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Sam Bisbee (Vehicle) -- Bio
sam bisbee (vehicle) -- bio Introducing Sam Bisbee, the brand new, grizzled, wide-eyed, ten-years-in-the- making, overnight, veteran newcomer whose Vehicle has finally arrived. Sam spent the 1990's moving from development deal to development deal (Geffen, EMI, BMG all financed demos) and ultimately managed to make one album with his band Bisbee (Snacks, 1996, Plump Records) before plunging back into the life-force consuming task of making MORE DEMOS. After a couple of years decompressing, Sam awoke to the realization that he never wanted to make a DEMO ever again. So he called up some friends (engineers, producers, musicians...) and made this, his debut solo album. “It just happened," says Sam. "And it is the album I've always wanted to make. I made it in a bubble. No A & R personell within a 5 block radius. No mention of taking things to 'the next level'. Just music. Pure and simple. For music's sake." Luckily for Sam, the 'friends' he called (all of whom contributed their talents for next to nothing) were not your average friends. Pete Keppler was in the middle of engineering David Bowie's upcoming release when he received a call from Sam. Leona Naess was working on the follow up to her critically acclaimed freshman release on MCA when she heard Sam's voice on the answering machine. Charlie Drayton (Neil Young, B-52's, Keith Richards, Iggy Pop..) was playing an all-star gig with Mike Campbell (Tom Petty) when Sam's email scrolled across his cellphone screen. Peter Adams had just come off the road with Tracy Bonham and was on the way to Boston to back up Juliana Hatfield and Kay Hanley (Letters to Cleo) when he ran into Sam on the street. -
PAROLE E MUSICA DELLA MEMORIA EBRAICA a Cura Di CARLO BIANCHI
brescia MUSICA INTERVISTA A ROLANDO ANNI E ALESSANDRO ADAMI DEL GRUPPO “KLEZMORIM” PAROLE E MUSICA DELLA MEMORIA EBRAICA a cura di CARLO BIANCHI n bambino di fronte a dialogo fra ebrei e cristiani, per un albero su un prato un incontro che è stato, credo, circondato da una il nostro primo ‘concerto’. Nel U sconnessa stacciona- corso del tempo i rapporti fra la ta scarna che conduce, voltan- musica e le letture o le mie spie- do, fino a un caseggiato romito. gazioni si è invertito: prima la La copertina del disco che rac- musica accompagnava quello chiude i quindici canti della tra- che avevo da dire, adesso inve- dizione popolare ebraica can- ce sono io a dire delle cose che tati e suonati dal complesso accompagnano la musica. Di- Klezmorim è l’immagine ricreata ciamo che io mi sono preoccu- di Oyfn veg shteyt a boym (“sta, pato di costruire questo proget- lungo la strada, un albero pie- to da un punto vista letterario e gato”), una di queste quindici storico. La nostra particolarità è storie in musica, la ninna-nanna che i nostri non sono dei veri e di un bambino che chiede alla propri concerti, sono ‘incontri’ mamma di potersi arrampicare dove la musica viene inserita in sull’albero per volare verso il un contesto molto preciso per- cielo, anche se fa freddo e la ché siamo convinti ancora oggi mamma gli raccomanda di co- che questa musica pur essendo prirsi, non vuol lasciarlo andare, semplice, popolare, non possa per paura che si smarrisca. essere del tutto compresa senza Sono canti di un popolo – di alcune fondamentali spiegazio- una cultura, di una religione – ni”. -
Phi Gamma Delta Suspended
• SPORTS: PATTERSON'S NEW POSSE, PAGE 10 • FEATURES: FALL'S REALITY TV LINEUP, PAGE 5 Friday, September 26, 2003 TCU DAILY SKIFF Serving Texas Christian University since 1()()2 • Vol. MM • Issue l<> • Fort Worth. Texas • www.skiff.tcu.edi Todays STATE NEWS Phi Gamma Delta suspended BY kRIST I W UkK.R plying with TCU to get this mat- Texas law has ,i similar defini- leadership, local alumni and GRAPEVINE Slflfl neportei Fraternity being te! resolved as quickly and elli- lion national council to determine the Emergency slides were used ciently as possible," Travis said. Fiji's national office lias been severitj ol the issue Parket said to evacuate an American The Phi Gamma Delta frater- investigated for TCU contact- the consequences are determined Airlines jet Thursday after nity is being investigated for pos- defines haz- "It has been brought in our atten- ed for on a case-by -case basis smoke was detected in the sible hazing violations. Vice possible hazing ing as anj l h e TCU Assistant Chief of Police passenger cabin shortly Chancellor for Student Affairs tion thai IIC ore under investiga- Don Mills said Thursday night. action taken investi- .1 C. Williams said Thursday before takeoff. tion for a possible hazing inci- or situation gation . night he was unaware of the News Digest on page 4 The investigation began the begining ol next week. dent, anil ue are full} complying Thursday morning following a created inten- M ills investigation and the TCI police Neither Mills nor Fiji presi- with TCI in get this matter report to Campus Life, Mills dent Zerek Travis would coin tionally, said. -
Table of Contents
Table of Contents From the Editors 3 From the President 3 From the Executive Director 5 The Sound Issue “Overtures” Music, the “Jew” of Jewish Studies: Updated Readers’ Digest 6 Edwin Seroussi To Hear the World through Jewish Ears 9 Judah M. Cohen “The Sound of Music” The Birth and Demise of Vocal Communities 12 Ruth HaCohen Brass Bands, Jewish Youth, and the Sonorities of a Global Perspective 14 Maureen Jackson How to Get out of Here: Sounding Silence in the Jewish Cabaretesque 20 Philip V. Bohlman Listening Contrapuntally; or What Happened When I Went Bach to the Archives 22 Amy Lynn Wlodarski The Trouble with Jewish Musical Genres: The Orquesta Kef in the Americas 26 Lillian M. Wohl Singing a New Song 28 Joshua Jacobson “Sounds of a Nation” When Josef (Tal) Laughed; Notes on Musical (Mis)representations 34 Assaf Shelleg From “Ha-tikvah” to KISS; or, The Sounds of a Jewish Nation 36 Miryam Segal An Issue in Hebrew Poetic Rhythm: A Cognitive-Structuralist Approach 38 Reuven Tsur Words, Melodies, Hands, and Feet: Musical Sounds of a Kerala Jewish Women’s Dance 42 Barbara C. Johnson Sound and Imagined Border Transgressions in Israel-Palestine 44 Michael Figueroa The Siren’s Song: Sound, Conflict, and the Politics of Public Space in Tel Aviv 46 Abigail Wood “Surround Sound” Sensory History, Deep Listening, and Field Recording 50 Kim Haines-Eitzen Remembering Sound 52 Alanna E. Cooper Some Things I Heard at the Yeshiva 54 Jonathan Boyarin The Questionnaire What are ways that you find most useful to incorporate sound, images, or other nontextual media into your Jewish Studies classrooms? 56 Read AJS Perspectives Online at perspectives.ajsnet.org AJS Perspectives: The Magazine of President Please direct correspondence to: the Association for Jewish Studies Pamela Nadell Association for Jewish Studies From the Editors perspectives.ajsnet.org American University Center for Jewish History 15 West 16th Street Dear Colleagues, Vice President / Program New York, NY 10011 Editors Sounds surround us. -
TITLE an Evaluation of the Right to Read Inexpensive Book Distribution
DOCUMENT RESUME ED 195 951 CS 005 763 TITLE An Evaluation of the Rightto Read Inexpensive Book Distribution Program. FinalReport. INSTITUTION General Research Corp.,McLean, Va. SPONS AGENCY Department of Education,Washington, D.C. PUB DATE Oct 80 CONTRACT 300-78-0400 NOTE 384p.: For related documentsee CS -005 7b2. EDRS PRICE M501/PC16 Plus Postage. CESCRIPTOPS Elementary Secondary Education:*Literature Appreciation: *Program'Effectiveness:*Program Evaluation: Reading Habits:*Read4Eng Interests: Reading Programs: 'RecreationalReading: *Student Motivation IDENTIFIERS *Reading Is Fundamental ABSTRACT This report providesdetails of a study of the Inexpensive Book Distribution Program (IBDP) , sponsored program operated a federally funded and by Reading is Fundamental(RIF). The specific objectives ofthe described studywere to determine the effectiveness of the IBDP ingenerating student reading and to describe motivation, the,process by which booksare acquired and distributed to children.'Sectionsof the report provide the information: following (1) methodology. and procedunesqorconducting the study, (2)a description of RIF nationalmanagement,(3) case studies of six unique IBDPs,(4) descriptions of the38 data collection sites, examination (5) alternative book distributionprograms, and (6) summaries of findings,observations, and recommendations. provide a list of-advisory Appendixes panel members and samplesof the survey questionnaires. (RL) ******************************g-**************#************************* * Reproductions supplied by -
Jon Batiste and Stay Human's
WIN! A $3,695 BUCKS COUNTY/ZILDJIAN PACKAGE THE WORLD’S #1 DRUM MAGAZINE 6 WAYS TO PLAY SMOOTHER ROLLS BUILD YOUR OWN COCKTAIL KIT Jon Batiste and Stay Human’s Joe Saylor RUMMER M D A RN G E A Late-Night Deep Grooves Z D I O N E M • • T e h n i 40 e z W a YEARS g o a r Of Excellence l d M ’ s # m 1 u r D CLIFF ALMOND CAMILO, KRANTZ, AND BEYOND KEVIN MARCH APRIL 2016 ROBERT POLLARD’S GO-TO GUY HUGH GRUNDY AND HIS ZOMBIES “ODESSEY” 12 Modern Drummer June 2014 .350" .590" .610" .620" .610" .600" .590" “It is balanced, it is powerful. It is the .580" Wicked Piston!” Mike Mangini Dream Theater L. 16 3/4" • 42.55cm | D .580" • 1.47cm VHMMWP Mike Mangini’s new unique design starts out at .580” in the grip and UNIQUE TOP WEIGHTED DESIGN UNIQUE TOP increases slightly towards the middle of the stick until it reaches .620” and then tapers back down to an acorn tip. Mike’s reason for this design is so that the stick has a slightly added front weight for a solid, consistent “throw” and transient sound. With the extra length, you can adjust how much front weight you’re implementing by slightly moving your fulcrum .580" point up or down on the stick. You’ll also get a fat sounding rimshot crack from the added front weighted taper. Hickory. #SWITCHTOVATER See a full video of Mike explaining the Wicked Piston at vater.com remo_tamb-saylor_md-0416.pdf 1 12/18/15 11:43 AM 270 Centre Street | Holbrook, MA 02343 | 1.781.767.1877 | [email protected] VATER.COM C M Y K CM MY CY CMY .350" .590" .610" .620" .610" .600" .590" “It is balanced, it is powerful. -
The Australian
MarchFebruary 2001 2001 Womadelaide Previewed Appeared in - The Adelaide Review Womadelaide 2001 It is February and the “off-year” for the Adelaide Festival, so it must be time for Womadelaide. This is the sixth incarnation -including the Pimba train ride and the McLaren Vale boutique version in 1998- and expectation is now higher than ever. This event has come a long way since its incep- tion as part of the 1992 Festival of Arts. Back then, director Rob Brookman had originally intended to use Belair National Park as the venue but the CFS vetoed the idea for safety reasons. The move to Botanic Park was a last minute stroke of genius and it is now clear that its continued availabil- ity has ensured that Womadelaide has become a significant drawcard for the city, one of those blue chip major events claimed by politicians, tour- ism promoters and various other purveyors of things Sensational. Fortunately, though, Womad is sufficiently idiosyncratic to resist corpo- rate takeover. Amongst the estimated 65,000 visits to the park are repre- sented all generations, many tribes, and most demographics.. Womad is a great big picnic with extraordinary music, high production values, quality amenities and skilfully unobtrusive management. Few events on this scale are as relaxed, amiable and safe for everyone in the perimeter. For all these reasons, the recidivist rate is high. In 1999 it was estimated that 90% had been to Womad before. Which accounts for the ritualised as- pects of the occasion. The layout is reassuringly familiar, the protocols kept scrupulously intact, even the weather somehow manages to be ideal- sunny days and sublimely balmy evenings. -
And Add To), Provided That Credit Is Given to Michael Erlewine for Any Use of the Data Enclosed Here
POSTER DATA COMPILED BY MICHAEL ERLEWINE Copyright © 2003-2020 by Michael Erlewine THIS DATA IS FREE TO USE, SHARE, (AND ADD TO), PROVIDED THAT CREDIT IS GIVEN TO MICHAEL ERLEWINE FOR ANY USE OF THE DATA ENCLOSED HERE. There is no guarantee that this data is complete or without errors and typos. And any prices are sure to be out of date. This is just a beginning to document this important field of study. [email protected] ------------------------------ EF-3.165 1969-02-21 P-1 --------- 1969-02-21 / EF 3.165 CP002236 / 2226 Jimi Hendrix Experience, Soft Machine at Electric Factory Notes: This item appears in the Art of Rock book, plate no. 3.165 Artist: Strange Venue: Electric Factory Promoter: Book: Art of Rock Items: Original poster EF-3.165 Edition 1 / CP002236 / 2226 (23 x 35- 1/2) AORPlate: 3.165 Performers: 1969-02-21 1969-02-22: Electric Factory Jimi Hendrix / Soft Machine / Woody's Truck Stop ------------------------------ EF-4.214 1970-02-11 P-1 --------- 1970-02-11 / EF 4.214 CP001050 / 1067 Delaney and Bonnie, B.B. King at Electric Factory - Philadelphia, PA Notes: This item appears in the Art of Rock book, plate no. 4.214 Venue: Electric Factory Promoter: Book: Art of Rock Items: Original poster EF-4.214 Edition 1 / CP001050 / 1067 AORPlate: 4.214 Performers: 1970-02-11: Electric Factory Delaney and Bonnie / B.B. King / Eric Clapton ------------------------------ EF 1994-11-04 P --------- 1994-11-04 / EF CP022514 / CP022514 Urge Overkill, Guided By Voices at Electric Factory Venue: Electric Factory Promoter: Electric Factory -
Klezmer Music, History, and Memory 1St Edition Ebook Free Download
KLEZMER MUSIC, HISTORY, AND MEMORY 1ST EDITION PDF, EPUB, EBOOK Zev Feldman | 9780190244514 | | | | | Klezmer Music, History, and Memory 1st edition PDF Book Its primary venue was the multi-day Jewish wedding, with its many ritual and processional melodies, its table music for listening, and its varied forms of Jewish dance. The second part of the collection examines the klezmer "revival" that began in the s. Krakow is not far from Auschwitz and each year, a March of the Living, which takes visitors on a walk from Auschwitz to the nearby Birkenau death camp, draws tens of thousands of participants. Its organizers did not shy from the topic. But, I continued, we don't celebrate the military victory. Some aspects of these Klezmer- feeling Cohen compositions, as rendered, were surely modern in some of the instruments used, but the distinctive Jewish Klezmer feel shines through, and arguably, these numbers by Cohen are the most widely-heard examples of Klezmer music in the modern era due to Cohen's prolific multi-generational appeal and status as a popular poet-songwriter-singer who was very popular on several continents in the Western World from the s until his death in Ornstein, the director of the Jewish Community Center, said that while the festival celebrates the past, he wants to help restore Jewish life to the city today. All About Jazz needs your support Donate. Until this can be accessed, Feldman's detailed study will remain the go-to work for anyone wishing to understand or explore this endlessly suggestive subject. With Chanukah now past, and the solstice just slipped, I am running out of time to post some thoughts about the holiday. -
30 53-Ijccr-2020-Summer-Petz-Def
This is a self-archived version of an original article. This version may differ from the original in pagination and typographic details. Author(s): Petz, Marcus Title: When is money not a currency? Developments from Finland of proto-community currencies Year: 2020 Version: Published version Copyright: © Author, 2020 Rights: In Copyright Rights url: http://rightsstatements.org/page/InC/1.0/?language=en Please cite the original version: Petz, M. (2020). When is money not a currency? Developments from Finland of proto- community currencies. International Journal of Community Currency Research, 24(2), 30-53. https://doi.org/10.15133/j.ijccr.2020.0010 International Journal of Community Currency Research VOLUME 25 (SUMMER 2020) 30-53 WHEN IS MONEY NOT A CURRENCY? DEVELOPMENTS FROM FINLAND OF PROTO-COMMUNITY CURRENCIES Marcus Petz* * Department of Philosophy and Social Sciences, University of Jyväskylä, Finland. Email: [email protected] ABSTRACT The article is a case study of several digitally based schemes recently operating in Finland where some functions and properties of money are evident. While working effectively as designed, they do not fully meet the criteria of a well-functioning community currency. The schemes include: sysmä, a digitally based hyperlocal system of account introduced by the rural Sysmä municipality; Pisteet kotiin®, a housing association points system in the city of Tampere, copied from a working Dutch model; BookMooch, a global book-swapping site that has extended its operations throughout Fin- land. Explored in the article are the institutional enabling and inhibitory factors and implications for and from other community currency projects. Data was collected by participant observation and semi-structured interviews in all schemes. -
4 the Licit and Illicit Nature of Mass Digitization
4 The Licit and Illicit Nature of Mass Digitization Chapter 4 The Licit and Illicit Nature of Mass Digitization © Massachusetts Institute of TechnologyAll Rights Reserved Introduction: Lurking in the Shadows A friend has just recommended an academic book to you, and now you are dying to read it. But you know that it is both expensive and hard to get your hands on. You head down to your library to request the book, but you soon realize that the wait list is enormous and that you will not be able to get your hands on the book for a couple of weeks. Desperate, you turn to your friend for help. She asks, “Why don’t you just go to a pirate library?” and provides you with a link. A new world opens up. Twenty min- utes later you have downloaded 30 books that you felt were indispensable to your bookshelf. You didn’t pay a thing. You know what you did was illegal. Yet you also felt strangely justified in your actions, not least spurred on by the enthusiastic words on the shadow library’s front page, which sets forth a comforting moral compass. You begin thinking to yourself: “Why are pirate libraries deemed more illegal than Google’s controversial scan- ning project?” and “What are the moral implications of my actions vis-à- vis the colonial framework that currently dictates Europeana’s copyright policies?” The existence of what this book terms shadow libraries raises difficult questions, not only to your own moral compass but also to the field of mass digitization. -
NUMBER TWO : JANUARY 1971 Edited by John
NUMBER TWO : JANUARY 1971 Edited by John Bangsund and published by Parergon Books, GPO Box 4946, Melbourne 3001, for the Australian Science fiction Communications Organization ("Comorg"). Subscriptions: Free to members of Comorg: others A$6.00, US$6.00, UKE2.00 per year. Comorg membership fees: Australia - $4.00; Overseas - local equivalent of US$4.50. Rates for clubs, groups, conventions and other organizations are listed in the next issue. This is the first of three austerity issues. FIFTY CENTS Conventions are for people, and the organizers are to be congratulated on never losing sight of this. The "Some mute inglorious Milton here may rest, some... ” programming was excellent, and the committee was Oh, pardon me - just waxing melancholy a bit. Gives quite prepared to scrap segments when it felt people it a nice shine, you know. were tired or just wanted to sit around and talk. The emphasis on self-entertainment was fully justified: no The cover of this issue marks, shall we say, not to put film could be quite as entertaining, for example, as too fine a point on it, a change of direction for ASFM. Carla Harding. Elizabeth Foyster and an invisible Backwards? Forwards? Who knows? But, with all the Martian (played brilliantly by Kevin Dillon, who was supercargo jettisoned, you can be sure that wherever in Sydney at the time) discussing what it's like being we're headed now we'll be moving more comfortably. married to science fiction. I wanted to explain in this editorial exactly why ASFM The Paul Stevens Show, which is becoming something has changed direction, why the Yearbook, Directory and of an institution at Melbourne conventions, was other things have been abandoned, and why I can't really actually scripted this year - though, regrettably, not get excited about Ron Graham's new venture; but it's such rehearsed.