Clearwater's 2011 Annual Report
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174Th Historic Preservation Meeting Notes (Pdf)
6 December 2108 State Board for Historic Preservation Meeting NYS Library Board Room Presentation by William Krattinger ROBINWOOD HISTORIC DISTRICT The Robinwood Historic District consists of 21 mid-century Modern houses erected as the centerpiece of a unified housing development in the mid-1960s in the Town of Ossining, Westchester County, and one preexisting house which was modified in association with the new development. The houses which form this cohesive housing enclave were designed by Harry Wenning, an MIT-trained architect, in collaboration with developer Marcel Robins. For the Robinwood houses, Wenning authored designs which were stylistically contemporary and well-integrated with their immediate site and natural surroundings. Although the various houses within the district feature relatively uniform setbacks from the road, their relationship to the physical traits of their individual parcels, and not their relationship to other adjacent houses, was the critical factor in the manner in which they were oriented. Many of the houses are elevated above the level of the roadway and feature consistent landscape elements such as grassy lawns, mature deciduous and coniferous trees, and ornamental plantings. Wenning’s Robinwood designs, characterized by their straightforward geometric massing, post-and-beam construction and large window expanses, maximized the interaction between house and landscape, one of their foremost and most enduring qualities. These houses incorporated features necessary for efficient and economical construction -
The Sam Eskin Collection, 1939-1969, AFC 1999/004
The Sam Eskin Collection, 1939 – 1969 AFC 1999/004 Prepared by Sondra Smolek, Patricia K. Baughman, T. Chris Aplin, Judy Ng, and Mari Isaacs August 2004 Library of Congress American Folklife Center Washington, D. C. Table of Contents Collection Summary Collection Concordance by Format Administrative Information Provenance Processing History Location of Materials Access Restrictions Related Collections Preferred Citation The Collector Key Subjects Subjects Corporate Subjects Music Genres Media Formats Recording Locations Field Recording Performers Correspondents Collectors Scope and Content Note Collection Inventory and Description SERIES I: MANUSCRIPT MATERIAL SERIES II: SOUND RECORDINGS SERIES III: GRAPHIC IMAGES SERIES IV: ELECTRONIC MEDIA Appendices Appendix A: Complete listing of recording locations Appendix B: Complete listing of performers Appendix C: Concordance listing original field recordings, corresponding AFS reference copies, and identification numbers Appendix D: Complete listing of commercial recordings transferred to the Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress 1 Collection Summary Call Number: AFC 1999/004 Creator: Eskin, Sam, 1898-1974 Title: The Sam Eskin Collection, 1938-1969 Contents: 469 containers; 56.5 linear feet; 16,568 items (15,795 manuscripts, 715 sound recordings, and 57 graphic materials) Repository: Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. Summary: This collection consists of materials gathered and arranged by Sam Eskin, an ethnomusicologist who recorded and transcribed folk music he encountered on his travels across the United States and abroad. From 1938 to 1952, the majority of Eskin’s manuscripts and field recordings document his growing interest in the American folk music revival. From 1953 to 1969, the scope of his audio collection expands to include musical and cultural traditions from Latin America, the British Isles, the Middle East, the Caribbean, and East Asia. -
BOB DYLAN 1966. Jan. 25. Columbia Recording Studios According to The
BOB DYLAN 1966. Jan. 25. Columbia Recording Studios According to the CD-2 “No Direction Home”, Michael Bloomfield plays the guitar intro and a solo later and Dylan plays the opening solo (his one and only recorded electric solo?) 1. “Leopard-skin Pill-box Hat” (6.24) (take 1) slow 2. “Leopard-skin Pill-box Hat” (3.58) Bloomfield solo 3. “Leopard-skin Pill-box Hat” (3.58) Dylan & Bloomfield guitar solo 4. “Leopard-skin Pill-box Hat” (6.23) extra verse On track (2) there is very fine playing from MB and no guitar solo from Uncle Bob, but a harmonica solo. 1966 3 – LP-2 “BLONDE ON BLONDE” COLUMBIA 1966? 3 – EP “BOB DYLAN” CBS EP 6345 (Portugal) 1987? 3 – CD “BLONDE ON BLONDE” CBS CDCBS 66012 (UK) 546 1992? 3 – CD “BOB DYLAN’S GREATEST HITS 2” COLUMBIA 471243 2 (AUT) 109 2005 1 – CD-2 “NO DIRECTION HOME – THE SOUNDTRACK” THE BOOTLEG SERIES VOL. 7 - COLUMBIA C2K 93937 (US) 529 Alternate take 1 2005 1 – CD-2 “NO DIRECTION HOME – THE SOUNDTRACK” THE BOOTLEG SERIES VOL. 7 – COL 520358-2 (UK) 562 Alternate take 1 ***** Febr. 4.-11, 1966 – The Paul Butterfield Blues Band at Whiskey a Go Go, LA, CA Feb. 25, 1966 – Butterfield Blues Band -- Fillmore ***** THE CHICAGO LOOP 1966 Prod. Bob Crewe and Al Kasha 1,3,4 - Al Kasha 2 Judy Novy, vocals, percussion - Bob Slawson, vocals, rhythm guitar - Barry Goldberg, organ, piano - Carmine Riale, bass - John Siomos, drums - Michael Bloomfield, guitar 1 - John Savanno, guitar, 2-4 1. "(When She Wants Good Lovin') She Comes To Me" (2.49) 1a. -
John Cohen on Passing Sep 16, 2019 Noam Chomsky Independence of Journalism Julian Assange + Telling Truth Fixing Reality Xu Yong
SPECIAL EDITION PARIS PHOTO | WEDNESDAY, NOVEMBER 6, 2019 BY GALERIE JULIAN SANDER, COLOGNE, GERMANY BY JULIAN SANDER The more we know, the more we know what we do not know. There is a profound wisdom in this con- tradictory sounding truth. Our desire to know things is the insatiable urge that has and conti- nues to drive our kind to its grea- test heights and its darkest depths. As our knowledge of each other has grown we have also gained a larger understanding of just how large the world is in which we all live. The news, a natural product of our need to prioritize the granular aspects of our existence, has beco- me a common base line of know- ledge. As all things that develop out of a necessity, the news has be- come a tool kit for the movement of mass information be it true or false. Although chances are that it will be somewhere in between more often than at either extre- me, at least for most of us who’s access to information is limited to that which has passed through the filters of national security and poli- tical correctness. These well formulated truths serve to help us make sense of a world so much larger than the numbers any of us can actually digest. 7.7738.603.459 people populate the world as of 23:09 CET on Octo- ber 21,2019. By comparison an 80 Reaper Drone in Temporary Hangar, Holloman AFB, NM, 2012, by Sean Hemmerle year life consists of 2.524.608.000 seconds. -
American Road Trip
Quapaw Quartet Presents American Road Trip New York City, New York (George Gershwin) Washington D.C. (John Philip Sousa) Nashville, Tennessee (Jay Ungar and Molly Mason) Texarkana, Arkansas (Scott Joplin) Los Angeles/ Hollywood, California (Carl Stalling) George Gershwin George Gershwin was one of the most significant American composers of the 20th century, known for popular stage and screen music as well as classical compositions. He was born Jacob Gershowitz on September 26, 1898, in Brooklyn, New York. The son of Russian-Jewish immigrants, George began to play piano at age eleven. His teacher, Charles Hambitzer wrote, “I have a new pupil who will make his mark if anybody will.” Beginning at age fifteen, Gershwin played in several New York nightclubs and as a ‘song plugger’ for one of Tin Pan Alley’s music publishers. After three years of doing this, he had become a highly skilled composer. To earn extra cash, he also worked as a rehearsal pianist for Broadway singers. In 1916, he composed his first published song. Gershwin wrote numerous songs for stage and screen that quickly became standards, including “Oh, Lady Be Good!” “Someone to Watch over Me,” “Strike Up the Band,” “Embraceable You” and “Let’s Call the Whole Thing Off.” [Listen to them on YouTube.] In 1925, he composed “Rhapsody in Blue” for piano and orchestra, which became his most often-performed work. Ten years later, his most ambitious composition, “Porgy and Bess” was staged. Gershwin called it his “folk opera” and it is considered to be among the most important American musical dramas of the 20th century. -
(Plr) Scheme 2014-15
IN CONFIDENCE THE BRITISH LIBRARY BOARD BLB 14/31 ANNUAL REPORT ON THE OPERATION OF THE PUBLIC LENDING RIGHT (PLR) SCHEME 2014-15 1. PURPOSE OF THE PAPER To provide an annual report on the operation of the PLR Scheme following the transfer of responsibility for PLR to the Board on 1 October 2013. 2. SUMMARY This Report covers the operation of the PLR Scheme during the year 1 April 2014 – 31 March 2015. It has been written by the PLR Business Manager and has been endorsed by Tracy Chevalier, Chair of the British Library Advisory Committee for PLR. The Report is also being made available to Members of the Advisory Committee and a separate Annual Report, prepared by the Head of PLR Policy and Advocacy which details the work of the Committee during the reporting year, is also attached. This is the first Annual Report on behalf of the PLR Advisory Committee which met for the first time on 12 May 2014. Given that there is no longer a separately-published PLR Annual Report, the Advisory Committee seeks Board approval for publishing the PLR Annual Report on the PLR website. 3. ACTION REQUESTED OF THE BOARD To note the paper which is for information and noting only. Finance (PLR) May 2015 FOI PUBLICATION SCHEME STATUS Status: OPEN – to be released into the BL’s Publication Scheme without redaction Status: OPEN with redactions – to be released with the redactions highlighted Status: CLOSED – not to be released into the BL’s Publication Scheme The Board is invited to ratify the proposed publication status 1 PLR Annual Report 2014-15 2 Contents 1. -
September / October
CONCERT & DANCE LISTINGS • CD REVIEWS • FREE EVENTS FREE BI-MONTHLY Volume 5 Number 5 September-October 2005 THESOURCE FOR FOLK/TRADITIONAL MUSIC, DANCE, STORYTELLING & OTHER RELATED FOLK ARTS IN THE GREATER LOS ANGELES AREA “Don’t you know that Folk Music is illegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers THE TILT OF THE KILT Wicked Tinkers Photo by Chris Keeney BY RON YOUNG inside this issue: he wail of the bagpipes…the twirl of the dancers…the tilt of the kilts—the surge of the FADO: The Soul waves? Then it must be the Seaside Highland Games, which are held right along the coast at of Portugal T Seaside Park in Ventura. Highly regarded for its emphasis on traditional music and dance, this festival is only in its third year but is already one Interview: of the largest Scottish events in the state. Games chief John Lowry and his wife Nellie are the force Liz Carroll behind the rapid success of the Seaside games. Lowry says that the festival was created partly because there was an absence of Scottish events in the region and partly to fill the void that was created when another long-standing festival PLUS: was forced to move from the fall to the spring. With its spacious grounds and variety of activities, the LookAround Seaside festival provides a great opportunity for first-time Highland games visitors who want to experience it all. This How Can I Keep From Talking year’s games will be held on October 7, 8 and 9, with most of the activity taking place on the Saturday and Sunday. -
1 Bob Dylan's American Journey, 1956-1966 September 29, 2006, Through January 6, 2007 Exhibition Labels Exhibit Introductory P
Bob Dylan’s American Journey, 1956-1966 September 29, 2006, through January 6, 2007 Exhibition Labels Exhibit Introductory Panel I Think I’ll Call It America Born into changing times, Bob Dylan shaped history in song. “Life’s a voyage that’s homeward bound.” So wrote Herman Melville, author of the great tall tale Moby Dick and one of the American mythmakers whose legacy Bob Dylan furthers. Like other great artists this democracy has produced, Dylan has come to represent the very historical moment that formed him. Though he calls himself a humble song and dance man, Dylan has done more to define American creative expression than anyone else in the past half-century, forming a new poetics from his emblematic journey. A small town boy with a wandering soul, Dylan was born into a post-war landscape of possibility and dread, a culture ripe for a new mythology. Learning his craft, he traveled a road that connected the civil rights movement to the 1960s counterculture and the revival of American folk music to the creation of the iconic rock star. His songs reflected these developments and, resonating, also affected change. Bob Dylan, 1962 Photo courtesy of John Cohen Section 1: Hibbing Red Iron Town Bobby Zimmerman was a typical 1950’s kid, growing up on Elvis and television. Northern Minnesota seems an unlikely place to produce an icon of popular music—it’s leagues away from music birthplaces like Memphis and New Orleans, and seems as cold and characterless as the South seems mysterious. Yet growing up in the small town of Hibbing, Bob Dylan discovered his musical heritage through radio stations transmitting blues and country from all over, and formed his own bands to practice the newfound religion of rock ‘n’ roll. -
Alumni @ Large
Colby Magazine Volume 98 Issue 3 Fall 2009 Article 10 October 2009 Alumni @ Large Follow this and additional works at: https://digitalcommons.colby.edu/colbymagazine Recommended Citation (2009) "Alumni @ Large," Colby Magazine: Vol. 98 : Iss. 3 , Article 10. Available at: https://digitalcommons.colby.edu/colbymagazine/vol98/iss3/10 This Contents is brought to you for free and open access by the Colby College Archives at Digital Commons @ Colby. It has been accepted for inclusion in Colby Magazine by an authorized editor of Digital Commons @ Colby. alumni at large that is near one of their children. Y My trip to met a challenge we were not physically up to in the parade of classes. I was amused to 1920s-30s South Africa was spectacular. We did all of so, considering our ages, we felt we should hear several “wows” as we passed through Meg Bernier Boyd the touristy things: visiting Pretoria just days quit while we were ahead. This is the first the younger classes along the side as we Colby College before they inaugurated Zuma as their new year we have been “on the beach” and it progressed into the auditorium! Y In an Office of Alumni Relations president, Robben Island, where Mandela certainly feels strange. Since we were free effort to elicit some news for this column, I Waterville, ME 04901 was imprisoned, Cape Town, and Cape of and looking for something to do, we went included in our reunion packet a question- Good Hope. I rode an elephant, patted a lion, to Jupiter, Fla., for three weeks to enjoy our naire and return envelope addressed to me. -
From the Emerald Lands of Mist and Myth Comes the Music of Celtic Traditions
From the emerald lands of mist and myth comes the music of Celtic traditions. Maestro Wes Kenney and the Fort Collins Symphony invite you to enjoy the virtual on-demand concert Celtic Fantasy. Featuring a variety of traditional and contemporary Celtic music for strings, winds, piano, and percussion this concert will highlight the broad symphonic traditions of Ireland, Scotland, Wales, Cornwall, Brittany, and Galicia. A wealth of Celtic folk songs, jigs, reels, hornpipes, and airs emigrated to Appalachia where this unique genre has influenced American music for more than 300 years. This concert includes: Joan Trimble’sIrish Suite for Strings, Jay Ungar’s Ashokan Farewell (from Ken Burn’s award-winning documentary The Civil War), Gaelic Storm’s An Irish Party in Third Class (from the movie Titanic), Jennifer Barker’s Suilean a’Chloinne (Children’s Eyes), Arthur Duff’s Irish Suite for Strings, Victor Herbert’s Yesterthoughts, and Gwyneth Walker’s Light of Three Mornings. Finally, Herbert’s Punchinello, while not exactly Celtic, is a chipper and cheerful concert bonus (think mischief- making leprechauns!). The Fort Collins Symphony Association is deeply grateful to our Friends of the Symphony whose financial support helped make it possible for us to present the Celtic Fantasy concert. With appreciation, we acknowledge the following FoS donors: Oren & Jennifer Anderson . Karel Applebee . Kathleen Batterton . David & Alison Dennis Fund* . Paul & Katherine Dudzinski Fund* Kay & Larry Edwards . K. Dawn & David Grapes . Howard & Phyllis Hay . Charlene & David Jones in honor of David & Alison Dennis Mary & Paul Kopco . Barbara & Albert Leung . Kathleen McKeown & Gary Betow . Robert C. Michael . Sharyn & Larry Salmen in memory of Jerry Applebee & Leabelle Schwartz . -
Swarthmore Folk Alumni Songbook 2019
Swarthmore College ALUMNI SONGBOOK 2019 Edition Swarthmore College ALUMNI SONGBOOK Being a nostalgic collection of songs designed to elicit joyful group singing whenever two or three are gathered together on the lawns or in the halls of Alma Mater. Nota Bene June, 1999: The 2014 edition celebrated the College’s Our Folk Festival Group, the folk who keep sesquicentennial. It also honored the life and the computer lines hot with their neverending legacy of Pete Seeger with 21 of his songs, plus conversation on the folkfestival listserv, the ones notes about his musical legacy. The total number who have staged Folk Things the last two Alumni of songs increased to 148. Weekends, decided that this year we’d like to In 2015, we observed several anniversaries. have some song books to facilitate and energize In honor of the 125th anniversary of the birth of singing. Lead Belly and the 50th anniversary of the Selma- The selection here is based on song sheets to-Montgomery march, Lead Belly’s “Bourgeois which Willa Freeman Grunes created for the War Blues” was added, as well as a new section of 11 Years Reunion in 1992 with additional selections Civil Rights songs suggested by three alumni. from the other participants in the listserv. Willa Freeman Grunes ’47 helped us celebrate There are quite a few songs here, but many the 70th anniversary of the first Swarthmore more could have been included. College Intercollegiate Folk Festival (and the We wish to say up front, that this book is 90th anniversary of her birth!) by telling us about intended for the use of Swarthmore College the origins of the Festivals and about her role Alumni on their Alumni Weekend and is neither in booking the first two featured folk singers, for sale nor available to the general public. -
Civil War to Civil Rights Commemoration
National Park Service U.S Department of the Interior Washington Support Office: Cultural Resources, Partnerships and Science Interpretation, Education and Volunteers Civil War to Civil Rights Commemoration Summary Report DEDICATION This report honors all those who suffered and died in this nation’s struggles for freedom and equality. It is also dedicated to our colleague, Tim Sinclair, who was taken from us too soon. Timothy D. Sinclair, Sr. (1974-2016) Chief of Interpretation Selma to Montgomery NHT Tuskegee Airmen NHS and Tuskegee Institute NHS You took us on a walk from Selma to Montgomery. To keep your vision and memory alive, “We’re still marching!” Silent sentinels stood watch for 22 hours to commemorate the 22 hours of combat that took place at Spotsylvania’s Bloody Angle. FREDERICKSBURG AND SPOTSYLVANIA NMP Cover Graphic: Courtesy of Chris Barr FOREWORD The Civil War to Civil Rights Commemoration has been quite a journey. Thanks to all of you who helped make it a meaningful and memorable one for our country. We hope our efforts have helped Americans understand the connection between these two epic periods of time as a continuous march toward freedom and equality for all–a march that continues still today. Along the way, perhaps the National Park Service learned something about itself, as well. When we first began planning for this commemorative journey, there were several Civil War parks that had difficultly acknowledging slavery as the cause of the war. Both Civil War sites and civil rights sites questioned whether a combined “Civil War to Civil Rights” Commemoration would water down and weaken each.