canfield, Marco Cangiano, Pierre Crépon George Grella, Laurel Gross, Jim Motavalli, Greg Packham, Eric Wendell Contributing Photographers In jazz parlance, the “rhythm section” is shorthand for piano, bass and drums.
    [Show full text]
  • FAULTLINES the K.P.S
    FAULTLINES The K.P.S. Gill Journal of Conflict & Resolution Volume 26 FAULTLINES The K.P.S. Gill Journal of Conflict & Resolution Volume 26 edited by AJAI SAHNI Kautilya Books & THE INSTITUTE FOR CONFLICT MANAGEMENT All rights are reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the publishers. © The Institute for Conflict Management, New Delhi November 2020 ISBN : 978-81-948233-1-5 Price: ` 250 Overseas: US$ 30 Printed by: Kautilya Books 309, Hari Sadan, 20, Ansari Road Daryaganj, New Delhi-110 002 Phone: 011 47534346, +91 99115 54346 Faultlines: the k.p.s. gill journal of conflict & resolution Edited by Ajai Sahni FAULTLINES - THE SERIES FAULTLINES focuses on various sources and aspects of existing and emerging conflict in the Indian subcontinent. Terrorism and low-intensity wars, communal, caste and other sectarian strife, political violence, organised crime, policing, the criminal justice system and human rights constitute the central focus of the Journal. FAULTLINES is published each quarter by the INSTITUTE FOR CONFLICT MANAGEMENT. PUBLISHER & EDITOR Dr. Ajai Sahni ASSISTANT EDITOR Dr. Sanchita Bhattacharya EDITORIAL CONSULTANTS Prof. George Jacob Vijendra Singh Jafa Chandan Mitra The views expressed in FAULTLINES are those of the authors, and not necessarily of the INSTITUTE FOR CONFLICT MANAGEMENT. FAULTLINES seeks to provide a forum for the widest possible spectrum of research and opinion on South Asian conflicts. Contents Foreword i 1. Digitised Hate: Online Radicalisation in Pakistan & Afghanistan: Implications for India 1 ─ Peter Chalk 2.
    [Show full text]
  • Knoxville's Weekly Voice • January 17, 2008 • Volume 18
    Knoxville’s Weekly Voice • January 17, 2008 • Volume 18 #03 By Coury Turczyn YEE-HAW Industries help resurrect the long-lost artworks of Jim Flora, the original pop-surrealist Detail from “Railroad Town,” 1951, a print made at Yee-Haw Industries of a Jim Flora woodcut once thought to be lost 1951, a print made at Yee-Haw Town,” “Railroad Detail from 18 Metro Pulse January 17, 2008 PAINSTAKING DETAIL: Yee-Haw’s Bryan Baker prepares two Jim Flora woodcuts for printing. “They all had a strange problem I couldn’t even wrap my head around at first.” s far as blocks of wood go, this printmaker charged with creating probably hasn’t been printed in half rwin Chusid describes himself as one is extraordinary. Perhaps a new edition from the woodcut. “In a century. Disaster could be just one a “landmark preservationist,” a A a lifetime ago it had humble all the other studios I’ve worked in, print away. I trade he fell into by virtue of his beginnings as, say, a leftover piece of I’ve never seen another block carved “As soon as I saw it, I was floored, fascination with discarded pieces of scrap from a long-forgotten carpentry this way. The depth is really strange, but I was also really scared—what pop culture—and his ability to re- project; it probably should’ve ended and the angles at happens if some- package them for modern audiences. up in somebody’s fireplace. But now which he would thing goes wrong He’s the fellow who resuscitated the it is handled with the care and rever- hold his knife are while we’re career of space-age pop bandleader ence normally reserved for ancient really unique.
    [Show full text]
  • The ONE and ONLY Ivan
    KATHERINE APPLEGATE The ONE AND ONLY Ivan illustrations by Patricia Castelao Dedication for Julia Epigraph It is never too late to be what you might have been. —George Eliot Glossary chest beat: repeated slapping of the chest with one or both hands in order to generate a loud sound (sometimes used by gorillas as a threat display to intimidate an opponent) domain: territory the Grunt: snorting, piglike noise made by gorilla parents to express annoyance me-ball: dried excrement thrown at observers 9,855 days (example): While gorillas in the wild typically gauge the passing of time based on seasons or food availability, Ivan has adopted a tally of days. (9,855 days is equal to twenty-seven years.) Not-Tag: stuffed toy gorilla silverback (also, less frequently, grayboss): an adult male over twelve years old with an area of silver hair on his back. The silverback is a figure of authority, responsible for protecting his family. slimy chimp (slang; offensive): a human (refers to sweat on hairless skin) vining: casual play (a reference to vine swinging) Contents Cover Title Page Dedication Epigraph Glossary hello names patience how I look the exit 8 big top mall and video arcade the littlest big top on earth gone artists shapes in clouds imagination the loneliest gorilla in the world tv the nature show stella stella’s trunk a plan bob wild picasso three visitors my visitors return sorry julia drawing bob bob and julia mack not sleepy the beetle change guessing jambo lucky arrival stella helps old news tricks introductions stella and ruby home
    [Show full text]
  • Liebman Expansions
    MAY 2016—ISSUE 169 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE LIEBMAN EXPANSIONS CHICO NIK HOD LARS FREEMAN BÄRTSCH O’BRIEN GULLIN Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2016—ISSUE 169 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Chico Freeman 6 by terrell holmes [email protected] Andrey Henkin: [email protected] Artist Feature : Nik Bärtsch 7 by andrey henkin General Inquiries: [email protected] On The Cover : Dave Liebman 8 by ken dryden Advertising: [email protected] Encore : Hod O’Brien by thomas conrad Editorial: 10 [email protected] Calendar: Lest We Forget : Lars Gullin 10 by clifford allen [email protected] VOXNews: LAbel Spotlight : Rudi Records by ken waxman [email protected] 11 Letters to the Editor: [email protected] VOXNEWS 11 by suzanne lorge US Subscription rates: 12 issues, $40 Canada Subscription rates: 12 issues, $45 In Memoriam 12 by andrey henkin International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or money order to the address above CD Reviews or email [email protected] 14 Staff Writers Miscellany David R. Adler, Clifford Allen, 37 Duck Baker, Fred Bouchard, Stuart Broomer, Thomas Conrad, Ken Dryden, Donald Elfman, Event Calendar 38 Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman Tracing the history of jazz is putting pins in a map of the world.
    [Show full text]