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Origin and Classification of Mango Varieties in Hawaii
ORIGIN AND CLASSIFICATION OF MANGO VARIETIES IN HAWAII R. A. Hamilton Emeritus Professor, Department of Horticulture College of Tropical Agriculture and Human Resources University of Hawaii at Manoa Mangos (Mangifera indica) are widely grown of polyembronic mango that became popular in as a home garden fruit in the warmer, drier areas Hawaii was the "Chinese" mango (,No.9'), of all major islands of Hawaii. The fruit is mostly originally from the West Indies, but so called consumed fresh as a breakfast or dessert fruit. because it was frequently grown by persons of Small quantities are also processed into mango Chinese ancestry. Indian mangos are mostly seed preserves, pickles, chutney, and sauce. mono embryonic types originating on the Indian subcontinent, a center of mango diversity. Many Production monoembryonic mango cuitivars have been Most mangos in Hawaii are grown in introduced to Hawaii as a result of their dooryards and home gardens. Although introduction and selection in Florida, an important commercial production has been attempted, center of mango growing in the Americas. Finally, acreages remain small. Production from year to several cuitivars, mostly seedlings of mono year tends to be erratic, which has resulted in embryonic cuitivars, have been selected and limited commercial success. Shipment to the U.S. named in Hawaii (Tables 1 and 2). mainland is presently prohibited due to the presence in Hawaii of tephritid fruit flies and the Cultivar Introduction and Selection mango weevil, Cryptorhynchus mangiferae, which is The exact date of the first introduction of not found in other mango-growing areas of the mangos into Hawaii is not known. -
Chapter 4 Creolized Dance Music Text: Robin Moore Instructor’S Manual: Sarah J
Chapter 4 Creolized Dance Music Text: Robin Moore Instructor’s Manual: Sarah J. Bartolome All activities are keyed as follows: AA = All ages E = Elementary (particularly grades 3–6) S = Secondary (middle school and high school, grades 7–12) C/U = College and university Chapter 4 Vocabulary merengue, merengue típico, güira, marímbula, tambora, paseo, cuerpo, jaleo, apambichao, son, verso, canto, montuno, tres, tresero, martillo, bongsero, timbales, socialism, Cold War, plena, panderetas, panderos, seguidor, segunda, requinto, soneos, salsa, salsa dura, cáscara, salsa romántica, salsa monga, timba Exploring Traditional and Commercial Merengue (AA) Compare a traditional merengue with a commercially recorded merengue. 1. Watch the video of La India Canela performing merengue típico, available at http://www.folkways.si.edu/explore_folkways/video_caribbean.aspx. 2. Have students identify the instruments they see and hear. 3. Have students also watch the video of Johnny Ventura performing “Merenguero Hasta la Tambora,” available on YouTube at http://www.youtube.com/watch?v=7XzINu2ee4A. 4. Compare the two merengues. Draw students’ attention to differences in instrumentation and the commercialization of the latter performance. Exploring Merengue through Dance (AA) Learn the simple merengue dance movement. 1. Search on YouTube for an instructive video if you are not familiar with the basic step-together movement associated with merengue. One such video is available at http://www.youtube.com/watch?v=on4V1KN_Iuw. 2. Either teach the students yourself or learn with them as you watch the video. 3. Dance along to a recording of merengue, either in lines or in pairs as students are comfortable. Exploring Merengue: Form (A) 1. -
Chicago Blues Guitar
McKinley Morganfield (April 4, 1913 – April 30, 1983), known as Muddy WatersWaters, was an American blues musician, generally considered the Father of modern Chicago blues. Blues musicians Big Bill Morganfield and Larry "Mud Morganfield" Williams are his sons. A major inspiration for the British blues explosion in the 1960s, Muddy was ranked #17 in Rolling Stone magazine's list of the 100 Greatest Artists of All Time. Although in his later years Muddy usually said that he was born in Rolling Fork, Mississippi in 1915, he was actually born at Jug's Corner in neighboring Issaquena County, Mississippi in 1913. Recent research has uncovered documentation showing that in the 1930s and 1940s he reported his birth year as 1913 on both his marriage license and musicians' union card. A 1955 interview in the Chicago Defender is the earliest claim of 1915 as his year of birth, which he continued to use in interviews from that point onward. The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914. The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid '40s, lists him as being born April 4, 1915. His grandmother Della Grant raised him after his mother died shortly after his birth. His fondness for playing in mud earned him the nickname "Muddy" at an early age. He then changed it to "Muddy Water" and finally "Muddy Waters". He started out on harmonica but by age seventeen he was playing the guitar at parties emulating two blues artists who were extremely popular in the south, Son House and Robert Johnson. -
A History of the School of Music
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1952 History of the School of Music, Montana State University (1895-1952) John Roswell Cowan The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Cowan, John Roswell, "History of the School of Music, Montana State University (1895-1952)" (1952). Graduate Student Theses, Dissertations, & Professional Papers. 2574. https://scholarworks.umt.edu/etd/2574 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. NOTE TO USERS Page(s) missing in number only; text follows. The manuscript was microfilmed as received. This reproduction is the best copy available. UMI A KCSTOHY OF THE SCHOOL OP MUSIC MONTANA STATE UNIVERSITY (1895-1952) by JOHN H. gOWAN, JR. B.M., Montana State University, 1951 Presented In partial fulfillment of the requirements for tiie degree of Master of Music Education MONTANA STATE UNIVERSITY 1952 UMI Number EP34848 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction Is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, If material had to be removed, a note will Indicate the deletion. -
Winged Migration: Andrew Bird
Illustrated by Slava Triptih Written by Zack Ruskin Andrew Bird is many things: a virtuoso violinist, an the time he was finishing Oh! The Grandeur, the second Bowl of Fire That song began as many songs do for Bird, as an internal debate about.” Bird says the incident is absurd but also pretty funny. impeccable whistler and the man behind more than a dozen albums album, he was already itching to move on. “I was seeing that I was between his intentions and doubts for the piece of music in question. “I’m a bit like that guy,” he concedes. “I’ve got a lot going on in my of music that inventively marry the joyous with the somber. He is also going to be trapped by that if I kept at it for too long. I saw the way While Bird has rarely employed guest vocalists in a featured capacity life, and I’m impatient with some of my own internal indulgences.” never truly alone. that the popularity of music was a fleeting thing, and I didn’t want on his work, he says that in this case it made sense to ascribe one of the Bird’s impatience has also extended to his live performance style, a “There are lots of voices in my head chiming in,” he says. my music to be an accessory to someone’s lifestyle. I had more to song’s points of view to another person. By making that person female, signature of his craft for the past decade. He says he “stumbled into” the Before anyone books him a padded room, it should be noted that say than that.” he saw “Left Handed Kisses” progress into a relationship dynamic. -
Changes in the Sensory Characteristics of Mango Cultivars During the Production of Mango Purée and Sorbet
DIFFERENCES IN SENSORY CHARACTERISTICS AMONG VARIOUS MANGO CULTIVARS IN THE FORM OF FRESH SLICED MANGO, MANGO PURÉE, AND MANGO SORBET by CHRISTIE N. LEDEKER B.S., University of Delaware, 2008 A THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF SCIENCE Interdisciplinary Food Science Graduate Program Department of Human Nutrition KANSAS STATE UNIVERSITY Manhattan, Kansas 2011 Approved by: Major Professor Dr. Delores H. Chambers Abstract Fresh mangoes are highly perishable, and therefore, they are often processed to extend shelf-life and facilitate exportation. Studying the transformation that mango cultivars undergo throughout processing can aid in selecting appropriate varieties for products. In the 1st part of this study, the flavor and texture properties of 4 mango cultivars available in the United States (U.S.) were analyzed. Highly trained descriptive panelists in the U.S. evaluated fresh, purée, and sorbet samples prepared from each cultivar. Purées were made by pulverizing mango flesh, passing it through a china cap, and heating it to 85 °C for 15 s. For the sorbets, purées were diluted with water (1:1), sucrose was added, and the bases were frozen in a batch ice cream freezer. Much of the texture variation among cultivars was lost after fresh samples were transformed into purées, whereas much of the flavor and texture variation among cultivars was lost once fresh mangoes and mango purées were transformed into sorbets. Compared to the other cultivars, Haden and Tommy Atkins underwent greater transformations in flavor throughout sorbet preparation, and processing reduced the intensities of some unpleasant flavors in these cultivars. -
The Story of Blues Legend Muddy Waters
Children's Book and Media Review Volume 39 | Issue 5 Article 51 2018 Muddy: The tS ory of Blues Legend Muddy Waters Rachel Wadham Follow this and additional works at: https://scholarsarchive.byu.edu/cbmr BYU ScholarsArchive Citation Wadham, Rachel (2018) "Muddy: The tS ory of Blues Legend Muddy Waters," Children's Book and Media Review: Vol. 39 : Iss. 5 , Article 51. Available at: https://scholarsarchive.byu.edu/cbmr/vol39/iss5/51 This Book Review is brought to you for free and open access by the All Journals at BYU ScholarsArchive. It has been accepted for inclusion in Children's Book and Media Review by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Wadham: Muddy: The Story of Blues Legend Muddy Waters Book Review Muddy: The Story of Blues Legend Muddy Waters Muddy Waters was a tenacious young man who really didn’t like to take no for an answer. Growing up, he made instruments out of any- thing and listened to the legends around him like Son House play. Working in the fields by day and playing in music joints at night soon became unsatisfactory for Muddy, who packed up and moved to the big city of Chicago where music was pushing boundaries. Muddy Author played in lots of clubs and even tried to make a few records, but it was Michael James Mahin not until he captured his own unique signature sound that he was Illustrator able to make a record, sold out in twenty-four hours. Through hard work and determination, Muddy helped invent a style called Chicago Evan Turk Blues—the music that inspired generations to come. -
The Caravan Playlist 147 Friday, March 18, 2016 Hour 1 Artist Track
The Caravan Playlist 147 Friday, March 18, 2016 Hour 1 Artist Track CD/Source Label Andrew Bird Natural Disaster Noble Beast Fat Possum - c 2009 Lamb Chop I Can Hardly Spell My Name Is A Woman Merge Records - c 2002 David Darling Solitude Cello Blue Hearts of Space - c 2001 Caroline Fenn Monsters Fragile Chances ECR Music Group - c 2012 Erin Mckeown Easy Baby Monday Morning Cold TVP Records - c 1997 Buddy Flett I Got Evil (Don't You Lie To Me) Mississippi Sea Out Of The Past - c 2007 Moby Grape Never Grape Jam Sundazed Music - c 2007 Janis Joplin Ball and Chain Monterey Pop Festival 1967 Rhino - c 1997 Steppenwolf Monster Live Steppenwolf MCA - c 1971 Mammas and Pappas California Dreamin' Monterey Pop Festival 1967 Rhino - c 1997 Janis Joplin Try Woodstock Anniversary Collection Atlantic - c 1994 Hour 2 Artist Track Concert Source Choir Of Young Believers NYE no TRE Guitar Showroom at SXSW NPR Music - c 2010 Choir Of Young Believers These Rituals of Mine Guitar Showroom at SXSW NPR Music - c 2010 Choir Of Young Believers Action/Reaction Guitar Showroom at SXSW NPR Music - c 2010 Choir Of Young Believers NYE no ET Guitar Showroom at SXSW NPR Music - c 2010 Choir Of Young Believers Why Must it Always Be This Way Guitar Showroom at SXSW NPR Music - c 2010 Choir Of Young Believers Hollow Talk Guitar Showroom at SXSW NPR Music - c 2010 Yeah Yeah Yeahs Under The Earth NPR Music's SXSW at Stubbs NPR Music - c 2013 Yeah Yeah Yeahs Gold Lion NPR Music's SXSW at Stubbs NPR Music - c 2013 Yeah Yeah Yeahs Subway NPR Music's SXSW at Stubbs NPR Music -
Ethan Gruska Unveils Music Video for “Reoccurring Dream” to Join Agnes Obel on Tour New Album Slowmotionary out This Friday on Sire Records
For Immediate Release March 1, 2017 ETHAN GRUSKA UNVEILS MUSIC VIDEO FOR “REOCCURRING DREAM” TO JOIN AGNES OBEL ON TOUR NEW ALBUM SLOWMOTIONARY OUT THIS FRIDAY ON SIRE RECORDS The official music video for Ethan Gruska’s “Reoccurring Dream” is premiering today and can now be shared/watched HERE. Of the video, Gruska shares: “I never met my grandmother. She died when my mom was 16. At this point she's been gone for longer than she was alive. What little I knew was that she was a successful supporting actress in the movies. I knew she was beautiful, funny, eccentric, and the life of the party. However, these desirable traits are often paired with their opposites, as we all have seen. I've only really been able to speculate on how dynamic a person she might have been...until now. Because she died at such a young age--leaving her family behind—I could only imagine her through the filter of her children--my family-- and because of their loss, her life has always been tinged with sadness in my mind. I was never fully able to comprehend the range of who she might have been. Last month, when my uncle handed me this Super 8 footage of my grandma (with her mother and her father) taken between the 1940's and the 1970's, I was completely blown away. I was finally able to see her in action and watching this footage was like meeting her for the first time. I saw my mother in her. I saw my uncles in her, my sister, and myself. -
The Social Work of Music a Musician's Path to Change
ALUMNI GAZETTE The Social Work of Music Jazz composer and pianist Darrell Grant ’84E measures his success not only by how his music sounds, but also by what it does. b y Karen McCally ’02 (PhD) Darrell Grant ’84E has been a celebrat- ed jazz composer and pianist since early in his career, when his first solo project, Black Art (Criss Cross), was named by the New York Times as one of the top 10 jazz recordings of 1994. In 1997, he took an unusual step for a ris- ing jazz artist. He moved out of New York City to Portland, Oregon, a place much less known for its jazz scene. Grant and his wife, Anne McFall ’85E, who studied viola at Eastman, were eager to start a new life there. Yet it was also a place Grant felt would allow him, to a far greater extent than in New York City, to form meaningful connections with audi- ences and with his community. “One of the things I was interested in was the idea of doing well by doing good,” says Grant, who teaches at Portland State University. “If you’re going to create some- thing, you get to determine the measures for success. And something I always want- ed to figure out was ways to connect my musical projects to something broader in VaLuE(S)-aDDED: In a variety of projects, Grant seeks to integrate his music with his values. the community.” ESSAY This past fall, Grant contributed an es- say for a special edition of Chamber Mu- sic magazine (see “A Musician’s Path to A Musician’s Path to Change Change”). -
Places to Go, People To
Hanson mistakenINSIDE EXCLUSIVE:for witches, burned. VerThe Vanderbilt Hustler’s Arts su & Entertainment Magazine s OCTOBER 28—NOVEMBER 3, 2009 VOL. 47, NO. 23 VANDY FALL FASHION We found 10 students who put their own spin on this season’s trends. Check it out when you fl ip to page 9. Cinematic Spark Notes for your reading pleasure on page 4. “I’m a mouse. Duh!” Halloween costume ideas beyond animal ears and hotpants. Turn to page 8 and put down the bunny ears. PLACES TO GO, PEOPLE TO SEE THURSDAY, OCTOBER 29 FRIDAY, OCTOBER 30 SATURDAY, OCTOBER 31 The Regulars The Black Lips – The Mercy Lounge Jimmy Hall and The Prisoners of Love Reunion Show The Avett Brothers – Ryman Auditorium THE RUTLEDGE The Mercy Lounge will play host to self described psychedelic/ There really isn’t enough good to be said about an Avett Brothers concert. – 3rd and Lindsley 410 Fourth Ave. South 37201 comedy band the Black Lips. With heavy punk rock infl uence and Singing dirty blues and southern rock with an earthy, roots The energy, the passion, the excitement, the emotion, the talent … all are 782-6858 mildly witty lyrics, these Lips are not Flaming but will certainly music sound, Jimmy Hall and his crew stick to the basics with completely unrivaled when it comes to the band’s explosive live shows. provide another sort of entertainment. The show will lean towards a songs like “Still Want To Be Your Man.” The no nonsense Whether it’s a heart wrenchingly beautiful ballad or a hard-driving rock punk or skaa atmosphere, though less angry. -
TEG 74001 MUDDY WATERS Unk in Funk CD
MUDDY WATERS “UNK” IN FUNK 1. Rollin’ And Tumblin’ 2. Just To Be With You 3. Electric Man 4. Trouble No More 5. “Unk” In Funk 6. Drive My Blues Away 7. Katie 8. Waterboy Waterboy 9. Everything Gonna Be Alright "Unk" In Funk, Muddy Waters' 1974 release, saw the Chicago bluesman further building on the electric blues of albums like Electric Mud (1968) and After The Rain (1969). It would be one of the last collections of original material that Waters would record with Chess Records, after a nearly 30-year association with the label. The record included a core line up of famed blues players who would remain Waters' backing band for the duration of his career, featuring Pinetop Perkins on piano, (Earl Hooker) Luther Johnson (The Nighthawks) and Bob Margolin on guitar, Calvin "Fuzz" Jones on bass, (The Legendary Blues Band) and Willie "Big Eyes" Smith on drums, (Bo Diddley, John Lee Hooker) with additional guest appearances by George Buford, Paul Oscher (Louisiana Red), and Carey Bell (Willie Dixon) on harmonica. Even at the age of 61, Waters sounds at the top of his game on "Unk" In Funk. His booming, powerful blues vocals dominate the album's fuzzy, electric orchestration. Overhauled versions of Waters classics like "Rollin' and Tumblin'" and "Just To Be With You" sound fresh as ever, and newer tracks like "Katie" and "Waterboy, Waterboy" are classic and organic additions to Waters' discography. Overlooked and underrated in its time, "Unk" In Funk is a pinnacle album from Waters' catalog. Format: CD Cat. No: TEG74001-CD Label: Traffic Entertainment Group Available: AUGUST 13th, 2013 CHESS CD.