A Dangerous Sweetness: Love and War (2017, Mali Klein)

Total Page:16

File Type:pdf, Size:1020Kb

A Dangerous Sweetness: Love and War (2017, Mali Klein) a dangerous sweetness love and war Mali Klein © Mali Klein 2017 The moral right of the author has been asserted and all rights 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, recording or otherwise, without the prior permission of the copyright owner. A catalogue record for this book is available from the British Library. ISBN: 1-899077-16-2 Previously published as A Future Beyond the Sun (ISBN 1-899077-04-9) acknowledgements Designed by Ann Paganuzzi Photo montages: Seb Stroud-Klein Wedding pictures, cover and title page 2: Sue Feast, Photographer Thank you, the ‘support’ team: Nick and Gudrun; Lóa and Birgir for lifetimes in Iceland; Mike and Gillian Holmes for the love; Di and Stanley Pollard for love, laughter and the ‘safe house’; Don Dennis for never doubting and introducing us to Mac computers. Thank you, Sasha and Sophie Young, for Lacoste. a dangerous sweetness Thank you, Debbie Stamp, for being there with me in Vietnam. Mettacittena So with a Boundless Heart should we cherish all living Beings, Spreading upwards to the skies and downwards to the depths, Outwards and unbounded, free from hatred and ill-will… Karaniyamettasutta, The Buddha’s Discourse on Loving-kindness 2 introduction This book would never have been written without my beloved wife, Mali. I lived it, she wrote it, and it became her story too. These are my memories. This is how I remember times, people, events and the effect they had on my personal perceptions and development, not necessarily how others involved saw them at the time. No two people see the same picture in exactly the same way and I have tried to be fair and accurate in my remembering, giving praise where it is due and seeing the inevitable sorrow as only in passing. Dedicated to my teachers Ajahn Chah and Ajahn Sumedho, And to Felix, Gabriel and Gudrun for allowing me to run away with their mother. Mettacittena, introduction For me this has been a labor of love beginning in a bus station on the west coast of Iceland, taking shape in the Greek Islands and ending two years later in Provence. Our story, our passion – for life; for each other; for clarity of mind and heart; for understanding of what it takes to be a combat veteran trying to survive PTSD; for justice. Facing death, we fought for our rights of choice and decision. We won. There are no shadows in the Clear Light. Go well, my love, 3 contents a voice in my head that nagging feeling meltdown anointed 1 divorce 3 v.a. clouds together charles why we are strangers in a strange land commitment i.c.u. ice and fire tell me about thailand flóki’s wood a good place to practice snow mountain samanera santi cloud man ajahn chah agios ioannis worst imaginings desert lethal rays wine dark sea key word ānando contract of bliss nanachat this delightful dance it doesn’t end here 2 making it real a dangerous sweetness parris island hall of shrines marine special tea spectre of war 4 tiara what bullets do to bodies some place quiet delta company metta bhavana a beautiful country worst vassa the best cup of coffee cittaviveka it’s all over now not great communicators stoned abbot attentiveness: reflections on death battleground spiritual friends all time is now a future beyond the sun, and the stars 4 6 a voice in my head I told him: ‘Ajahn, there’s only one way to describe you. You’re dangerous. A sweetness like so many of the monks, but dangerous. A dangerous sweetness.’ That was before I knew I was attracted to him, before he knew he was attracted to me. The exacting, charismatic, always tanned Ajahn Ānando with the dent in the back of his head, born in Buffalo, NY, Abbot of Chithurst Buddhist Monastery, never convinced me. Equally I thought I was too firmly conditioned in the Vinaya, the Thervadan discipline, to fall in love with a monk. They were, after all, completely dysfunctional in a normal life, which is probably why most of them ordained. That was my view, observing them in their daily struggle to combine their meditation practice with the practicalities of the on-going building work necessary to maintain a Victorian country house in the heart of rural southern England. The Marine, the Vietnam veteran, piqued my interest. I had grown up just a few miles away in a family of veterans of two world wars. On both1 counts I was on familiar ground but I didn’t know it then. That came later when I overheard Greg and my mother talking about their experiences, about the bombing and the sound of gunfire, about their reactions and the panic attacks that lasted long after. I realized they were talking about the same war, different times, different places but the same trauma, the same fear. He told me I had beautiful eyes, this man, this monk, this Marine who became my beloved in the splendor of the Indian summer of his life. Grudgingly following a persistent summons from some other dimension, I first saw him the day the Berlin Wall came down, November 9th 1989, when I drove myself to the monastery in time to contribute to the morning meal. I had been a late starter applying for a driving license. It didn’t help that a voice in my head started nagging just a couple of weeks before I was scheduled to take my test. ‘When you’ve passed the test you will go to Chithurst.’ ‘Why? What on earth do I have to go there for?’ ‘When you have passed your test you will go to Chithurst.’ I had already failed once. This time around I had the benefit of training under an advanced driving instructor before I checked in at the test centre on November 1st, two months before my thirty-ninth birthday. Even so I only 7 just avoided making the most of an opportunity to kill a cyclist. Convinced I had failed again, I consoled myself as I drove back to the centre, thinking: Oh well, at least I won’t have to go to Chithurst now. I was speechless when the examiner told me I had passed. ‘But you watch it, young lady!’ he growled as he handed over the certificate. Apparently it was the way I had not killed the cyclist that put me on the podium. ‘You will go to Chithurst,’ said the voice. ‘I don’t want to go to Chithurst.’ ‘You will go to Chithurst.’ I asked myself: ‘Why should I listen to this? It’s got me into enough trouble before. Do I need more?’ After a week of procrastination that was actually becoming guilt, I found myself standing in the monastery kitchen watching the monks walking past the table while the lay people filled their bowls, my mind reeling with the peculiar power that charged the whole atmosphere. I didn’t really notice the abbot as an individual then, even though he was at the head of the line and seated in front of the golden Buddha-rupa in the sala (shrine room) for the meal. I’m not bowing to a statue, I thought, kneeling upright on the polished wooden floor, rigidly obstinate while the others touched the boards with their foreheads. I’m not bowing to a man either. a dangerous sweetness Later I realized that a major source of the power lay within the abbot himself. It emanated from him so that I only had to put my nose inside the door to be able to tell whether he was in the building or not. Much later I realized that he was mostly unconscious of the effect he had on the community and in that alone, coupled with his natural charm and the position he was in, he was dangerous. I left the monks to their winter retreat. I had known about the monastery from the time the house was bought for the community ten years before in the summer of 1979. I had also known that it wasn’t the time for me to go there, not then. Now I had made the connection. My curiosity had been provoked. The voice knew the wisdom of silence. Any hint of what lay in store for me and the Vietnam veteran abbot would have been too huge, too crazy, too terrifying to contemplate. I would never have gone back. Spring came to the English countryside, the time of daffodils and primroses and clear white sunlight streaming through the bare branches in the woodlands. Time to return to Chithurst. I wanted to develop my meditation 8 practice, to get behind the glamour and trappings of the Thai tradition and find out what the community was really all about. To that end I decided to volunteer to work in the grounds once a week on Wednesday afternoons, mostly in the sīma garden where the ordinations took place every summer. I didn’t speak to Ānando until after I had been going to evening meditation for some weeks. He was standing alone in the hallway in a shaft of reflected light from the stairwell, watching me drag some heavy bags out of my car and in through the door. What is this? I thought, as I came under the scrutiny of that peculiar, almost reptilian stillness barely broken by the slow turning of his head. His eyes, accentuated by the lack of eyebrows, appeared slightly hooded, veiled; no one could close their eyes quite like Ajahn Ānando.
Recommended publications
  • ANNUAL REPORT 2014-2015 School of Sciences and Mathematics Annual Report 2014‐2015
    ANNUAL REPORT 2014-2015 School of Sciences and Mathematics Annual Report 2014‐2015 Executive Summary The 2014 – 2015 academic year was a very successful one for the School of Sciences and Mathematics (SSM). Our faculty continued their stellar record of publication and securing extramural funding, and we were able to significantly advance several capital projects. In addition, the number of majors in SSM remained very high and we continued to provide research experiences for a significant number of our students. We welcomed four new faculty members to our ranks. These individuals and their colleagues published 187 papers in peer‐reviewed scientific journals, many with undergraduate co‐authors. Faculty also secured $6.4M in new extramural grant awards to go with the $24.8M of continuing awards. During the 2013‐14 AY, ground was broken for two 3,000 sq. ft. field stations at Dixie Plantation, with construction slated for completion in Fall 2014. These stations were ultimately competed in June 2015, and will begin to serve students for the Fall 2015 semester. The 2014‐2015 academic year, marked the first year of residence of Computer Science faculty, as well as some Biology and Physics faculty, in Harbor Walk. In addition, nine Biology faculty had offices and/or research space at SCRA, and some biology instruction occurred at MUSC. In general, the displacement of a large number of students to Harbor Walk went very smoothly. Temporary astronomy viewing space was secured on the roof of one of the College’s garages. The SSM dean’s office expended tremendous effort this year to secure a contract for completion of the Rita Hollings Science Center renovation, with no success to date.
    [Show full text]
  • • Principals Off Er Alternative to Loans Scheme
    IRlBOT RICE GRLLERY a. BRQ~ University of Edinburgh, Old College THE South Bridge, Edinburgh EH8 9YL Tel: 031-667 1011 ext 4308 STATIONERS 24 Feb-24 March WE'RE BETTER FRANCES WALKER Tiree Works Tues·Sat 10 am·5 pm Admission Free Subsidised by the Scottish Ans Council Glasgow Herald Studen_t' Newspaper of the l'. ear thursday, february 15, 12 substance: JUNO A.ND •20 page supplement, THE PAYCOCK: Lloyd Cole interview .Civil War tragedy . VALENTINES at the .and compe~tion insi~ P.13 Lyceum p.10 Graduate Tax proposed • Principals offer alternative to loans scheme by Mark Campanile Means tested parental con­ He said that the CVCP administrative arrangements for Mr MacGregor also stated that tributions would be abolished, accepted that, in principle, stu­ loans and is making good prog­ administrative costs would be pro­ ress." hibitive, although the CVCP UNIVERSITY VICE Chan­ and the money borrowed would dents should pay something be repayed through income tax or towards their own education, but "The department will of course claim their plan would be cheaper cellors ancf Principals have national insurance contributions. that they believed that the current . be meeting the representatives of to implement than the combined announced details of a A spokesman for the CVCP, loans proposals were unfair, the universities, polytechnics, and running costs for grants and loans. graduate tax scheme which · Dr Ted Neild, told Student that administratively complicated, and colleges in due course to discuss NUS President Maeve Sher-. they want the government to the proposals meant that flawed because they still involved their role in certifying student lock has denounced the new prop­ consider as an alternative to graduates who had an income at a parental contributions, which are eligibility for loans." osals as "loans by any other student loans.
    [Show full text]
  • Queens Park Music Club
    Alan Currall BBobob CareyCarey Grieve Grieve Brian Beadie Brian Beadie Clemens Wilhelm CDavidleme Hoylens Wilhelm DDavidavid MichaelHoyle Clarke DGavinavid MaitlandMichael Clarke GDouglasavin M aMorlanditland DEilidhoug lShortas Morland Queens Park Music Club EGayleilidh MiekleShort GHrafnhildurHalldayle Miekle órsdóttir Volume 1 : Kling Klang Jack Wrigley ó ó April 2014 HrafnhildurHalld rsd ttir JJanieack WNicollrigley Jon Burgerman Janie Nicoll Martin Herbert JMauriceon Burg Dohertyerman MMelissaartin H Canbazerbert MMichelleaurice Hannah Doherty MNeileli Clementsssa Canbaz MPennyichel Arcadele Hannah NRobeil ChurmClements PRoben nKennedyy Arcade RobRose Chu Ruanerm RoseStewart Ruane Home RobTom MasonKennedy Vernon and Burns Tom Mason Victoria Morton Stuart Home Vernon and Burns Victoria Morton Martin Herbert The Mic and Me I started publishing criticism in 1996, but I only When you are, as Walter Becker once learned how to write in a way that felt and still sang, on the balls of your ass, you need something feels like my writing in about 2002. There were to lift you and hip hop, for me, was it, even very a lot of contributing factors to this—having been mainstream rap: the vaulting self-confidence, unexpectedly bounced out of a dotcom job that had seesawing beat and herculean handclaps of previously meant I didn’t have to rely on freelancing Eminem’s armour-plated Til I Collapse, for example. for income, leaving London for a slower pace of A song like that says I am going to destroy life on the coast, and reading nonfiction writers everybody else. That’s the braggadocio that hip who taught me about voice and how to arrange hop has always thrived on, but it is laughable for a facts—but one of the main triggers, weirdly enough, critic to want to feel like that: that’s not, officially, was hip hop.
    [Show full text]
  • Une Discographie De Robert Wyatt
    Une discographie de Robert Wyatt Discographie au 1er mars 2021 ARCHIVE 1 Une discographie de Robert Wyatt Ce présent document PDF est une copie au 1er mars 2021 de la rubrique « Discographie » du site dédié à Robert Wyatt disco-robertwyatt.com. Il est mis à la libre disposition de tous ceux qui souhaitent conserver une trace de ce travail sur leur propre ordinateur. Ce fichier sera périodiquement mis à jour pour tenir compte des nouvelles entrées. La rubrique « Interviews et articles » fera également l’objet d’une prochaine archive au format PDF. _________________________________________________________________ La photo de couverture est d’Alessandro Achilli et l’illustration d’Alfreda Benge. HOME INDEX POCHETTES ABECEDAIRE Les années Before | Soft Machine | Matching Mole | Solo | With Friends | Samples | Compilations | V.A. | Bootlegs | Reprises | The Wilde Flowers - Impotence (69) [H. Hopper/R. Wyatt] - Robert Wyatt - drums and - Those Words They Say (66) voice [H. Hopper] - Memories (66) [H. Hopper] - Hugh Hopper - bass guitar - Don't Try To Change Me (65) - Pye Hastings - guitar [H. Hopper + G. Flight & R. Wyatt - Brian Hopper guitar, voice, (words - second and third verses)] alto saxophone - Parchman Farm (65) [B. White] - Richard Coughlan - drums - Almost Grown (65) [C. Berry] - Graham Flight - voice - She's Gone (65) [K. Ayers] - Richard Sinclair - guitar - Slow Walkin' Talk (65) [B. Hopper] - Kevin Ayers - voice - He's Bad For You (65) [R. Wyatt] > Zoom - Dave Lawrence - voice, guitar, - It's What I Feel (A Certain Kind) (65) bass guitar [H. Hopper] - Bob Gilleson - drums - Memories (Instrumental) (66) - Mike Ratledge - piano, organ, [H. Hopper] flute. - Never Leave Me (66) [H.
    [Show full text]
  • Women in Rock OLLI Berkeley Course Material
    Syllabus for Women in Rock: From the 1950s to the 1980s Instructor: Richie Unterberger, [email protected] OLLI Berkeley Week One: Women in Rock: The Early Years and The Girl Groups In the 1950s, rhythm and blues singers like Ruth Brown and LaVern Baker have some of the first rock’n’roll hits; Wanda Jackson and the Collins Kids are top rockabilly acts; and Brenda Lee becomes the first woman rock superstar. As New York’s Brill Building becomes established as the top place for rock publishers, women like Carole King, Cynthia Weil, and Ellie Greenwich become some of pop-rock’s most successful songwriters. Girl groups like the Shirelles, the Crystals, the Ronettes, the Chiffons, and the Cookies have numerous hits in the early 1960s, forming one of the major trends in rock of the period. In the early 1960s, some of the most R&B-oriented girl groups become some of the first soul stars, especially for Motown Records, with the Marvelettes, Martha & the Vandellas, the Supremes, and Mary Wells. Week Two: Women in Soul and British Rock Women soul singers emerge throughout the country, some of them more pop-oriented (Maxine Brown, Dionne Warwick), some of them earthier (Carla Thomas, Irma Thomas, Etta James). Aretha Franklin is anointed the Queen of Soul after moving to Atlantic Records and adopting a tougher, more spiritual sound. Other women soul singers with a forceful style emerge and increase in popularity, like Gladys Knight, Nina Simone, and the Staple Singers. Although all-male guitar bands dominate the British Invasion, a good number of women singers also make an impact both in their native UK and in the US.
    [Show full text]
  • Nightshiftmag.Co.Uk @Nightshiftmag Nightshiftmag Nightshiftmag.Co.Uk Free Every Month NIGHTSHIFT Issue 270 January Oxford’S Music Magazine 2018 BRICKWORK
    [email protected] @NightshiftMag NightshiftMag nightshiftmag.co.uk Free every month NIGHTSHIFT Issue 270 January Oxford’s Music Magazine 2018 BRICKWORK “There’s definitely an appetite in Oxford for bands that are outside the norm” photo: Geoff Russell Hayward MBE at RHimageart photo: Geoff Russell Hayward LIZARDS Oxford’s exotic musical travellers talk longing, hangings and Sultans’ wedding parties. Also in this issue: Introducing MOTHER plus All your Oxford music news, previews, reviews and gigs for the month ahead NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 NEWS Nightshift: PO Box 312, Kidlington, OX5 1ZU Phone: 01865 372255 email: [email protected] Online: nightshiftmag.co.uk folk weekend – the longest running festival in YOUNG WOMEN’S MUSIC PROJECT Oxfordshire – takes place from the 24th-27th geared up for the campaign to keep the August 2018 at Thame Showground. Other acts project alive in 2018 by filming a video for confirmed so far include Martin Joseph; Peter a new song at the start of December. The Knight & John Spiers; Martin Simpson; Wildwood long-running project, led by musician Zahra Kin, and Faustus. Tickets are on sale now at Tehrani, is under threat as its current home, www.towerseyfestival.com. Fusion Arts, behind East Oxford Community Centre, is due to be demolished as part of IF NOT NOW, WHEN? Returns in 2018. The redevelopment of the area. YWMP works with one-day festival of new indie and DIY music over 60 young women and girls as well as takes place at East Oxford Community Centre and partnering various organisations and charities Fusion Arts on Saturday 15th September.
    [Show full text]
  • Feature P12 Peter Kravitz, the Chair­ of February
    ... Bunnymen Review--14 ... 'Evi! Dead' lnterview--12 I ... 4 Page Ents Guide -- 7 Every Thursday Price 15p January 20th THIY SHOOT INNOCINTS Books - Books - Books Thousands and Thousands of them from Scotland's Largest Bookshop D TEXTBOOKS D PAPER BACKS D EVERY SORT OF BOOK D PLUS LARGE STATIONERY AND RECORD DEPARTMENTS !! James Thin 53-59 SOUTH BRIOGE, EDINBURGH DON'T THIY? Feature p12 Peter Kravitz, the Chair­ of February. Mr Kravitz its very existence was man of Edinburgh Uni­ will have held th e post for threatened. Now, he Stop versity Student 13 months and led the wishes to withdraw from Publications Board, is to Board through last term's this demanding job in resign towards the middle General Meeting in which order to spend time on Press degree exam study. 2 THE STUDENT THURSDAY, 20th JANUARY 1983 @J AlTf RNATIVf lf NDING @J@J ANTI-ANT I-WAR fAILS+ The court case against constables agreed with the On Monday there was a discussion The views expressed at this nine students accused of defence agent when he said that meeting, coming from left and committing a breach of the demonstration had been held under the auspices of the Edin­ right of the room, form a scope "positively peaceful" much wider than the rather the peace outside a Navy But Sgt. John Harper (now an burgh University Conservative hysterical, and rather poorly recruiting office in Edin­ inspector) said: argued views of the SAC. One burgh's Lothian Road "They were causing alarm, Association over lunch, the two argument that is very poor is the disturbance and annoyance and during the Falklands war, one that says loans will act to as far as I am concerned that is not guest speakers being SRC Vice­ restrict access to working class has been found not peaceful.
    [Show full text]
  • CHAPTER 11 Keith Negus Final for Publication
    CHAPTER 11 The gendered narratives of nobodies and somebodies in the popular music economy Keith Negus A wide variety of research illuminates the significance of gender and popular music production. This encompasses conventional academic scholarship with its valuable generalisations and analytical reductions. It includes published autobiographical memoirs or privately kept diaries delving into unique personal experiences, or local history archives expansively evoking the drama of details. It embraces practice research, bringing insights from composition, songwriting and a wide array of creative performance activities. Such diversity is rarely acknowledged let alone incorporated in most popular music research. Popular music studies has largely ignored James Clifford’s call, made back in the 1980s, for researchers to adopt an inclusive ethnographic approach to the materials that contribute to knowledge and understanding of human cultures. Clifford argued that “ethnography appears in several forms” and refers to “diverse ways of thinking and writing about culture from the standpoint of participant observation” (Clifford 1988, 9), encompassing the perspectives of poets, novelists, artists and sculptors, creators of artefacts and so-called ‘native informants’. Clifford advocated a stance towards research and writing that involves the juxtaposition of different voices as a means of expressing the dynamism of culture as “an open-ended, creative dialogue of subcultures, of insiders and outsiders, of diverse factions” (ibid., 46). It was also during the 1980s that Paul Ricoeur published his influential studies of time and narrative (1984, 1985, 1988, 1991b, 1991c), arguing that our experiential uncertainty of existence is “refashioned by its passage through the grid of narrative” (1991a, 338). Identities and experiences are comprehended as we narrate events and interactions that will always incorporate the views and behaviour of others.
    [Show full text]
  • Wegart Novinky - December 2015
    WEGART NOVINKY - DECEMBER 2015 OLAFUR ARNALDS & NILS FRAHM Collaborative Works (Erased Tapes) Kompilácia štúdiovej spolupráce dvoch kamarátov a dlhoro čných spolupracovníkov, v oboch prípadoch u nás dobre známych aj v ďaka ich opakovanému koncertovaniu u nás, mapuje ich vzájomné stretnutia v hudobných štúdiách za uplynulých pä ť rokov. Toto 2CD je kolekciou skladieb, akousi kolážou nahrávok, ktoré vznikali behom ich stretnutí v Reykjavíku, resp. v Berlíne, ke ď popri priate ľských návštevách vždy napokon skon čili v štúdiu a spolu si zaimprovizovali. Z týchto stretnutí pochádzajú aj 5-tracková EP „Loon“ a 7“ „Life Story / Love and Glory“, ktoré máme tiež v ponuke. 2CD: 16 € / Loon 12“ EP: 15 € / Life Story/Love and Glory 7“: 10 € / Stare 12“ EP:15€ BIOSPHERE Substrata (Biophon) Dnes už legendárny album “Substrata” nórskeho umelca Geira Jenssena, vystupujúceho pod menom Biosphere, vyšiel pôvodne v r. 1996 po trojro čnej odmlke. Album postráda rytmické prvky predchádzajúcej umelcovej tvorby (Patashnik, Novelty Waves) a zameriava sa na temné, jemné melódie s melancholickými plochami, ktoré pretekajú jedna do druhej. Tento album bol hudobnou kritikou ozna čený za dielo, ktoré je v rámci elektronického ambientu "najvä čším skvostom, aký tento žáner splodil". 2LP180g: 36 € BJORK Remixy skladieb z albumu Vulnicura na transparentných 12“ vinyloch (One Little Indian) * Notget (Lotic Keptsafe Version) * History Of Touches (Kramphaft Remix) * Lionsong (Kareokleijd Remix) * Notget (Lotic Fromdeath Version) * Lionsong (Choral Mix feat. Untold) * Family (Remix By Katie Gately. Jeden ks farebný 12“: 15 € / Ľubovo ľné 3 ks: 40 € Všetkých šes ť ks spolu: 76 € BRIAN JONESTOWN MASSACRE Mini Album Thingy Wingy (Cargo) Americká kapela The Brian Jonestown Massacre s frontmanom Antonom Newcombom, hrajúca hlavne neo-psychedelický rock, vydala svoju šestnástu plat ňu.
    [Show full text]
  • SPRING 2005 DEAN Alex M
    IN THIS ISSUE New LL.M. Program in American Law for Chinese Lawyers in Beijing “Beyond Dealing with the Past”: A Critical Assessment of Justice in Times of Transition Learning to be a Lawyer SPRING 2005 DEAN Alex M. Johnson, Jr. EDITOR Elizabeth Rodke Washburn ASSISTANT EDITORS Sara Jones Scotty Mann EDITORIAL ASSISTANCE Marci L.Windsheimer CONTRIBUTING WRITERS Cheryl Casey Brad Clary Matt Gehring Joseph Gratz Bobak Ha’Eri Kay Johnson Vasan Kesavan Steve Marchese Andrea Martin Martha Martin Meleah Maynard To d d M e l b y Susan Miller Ryan Miske Fred Morrison Debbie Nelson Fionnuala Ní Aoláin Julie Nilsson Michael Stokes Paulsen Scott Russell Ryan Stai Mickelene G.Taylor Mary Thacker Carl Warren Kevin K.Washburn PHOTOGRAPHERS Karen J.Anderson Bobak Ha’Eri Dan Kieffer Dan Marshall Tim Rummelhoff DESIGNER Jennifer Kaplan, Red Lime, LLC The Law Alumni News magazine is pub- lished twice a year, by the University of Minnesota Law School Office of External Relations.The magazine is one of the projects funded through the membership dues of the Law Alumni Association. The University of Minnesota is committed to the policy that all persons shall have equal access to its programs, facilities and employment Correspondence should be sent to: without regard to race, color, creed,religion, national origin, sex, age, [email protected] or marital status, disability, public assistance status, veteran status or sexual orientation. Law Alumni News Editor N160 Mondale Hall 19th Avenue South Minneapolis, MN 55455-0400. Dean’s Perspective s the legal environment of the 21st century continues to evolve, the lines of distinction between traditional legal education disciplines are blurring, and law schools are devel- oping new and innovative teaching tools.
    [Show full text]
  • Song List by Artist
    song artist album label dj year-month-order sample of the whistled language silbo Nina 2006-04-10 rich man’s frug (video - movie clip) sweet charity Nayland 2008-03-07 dungeon ballet (video - movie clip) 5,000 fingers of dr. t Nayland 2008-03-08 plainfin midshipman the diversity of animal sounds Nina 2008-10-10 my bathroom the bathrooms are coming Nayland 2010-05-03 the billy bee song Nayland 2013-11-09 bootsie the elf bootsie the elf Nayland 2013-12-10 david bowie, brian eno and tony visconti record 'warszawa' Dan 2015-04-03 "22" with little red, tangle eye, & early in the mornin' hard hair prison songs vol 1: murderous home rounder alison 1998-04-14 phil's baby (found by jaime fillmore) the relay project (audio magazine) Nina 2006-01-02 [unknown title] [unknown artist] cambodian rocks (track 22) parallel world bryan 2000-10-01 hey jude (youtube video) [unknown] Nina 2008-03-09 carry on my wayward son (youtube video) [unknown] Nina 2008-03-10 Sri Vidya Shrine Prayer [unknown] [no album] Nina 2016-07-04 Sasalimpetan [unknown] Seleksi Tembang Cantik Tom B. 2018-11-08 i'm mandy, fly me 10cc changing faces, the best of 10cc and polydor godley & crème Dan 2003-01-04 animal speaks 15.60.76 jimmy bell's still in town Brian 2010-05-02 derelicts of dialect 3rd bass derelicts of dialect sony Brian 2001-08-09 naima (remix) 4hero Dan 2010-11-04 magical dream 808 state tim s. 2013-03-13 punchbag a band of bees sunshine hit me astralwerks derick 2004-01-10 We got it from Here...Thank You 4 We the People...
    [Show full text]
  • Wegart * Novinky Január - Február 2015
    WEGART * NOVINKY JANUÁR - FEBRUÁR 2015 DAVID BOWIE Blackstar (Sony) Dvadsiatypiaty štúdiový album geniálneho umelca, ktorý jeho vydanie na časoval na de ň svojich 69. narodenín a o pár dní nato odišiel. Muž mnohých tvárí mal takmer stále pred ostatnými náskok a zapísal sa navždy do hudobných dejín mnohými výraznými dielami. Inak to nie je ani s jeho rozlú čkovým albumom, na ktorom sa obklopil neve ľmi známymi mladými jazzovými hudobníkmi, ktorí ho o čarili svojím vystúpením v jednom newyorskom bare. A funguje im to spolu dokonale. Blackstar je bohatý, hlboký, silný album plný elegancie a mystiky, podobne ako bol jeho tvorca. CD: 15 € / 2LP180G: 39 € TINDERSTICKS Waiting Room (City Slang) Britská kapela oslávila 25 rokov svojej existencie 10. štúdiovým albumom, ktorého každá skladba je podporovaná krátkym filmom (limitovaná edícia obsahuje DVD). Kombinácia bohato vrstvenej inštrumentácie, excelentných slá čikov a Staplesovho melancholického hlasu dáva pocitom osamelosti a straty kinematickú grandióznos ť, bez výnimky silné nahrávky nikdy nesk ĺznu do prílišného sentimentu. Sú čas ťou albumu je aj duet so Staplesovou dávnou priate ľkou Lhasou De Sela. Je to zárove ň jedna z jej posledných piesní. CD+DVD: 24 € / CD: 18 € / LP180G COLOR+DVD: 36 € MAX RICHTER Sleep (Deutsche Grammofon) Britský skladate ľ nemeckého pôvodu vydal svoje k ľúčové dielo. Zámerom rozsiahlej, 8 hodín trvajúcej nahrávky, ktorú nazval uspávankou pre frenetický svet, je uvies ť posluchá ča do spánku a prenika ť po čas spánku do jeho podvedomia, prípadne po čúva ť ju v absolútnom pokoji a meditova ť pri nej. Inštrumentálne ju tvoria klavír, sláky, jemné elektronické dotyky a vokály, nie však slová.
    [Show full text]