bluuebunny/crossref_metadata_2025 huggingface dataset:
Still Grateful After All These Years: In Which the Grateful Dead. Pinup Uglies of the Haight-Ash bury. Become the House Band of the Age of Certain Doom 120
Authors: Baa Charlie
Published: November 2023

Buys in the traditional clown makeup and cardboard stars-and-stripes top hats: a circle of five grinning people , gobbling sections of an orange fortified with vitamin LSD: skulls. skeletons and red roses on patches sewn to the breasts of denim , jackets and the butts of denim pants: a girl in a garland of red roses like the one worn by the skeleton on the second live album and another girl in a baldy clown mask like the one worn by Garcia in the Europe “12 photographs: and raiments silk-screened. heat-transferred and appliqued with every known piece of Dead artwork. from the sperm-shooting skull onAoxomoxoa to the fiddling fright-wigged skeleton on Blues for Allah to the skull and-lightning-bolt on Steal Your Face: all of them wafting across the UCLA campus to Pauley Pavilion and most of fearoremagazine was a short-lived successor to the early rock magazine Crawdaddy. Abbott’s piece from the March 1979 issue is similar, in some ways, to Mcanahan’sepic article for Playboy, containing, as it does, interview material with Garcia and descriptions of the band in concert and of the audience. But the interview with Garcia includes accounts of two watershed experiences in his life that are revelations. The concert described is from December 17, 1978, at the Fox Theatre in Atlanta, Georgia. part of a rare Southern tour.
Robert Hunter: Songs of Innocence. Songs of Experience
Authors: Eisenhard Mary
Published: November 2023

If you were there, you probably haven’t forgotten. But get a good audience tape of New Year’s ‘81.-82 and listen to “Ter rapin.” Picture. if you will. 8.000 people. many still soaking wet (it rained a lot that day. and took a long time to get in). jammed into the ‘Oakland Auditorium. Listen to the band blazing. Garcia belting out the , lyrics with exceptional fervo and the rumble. By the time he gets to ‘the “Counting stars by candlelight” line. 8000 people are roaring along. matching him syllable for syllable through the crickets and cicadas. The .end and the beginning. the train putting its brakes on and the whistle screaming TERRAPIN! Not one of us has ever laid eyes on Terrapin Station. and we’d be hard pressed to define exactly what it was. but for that moment there was not the slightest doubt that if we listened hard enough. sang loud enough. and just hung in there. we could collectively lift that decrepit hall off its foundations and get there. Chances are. if youre reading this magazine. Robert Hunter’s lyrics have had a profound effect on your life. Whether you’re the scholarly type who pores over words and songlists with cabalistic intensity. or a more carefree soul who (as Hunter himself notes with a certain chagrin) hears “We can share Alice Kahn contributed distinctive humorous essays for years to the East Bay Express and.subsequently. The Jan Francisco Chronicle. where her column was nationally syndicated through 1994. The following piece on Garcia published in the San Jose Mercury sWest Magazine on December 30.1984. is unusual for its focus on his fonnative years in the Bay Area. Kahn has published three collections of her work, Multiple Sarcasm.published by the Ten Speed Press in1985: Mylife Asa Gal, published by Delacorte in 1987: which includes the excerpt below: and luncheon at the Cafe Ridiculous, published by Poseidon in1990. In1998, she published (with John Dobby Boe) Your Joke Isin the E-Mail: Cyber/affs fromMousepotatoes,published by theTen Speed Press. She is now back to her previous career, working as a nurse practitioner in the Kaiser Pennanente Chemical Dependency Recovery Program and at the Kaiser Division of Research.
The Swirl According to Carp: A Meditation on the Grateful Dead
Authors: Brittod Jack
Published: November 2023

It was vintage Carp all the way. Rich Carpenter danced around my living room doing his best Mick Jaggereven down to the long scarf. which he periodically flung across his left shoulder as “Sweet Black Angel” blasted out of the hi-fi. He had the Bpouting lips. the affected arrogance. and he slurred the words juuuu rust right. I’ve listened to the Stones Exile on Main Street a thousand tt’ times since it came out in 72. and I’m no closer to being able to deci ‘J, pher the words to sweet Black Angel” than I was when I bought the;’? record. And Carp’s delivery wasn’t helping things. But I wasn’t about to stop him. because when Carp gets going you just want to sit back and watch. Carp not on psychedelics is a trip in itself. but Carp on two hits of Bloom County blotter acid-with Mr. P. Opus staring out at you from each little square-is really something. Especially if the Dead show he’d dropped for was a good one. And the one that evening at the Greek Theater in Berkeley was a hot one indeed. Sometimes. when the concert is only so-so. you get the introspective Carp at the end of the evening-not bad if you’re in the mood to watch a guy sit in a chair for three or four hours saying almost nothing.
Reporting Live from Deadland
Authors: Gans David
Published: November 2023

If anyone had told me three years ago that I was about to turn on to the Grateful Dead. I’d have told him he was nuts. Me a “Deadhead”? Grooving to warmed-over acid rock with a bunch of scruffy. unreconstructed hippies? Flailing about in tie-dyes. bare feet. and nose rings? Get real. Well. it happened. In February 1986. after sharing office space for two years with a friendly Deadhead and listening to her rhapsodiz_e ‘i about life among the Dead. I got curious. My initiation was the bands annual Chinese New Year’s concerts at Oakland’s Henry J. Kaiser Convention. an occasion I approached with bemused if not jaundiced detachment-like a weekend ethnographer probing uncharted land. Well. I got zapped. The music. the lights. and the midshow procession with gongs. cymbals. polychromatic dancers. and a human-powered dragon with steaming nostrils were wonderful. But what really startled me was how nice everybody was-there was none of the snarling and pushing you get in most large-scale rock concert-and how avidly involved they were in the music. At the highest moments. the crowd’s intensity was reflected in the playing: performers and audience seemed to coalesce. to spark each other and erupt. creating the kind of spontaneous magic that vinyl never delivers.
Good Use
Authors: Alvarei Al
Published: November 2023

We also heard from a man who lives in London:’A friend from Las Vegas called up last week asking if I would like to meet the Grateful Dead. who were in town at the end of a European tour that had taken them to Sweden. Germany. and France. I am not much interested in pop or rock and roll. but the Grateful Dead are special. As Keats might have said. the very name is like a bell to toll me back to my youth and that wild vanished time. I found it hard to imag inc those mellow. spaced-out San Franciscans in gloomy London. but the opportunity was not one to pass up.
You Don’t Seem to Hear Me When I Call
Authors: Ladd Paddy
Published: November 2023

Among the qualities which mark Spiral Light out from the other Dead magazines. apart from a certain mordant British - humour and a similarly British reluctance to let go and simply enjoy (which results in a sometime cynical edge to our writing). is che desire to look at the current overall health of the Dead beast itself. that cranky old dragon that flaps around bumping into trees and occasionally letting rip with some serious fire. In fact this might even be the magazine’s raison d’etre. linked as it is with tour reviews and setlists. because the rest could be written when the band were no more. Why does this seem to be our obsession? Perhaps because we don’t have the shows to go to. and a network of Heads around us in our daily life to mull The two following pieces by Blair Jackson work well as an examination of Phil Lash’s place in the band. The first piece is Jackson’s introduction to a Lash interview that appeared in the Summer 1990 Golden Road. The second is an interview from Spring 1994, published in Dupree sDiamond
American Beauty: The Grateful Dead’s Burly, Beatific Alchemist
Authors: Jacksod Blair
Published: November 2023

Listen to the crystalline notes as they ascend in a bright spiral. then blast into deep space. scattering like cosmic debris. Listen to the melancholy cry of six strings singing about life and death, love and loss. memory and regret. Listen to the joyous dance of life in a thousand buoyant strums and bright melodic filigrees. Ten years. 20 years. 50 years from now. it’s going to be jerry Garcia’s music-and not the day-glo Deadhead sideshow-that most people will remember. The cliches come so easily: counter-culture guru.” “rock legend.” “Pied Piper of the Haight.” “tragic outlaw figure: etc. There is truth in all of these. But when the day is done. Jerry Garcia was really just a working guy who loved to play music. Celebrity and deification were unfortunate byproducts and distractions for this gentle. self-effacing man whose strongest addiction.
Obituary: Jerry Garcia. 1942-1995
Authors: Espeo Hal
Published: November 2023

He phone rang a little after dawn this morning. Fred, an English Deadhead I hadn’t seen in eight years. was calling to convey the Brits’ condolences to the Yanks. I told him the memorial in Golden Gate Park had been beautiful. but that once Bob Weir started weeping in mid-eulogy. the truth was inescapable.
The Only Song of God
Authors: Silberman Steve
Published: November 2023

This morning. I walked past the Henry J. Kaiser Auditorium in Oakland for the first time since Jerry Garcia’s death. From 1979 to 1989. the Grateful Dead held forth there 56 times. and I probably saw 40 of those shows. I had never seen the grass in front of the arena deserted before. with no Deadheads kibitzing on blankets or waiting in line at booths. no wet dogs in bandannas snapping Frisbees out of the air and gal , loping down to lap from the muddy creek.
King Oliver, Jelly Roll Morton, and Sidney Bechet: Menage a Trois, New Orleans Style
Authors: Raeburn Bruce Boyd
Published: November 2023

Jelly Roll Morton once remarked that New Orleans musicians “had our own way of doing.” Like many Crescent City jazz musicians, Morton preferred to work with “homeboys” whenever possible. In the early years when jazz was achieving initial idiomatic coherence, New Orleans players held a virtual monopoly on the syntax of collective improvisation, a musical give-and-take which resembled a street-corner conversation with everyone trying to get a word in edgewise. As talent began to transcend the strictures of format, however, elaboration of the idiom was refined into several discrete but not necessarily exclusive approaches-leadership of the ensemble, solo improvisation, and compositioneach with its respective patron saint: Joe Oliver, Sidney Bechet, and Morton. Louis Armstrong’s meteoric rise to stardom notwithstanding, the contributions of Oliver, Bechet, and Morton remain fundamental to an understanding of the rise and fall and resurrection of New Orleans jazz between the world wars, a process which brought the music to the forefront of American cultural achievement.
John Coltrane
Authors: Porter Lewis
Published: November 2023

One of the major musicians of the twentieth century, John Coltrane reshaped the way jazz is perceived. A tenor and soprano saxophonist and a significant composer, he demonstrated how world music, classical music, and classical theory could all be incorporated into powerful blues-based jazz.

He was born John William Coltrane in Hamlet, North Carolina, on September 23, 1926. Both of his parents came from literate families in North Carolina, descended from former slaves and named for the former slave owners. Coltrane’s mother was musical-she sang and also played piano-and his father, John Robert Coltrane, played violin, ukulele, and possibly clarinet.

Probably beginning in the fall of 1939, Coltrane received his first instrumental training playing alto horn in a community band. He soon switched to the clarinet. When he joined the high school band the next year, young Coltrane, inspired by tenor saxophonist Lester Young, took up the alto saxophone. It appears that he also did some singing in school groups.

John’s father died on January 2, 1939, of stomach cancer, a common ailment at that time (and unrelated to liver cancer).
Jazz Singing Since the 1940s
Authors: Friedwald Will
Published: November 2023

Singing is the key area in which jazz interacts with the bigger, broader world of popular culture just beyond its boundaries. Although not a hyphenated term, jazz singing is in fact a hyphenated concept. In its narrowest definition, the phrase refers only to vocalists who do exactly what musicians do: improvise choruses of wordless melody on top of chord changes. At its broadest, the term stretches to the furthest reaches of classic American pop. This was particularly true in the ‘30s and ‘40s, when the swing era was so embedded in the collective mindset that even pop stars like Perry Como and Dinah Shore recorded credible jazz performances. Similarly, without exception, all of the major figures of jazz singing, from Louis Armstrong to Billie Holiday, Ella Fitzgerald, Sarah Vaughan, Anita O’Day, Dinah Washington, and Mel Torme, also have at least one foot in pop. Even Betty Carter, who was as “pure” a jazz singer as it’s possible to be, had a firm footing in standard song form and the popular repertory.

For most of his career, the late Johnny Hartman worked with jazz musicians and in jazz clubs but insisted that he was not a “jazz singer”; “I’m an all-around singer,” he would say. He thought that the jazz classification pigeonholed and therefore limited him.
Jazz in Africa: The Ins and Outs
Authors: Mandel Howard
Published: November 2023

Jazz in Africa has always been a question of: going to or coming from? Self-perpetuating myth and twenty-first-century common sense suggest that jazz-arguably the most modern of the world’s musics-must indeed have started with seeds from Africa, come to the Americas long before even the birth of the blues out of which jazz sprang. But simultaneously, jazz is acknowledged as first and foremost native to the United States, restlessly spreading up from New Orleans to Kansas City, St. Louis, California, Chicago, Texas, Seattle, New York, Europe by World War I, and ever-further outposts fast in the Jazz Age, via increasing wide-roaming musicians and/or newly burgeoning electronic media.

By the first view, the jazz art is based on some innate talents, carried in genes that must have passed through a particular continent at some unspecified point in time. By the second, jazz may certainly take root and thrive in Africa, as it has elsewhere-and the qualities it probably adapted from and certainly shares with traditional African musics (including its emphasis on rhythm, spontaneous creativity, group interplay, multilayered activity, and cyclical form) have been acknowledged as vital since American jazz’s start.
Miscellaneous Instruments in Jazz
Authors: Washburne Christopher
Published: November 2023

Musicians create jazz in innumerable ways, and at times have defied orthodoxy by developing their voices on instruments that have not attained a prominent role in jazz. This brief discussion serves as an introduction to a number of pioneering musicians. The instruments discussed range from those that were first introduced as novelties and have grown to be widely accepted as viable jazz voices (flute, organ, and Latin percussion) to others that played an integral role in early jazz styles although their subsequent roles have faded or significantly changed (violin, banjo, tuba, and euphonium) to those that have remained on the fringes (cello, French horn, oboe, English horn, bassoon, accordion, and harmonica) and to others that have remained novelties since their introduction (kazoo, bagpipes, harp, and jazz whistlers).

The flute was used only sporadically in early jazz styles; its popularity, however, has steadily grown throughout this century. Cuban flautist Alberto Socarras is credited with recording the first jazz flute solos in 1928 and 1929. He can be heard on Lizzie Miles’s 1928 version of “You’re Such a Cruel Papa to Me” (Columbia) and Clarence Williams’s 1929 version of “Have You Ever Felt This Way”.
The Bass in Jazz
Authors: Crow Bill
Published: November 2023

The string bass has been called the “heartbeat of jazz” for good reason. It provides a deep pulse, sometimes felt as much as it is heard, giving the music both a harmonic and a rhythmic foundation. As in many other forms of music, the role of the bass in jazz is mainly supportive.

Bass players certainly have developed marvelous techniques for soloing, especially in recent years. But a bassist doesn’t have to be a great soloist to be in demand. The main thing other jazz musicians want from a bass player is “good notes,” bass notes that thread through the harmony in an interesting way, and “good time,” a steady rhythmic feeling that helps bring the music to life.

Bass notes are stepping-stones for the rest of the band. They form a path that provides support and direction. To be able to consistently select good notes and drop them into exactly the right places in the music, a bass player needs a strong sense of harmony and rhythm and an empathetic connection with the other members of the rhythm section. In small groups, the bassist chooses his line as the music goes along. Even when playing written music in larger ensembles, jazz bass players usually recompose their lines, using what the arranger has written as a guide but relying on their experience and their “sixth sense” to choose the particular notes and figures to be played.
Jazz Criticism
Authors: Welburn Ron
Published: November 2023

Jazz cnt1c1sm is a significant branch of music cnt1c1sm. It began as a journalistic phenomenon, a new literature for a new music in a new century. In the United States, the home of jazz, those who wrote about it contributed to the making of this fresh and distinct form of journalism about a stimulating indigenous musical form. Jazz criticism defines and explains jazz’s evolving styles and plays a controversial role as liaison between performer, performance interpretation, and listener tastes. It reflects the intense debates about the music it describes, and occasionally it has antagonized the public’s preferences for dancing, listening, and appreciating the art of jazz. In the 1930s the jazz critic emerged as both a studious listener and an irritant to musicians and fans. As jazz aficionados developed their own publications, jazz writing found an identity as a viable and informative prose form, and how it developed reflects how criticism for a cultural genre evolves.

Jazz criticism is as phenomenal as film criticism and has no other kindred precedent. The emergence of a serious critical journalism for lowly jazz was heretical to followers of classical music.
Jazz Education
Authors: Beale Charles
Published: November 2023

Jazz education is concerned specifically with learning to play jazz and with teaching students and others to be jazz musicians. This essay looks at the gradual emergence of jazz education as its own discipline and discusses common issues faced by jazz students and educators, including repertoire,

learning style, ethnicity, and what jazz education is trying to achieve. It argues that jazz has many facets, some of which seem to appear more often in education than others. And it suggests that jazz education has a crucial role to play in the future of the jazz tradition.

A comprehensive history of jazz education around the world has yet to be written, and what follows cannot be more than a thumbnail sketch. Material is scarce, and we rely, particularly for the early years, on personal accounts and oral histories stored in jazz archives, such as the Institute of Jazz Studies at Rutgers, the Hogan Jazz Archive at Tulane, and the archive at Darmstadt, in Germany.

Early players came from a wide range of musical backgrounds and trainings. Two patterns of learning jazz remain constant throughout the first half of the century. Some musicians had fewer lessons and learned more by experience, while others went through a formal training more influenced by classical music.
Jazz Improvisation and Concepts of Virtuosity
Authors: Demsey David
Published: November 2023

Improvisation is at the very center of the jazz experience. In many ways, improvisation gives jazz a unique place in Western music. While other musical genres share similarities with jazz in terms of form, harmony, melodic line, instrumentation, or even the concept of swing, no musical situation is more singularly thrilling, joyful, and sometimes terrifying for a performer as walking onto a jazz stage and literally not knowing what is about to happen musically.
Icy Lithospheres
Authors: Rothery David A
Published: November 2023

With such a diversity of worlds among the satellites of the outer planets, you would be excused for supposing that they have too little in common for any mutual thread to run through a discussion of their histories. However, by adopting a geological stance it is possible to set up a unified approach to discussing these worlds, which at the same time helps us to understand the differences between them. To do this, we must look at depth-related changes in the physical properties of the material of which these worlds are made. In particular, changes from “strong-and-rigid” to “weak-and-plastic” states are crucial. By treating chemical composition as of subordinate importance, this approach will also illustrate the close similarities that the icy moons have with Earth and the other terrestrial planets. Since we know most about the Earth, it is useful to start by summarizing the relevant aspects of its internal structure.
Women Rising
Authors: Hemphill C Dallett
Published: November 2023

Julia Rush was thirteen years old when her father Benjamin wrote these reminders in 1806. What is striking about them, and the same can be said about his letter of advice to Rebecca Smith in r 79 r, is that he wished to launch these young women into adult society with the same advice that he might give a young man. There is nothing particularly feminine about these injunctions. And yet Rush is reknowned among historians as one of the architects of the special “Republican Mother” role for women, the notion that women’s role in the new nation would be confined to the indirect part of rearing virtuous citizens. This way of thinking would become a building block for the nineteenth-century ideology of”separate spheres,” which assumed that men and women occupied different realms of thought and activity. At first glance, then, there appears to be a tension between gender integration and gender separation in Rush’s thinking about women.1 But in fact, the more conscious discussions of women’s special role in the new republic were dependent on the unconscious integration of women into what had previously been regarded as the world of men. At least this is what happened in the conduct literature that circulated in Rush’s time.
Manners for Adults
Authors: Hemphill C Dallett
Published: November 2023

We have already seen how, at the age of eighteen, Isaac Mickle was inWent on” making his entree into society with becoming flourishes.” This was not the only mention of his entrance into the world of adults. Eight months later, on New Year’s Day, he reviewed his progress: “During the past twelve months I have begun the study of law; [and] have in a measure come out into company. . . . By the first of these circumstances I have been brought into contact with lawyers, politicians, and other public men, . . . by the second I have been brought into the society of polished, intelligent, and virtuous ladies.” Nor were Mickie’s embarking on professional training and ceremonious visiting his first forays into the adult world. His birthday reflections the year previous already had a world-weary air: “Could I live my years over again I would keep out of love, out of debt and out of the newspapers; or to say all in a few words, I would take the advice of her who has too often advised me to no purpose.” This last entry is the most evocative of the ambiguity of this adolescent’s position. He refers at once to the frequent publication of his articles in the local newspapers, surely a sign of precocity, and to the advice of his mother, a reminder that he still lived at home. Joseph Kett has described the mixed status of antebellum youth as “semidependence.”
Ladies first?
Authors: Hemphill C Dallett
Published: November 2023

Isaac Mickle spent a lot of time with other young men. They met in each others’rooms to play music or chess; they stopped in for a chat at the local billiard room or blacksmith’s shop; they ran into each other on the street and decided to go for a sail in his boat, a stroll of Philadelphia’s Chestnut Street, or a ramble in the woods. They also visited young ladies together. In opting for the last, however, they crossed a boundary. The boundary was not a visible one but it was real. Mickle revealed it rhetorically. While he spent time every day with other young men, he only came “into company” by spending time with women. While his interactions with other young men were casual, spontaneous, and unritualized, his encounters with women were ceremonially framed. This ceremonial boundary did not mean that there was a big gap between the sexes. Mickle spent more and more time with young women in his late teens; sometimes he spent four evenings in a row visiting his friends the Sheppard girls. He came to be as emotionally close to them as to any of his male friends. To a great degree he shared their standards for propriety in behavior.1 But the activities he describes, mainly visiting them and escorting them various places, were ritualized. They were the stuff of antebellum etiquette books. His ramblings with male friends were not.
The Nature of Cellular Senescence and Death
Authors: Clark William R
Published: November 2023

For the most part in this book, we will be examining both senescence and death at the level of individual cells, and for a very good reason. Cells are the biological equivalent of the atoms of chemistry, in the sense that they are the smallest thing of which we can say, “This is alive.” It follows, then, that cells are also the smallest thing of which we can say, “This is not alive; this is dead.” Senescence and death in an organism—whether the organism under consideration is itself a single cell, like a yeast or a bacterium, or a complex multicellular organism like a human being—is ultimately a reflection of the senescence and death of individual cells. The outward manifestations of aging are enormously complex, and this has led in the past almost to a feeling of helplessness in studying the underlying processes. Formerly, many of those who studied aging felt that each component of aging—wrinkled skin, cataracts, gray hair, or diminished mental function—must reflect a different underlying mechanism.
Caloric Restriction and Maximum Lifespan
Authors: Clark William R
Published: November 2023

Behind our quest for a clearer understanding of the aging process in animals doubtless lies the hope that we may somehow be able to use this information to extend our own maximum possible lifespan. For some single—cell species, maximum lifespan is to some extent a plastic quantity: It may not be defined at all in terms of calendar time, as our own lives are, but rather as a fixed number of cell divisions. In times of depleted resources, single—cell organisms can even go into a death—like state to prolong life, where they may stay for years, further complicating a precise definition of maximum lifespan. For some invertebrate species, even when maximum lifespan is defined in years or months, it can often be manipulated by relatively simple means such as changing growth temperatures. For warm—blooded mammals such as ourselves, maximum lifespan, at least in the wild, seems to be a genetically regulated property of each species, even though it may only be observable in highly artificial environments such as zoos or laboratories. Still, the fact that in organisms like round—
India and Sri Lanka
Authors: Bakus Gerald , Arthur Rohan , Ekaratne Suki , Jinendradasa S S
Published: November 2023

The subcontinent of India occupies a large area of the tropical Indian Ocean, but it has a scant growth of coral reefs along its coasts. Several factors limit reef development here, chief among them being turbid waters stirred by monsoonal systems, fresh water runoff from rivers, and a heavy human population and development pressure along the entire coastline (136). The island complexes around India, in contrast, show healthy reef growth and support high species diversities (Fig. 10.1). The biological affinities of the reefs include species assemblages typical of the western Indian Ocean and the southeast Asian and central Pacific fauna, and a large variety of habitats and environmental conditions (Chapter 1).
Dreaming Souls
Authors: Flanagan Owen
Published: November 2023

What, if anything, do dreams tell us about ourselves? What is the relationship between types of sleep and types of dreams? Does dreaming serve any purpose? Or are dreams simply meaningless mental noise—”unmusical fingers wandering over the piano keys”? With expertise in philosophy, psychology, and neuroscience, Owen Flanagan is uniquely qualified to answer these questions. In this groundbreaking work, he provides both an accessible survey of the latest research on sleep and dreams and a compelling new theory about the nature and function of dreaming. Flanagan argues that while sleep has a clear biological function and adaptive value, dreams are merely side effects, “free riders,” irrelevant from an evolutionary point of view. But dreams are hardly unimportant. Flanagan argues that dreams are self-expressive, the result of our need to find or to create meaning, even when we’re sleeping. Written with remarkable insight, Dreaming Souls offers a fascinating new way of apprehending one of the oldest mysteries of mental life.
Prologue: ‘To Sleep: Perchance to Dream’
Authors: Flanagan Owen
Published: November 2023

Denmark, asks the compelling question “To be, or not to be?,” he is, of course, contemplating suicide. Is it worth going on to face “the slings and arrows of outrageous fortune, ... the heartache and the thousand ... shocks that flesh is heir to”-when one could just end things? At first the thought of death as eternal rest comforts Hamlet. But he immediately worries “to sleep: perchance to dream: ay, there’s the rub”! We know not “what dreams may come when we have shuffled off this mortal coil:’
Heart Throbs
Authors: Flanagan Owen
Published: November 2023

What is a dream? Why do we dream? Do dreams mean anything? Do dreams matter to who we are, to our identity, to our personal rela­tions? Do we express ourselves in dreams? Can we use dreams to understand ourselves and our lives? Do we solve personal, philosoph­ical, scientific, or mathematical problems in dreams which we then reenact forgetfully by the light of day? Do dreams yield artistic insight-are they a laboratory where great poetry, paintings, novels, and music are cooked up? If dreams matter to who we are and to what we accomplish, why is memory for them so poor.
Frolicking Wissenscheft
Authors: Higgins Kathleen Marie
Published: November 2023

David Bowie, on National Public Radio sometime back, startled his inter viewer by saying that guitar style was a good guide to humor. A person with a broad sense of humor, Bowie elaborated, will reveal it through musical risks. We should keep Bowie’s principle in mind, I think, in reading Nietz sche’s Frohliche Wissenschaft, The Gay Science. My thesis, straightforwardly, is that in this work Nietzsche often aimed to be funny.
Nietzsche’s Nursery Rhymes
Authors: Higgins Kathleen Marie
Published: November 2023

What should we make of the poems that begin The Gay Science? Titled “Joke, Trick, and Revenge,” they are cast as somewhat ominous. But when one reads them, they seem light, at times a bit silly, and at their harshest pointedly sarcastic. The series of poems is unified, furthermore, more by means of their simple rhyme scheme than by subject matter. They often sound childish, resembling nursery rhymes with their regular meters and rhyming cadences. What on earth could be Nietzsche’s point?
God Is Dead
Authors: Higgins Kathleen Marie
Published: November 2023

“God is dead!” is the slogan of Book III, but it is hardly the punch line of a joke. On the topic of God’s death, Nietzsche tends to be a tragedian. The death of God might initiate the end of our tradition’s tragic age, but Nietzsche complains that contemporary scholars have failed to draw appropriate conclusions from this event. A period of grieving is important in our transitional time, and in Book III Nietzsche urges his contemporaries to recognize this situation. Nevertheless, his ultimate aim remains to herald a turn to comedy. He continues to engage in humorous Wissenschaft, although Book Ill’s humor is sometimes black.
Eternal Recurrence: Not Again!
Authors: Higgins Kathleen Marie
Published: November 2023

Sometimes repetition alone suffices for comedy. When Larry of the Three Stooges puts a plank against a wall, it isn’t funny that it falls to the floor; but its falling every time he repositions it occasions laughter. British comedy excels at ludicrous repetition. Returning to a slide of “the larch” becomes hilarious from sheer redundancy on Monty Python’s Flying Circus.  1 So is the cheese seller’s recurrent negative reply when John Cleese asks if he has a particular type of cheese. In daily life, too, I have found that sometimes a repeated annoyance shifts from irritating to downright funny if it happens one time too many.
William Balcom
Authors: McCutchan Ann
Published: November 2023

William Bolcom has always been attracted to, as he puts it,”picking up a thread from our American musical history, and taking it to the next step:’ in Seattle, Bolcom began his musical training as a pianist and entered the University of Washington at age eleven to study composition with John Verrall. He later studied with Darius Milhaud in California and Paris and earned a master’s degree from Mills College and a doctor of music degree from Stanford University. Among his many honors is the 1988 Pulitzer Prize in music. He has been commissioned by the New York Philharmonic, the Philadelphia Orchestra, the Saint Louis Symphony, the Chamber Music Society of Lincoln Center, and many others. Bolcom’s 1992 opera McTeague was the Lyric Opera of Chicago’s first commission by an American composer. His gigantic score Songs of Innocence and of Experience, a three-hour “entertainment” from the William Blake poems, took twenty-five years to write and has been performed in both Europe and the United States.
John Corigliano
Authors: McCutchan Ann
Published: November 2023

John Corigliano comes from a musical family. His father was concert-master of the New York Philharmonic, and his mother was a pianist. Corigliano played the piano and composed from an early age and studat Columbia College with Otto Luening and at the Manhattan School of Music with Vittorio Giannini. He worked as a composer, arranger, and producer in radio and television for a number of years, and his score for Ken Russell’s film Altered States received an Academy Award nomination in 1981.
Joan Tower
Authors: McCutchan Ann
Published: November 2023

Joan Tower was born in New Rochelle, New York, spent her childhood in South America, and returned to the United States to study at Bennington College and Columbia University. In 1969 she founded the Da Capo amber Players, a new music ensemble that won the Naumburg Award for chamber music in 1973. Tower continued to perform as pianist with Da Capo until 1984, and many of her chamber works were written for members of the New York-based group, which continues to flourish.
John Adams
Authors: McCutchan Ann
Published: November 2023

John Adams grew up in Vermont and New Hampshire. As a student at Harvard University he was active as a conductor, clarinetist, and composer. His composition teachers included Leon Kirchner, David Del Tredici, and Roger Sessions. In 1971Adams left the East Coast to establish his professional career in the San Francisco area, teaching at the San Francisco Conservatory of Music and serving as new music adviser and composer-in-residence for the San Francisco Symphony. His output spans a wide range of media: orchestra, opera, video, film, and dance, as well as electronic and chamber music. Such pieces as Harmonium and Harmonielehre (written for the San Francisco Symphony) and The Chairman Dances (from his opera Nixon in China, commissioned by the Houston Grand Opera) are among the most frequently performed contemporary American works. In 1995, he received the Grawemeyer Award for his violin Concerto, commissioned by the Minnesota Orchestra. Although he is often termed a “minimalist;’ Adams feels that his music can’t be so exactly defined.
Dan Welcher
Authors: McCutchan Ann
Published: November 2023

Born and raised in Rochester, New York, Dan Welcher was trained at the Eastman School of Music and the Manhattan School of Music. His composition teachers included Samuel Adler, Warren Benson, and Ludmilla Ulehla. For six years he was principal bassoonist of the Louisville Orchestra, and from 1976 to 1990 he was a member of the artist faculty of the Aspen Music Festival, teaching bassoon and composition. Welcher was composer-in-residence with the Honolulu Symphony Orchestra from 1990 to 1993. He is professor of composition at the University of Texas, where he directs the New Music Ensemble.
Daniel S. Godfrey
Authors: McCutchan Ann
Published: November 2023

Daniel S. Godfrey grew up in Atlanta, Georgia; Ankara, Turkey; and Ardmore, Pennsylvania. His father is a sculptor, architect, and former university teacher and administrator, and his mother led a volunteer career in health-care administration. Godfrey earned two music degrees at Yale and completed a doctorate at the University of Iowa. He also traveled to Europe several times pursuing his interest in transcendental meditation. His composition teachers included Mario Davidovsky, Robert Morris, D. Martin Jenni, and Richard Hervig.
Lois V Vierk
Authors: McCutchan Ann
Published: November 2023

Lois V Vierk was born in Hammond, Indiana, and grew up in Lansing, Illinois, and Jenkintown, Pennsylvania. She attended Valparaiso University and studied composition at the California Institute of the Arts wi el owell, Leonard Stein, and Morton Subotnick. For twelve years she studied gagaku (Japanese court music) with Suenobu Togi in the United States and with Sukeyasu Shiba in Tokyo. Vierk has been commissioned by leading contemporary music performers, including the Kronos Quartet, pianists Ursula Oppens and Frederic Rzewski, Ensemble Modern, accordionist Guy Klucevsek, and the Bang on a Can Festival. In 1996 her new work for the Reigakusha ensemble of Tokyo was premiered at the Lincoln Center Festival. Her cocreations with tap choreographer Anita Feldman have been commissioned by the American Dance Festival, Mary Flagler Cary Charitable Trust, and Meet the Composer, among others. Some of Lois V Vierk’s pieces utilize principles she has developed of “Exponential Structure;’ in which, depending on the emotional content of the music, exponential factors are applied mathematically to such elements as time, rates of change, and pitch movement.
James Mobberley
Authors: McCutchan Ann
Published: November 2023

James Mobberley grew up in central Pennsylvania and spent his high school and college years in North Carolina. He credits his elementary school music teacher with instilling in him a great love of music. As a Child he took up the clarinet, then taught himself the guitar at age fourteen and, as he puts it,”hooked up with some other novice rockers in high school and college and nursed a band for seven years-all original stuff, mostly wacky songs about aliens and fast food and the Ayatollah Khomeini:’ Mobberley earned a bachelor’s degree in guitar and a master’s degree in composition at the University of North Carolina at Chapel Hill, and a doctorate at the Cleveland Institute. His teachers were Roger Hannay, Donald Erb, and Eugene O’Brien. His work, which often combines electronic and computer elements with live performance, spans many media, including film, video, theater, and dance. He has been commissioned by the St. Louis Symphony Chamber Series, the Nelson-Atkins Museum of Art, and the Cleveland Museum of Art, as well as individual performers. A CD of his orchestra music is in preparation for release in 2001.
Richard Danielpour
Authors: McCutchan Ann
Published: November 2023

Richard Danielpour was born in New York City and grew up in New York and West Palm Beach, Florida. He received his professional training at Oberlin College, the New England Conservatory of Music, a he Juilliard School. His composition teachers included Vincent Persichetti and Peter Mennin, and he studied piano with Lorin Hollander, Theodore Lettvin, and Gabriel Chodos. Danielpour also acknowledges the influence of Leonard Bernstein on his music and his outlook on musical life.
Sebastian Currier
Authors: McCutchan Ann
Published: November 2023

Sebastian Currier grew up in Rhode Island in a musical family and studied the violin, which he later forsook for the guitar. He wrote his first compositions for a rock band he and his brother Nathan played in as Teenagers, but he continued to study classical music. “A lot of instrumentalists aren’t free to improvise because they’re taught to play only what’s written, and that forms a certain mind frame;’ he says. “I’m happy I had the experience of playing rock music, because it opened me up:’ Currier attended the Manhattan School of Music and earned a doctorate in composition at the Juilliard School.
Aaron Jay Kernis
Authors: McCutchan Ann
Published: November 2023

Aaron Jay Kernis grew up in Philadelphia. He studied the violin as a child, began teaching himself the piano at age twelve, and went on to receive his formal training at the San Francisco Conservatory of Music, the Manhattan School of Music, and the Yale School of Music, working with composers as diverse as John Adams, Charles Wuorinen, and Jacob Druckman. Kernis first gained national attention when his Dream of the Morning Sky was premiered by the New York Philharmonic at the 1983 Horizons Festival. In 1998, he was awarded the Pulitzer Prize in music for his String Quartet no. 2, musica instrumentalis,written for the Lark Quartet.
Race and the Schools Before Brown
Authors: Patterson James T
Published: November 2023

Listening to black people who dared publicly to challenge racism—and to optimistic white liberals—in the 1940s and early 1950s, we can sec how they imagined the approach of a new, more egalitarian world of race relations in the United States: A black American corporal,1945: “I spent four years in the Army to free a bunch of Dutchmen and Frenchmen, and I’m hanged if I’m going to lee the Alabama version of the Germans kick me around when I get home. No sirreee-bob! I went into the Army a nigger; I’m comin’ out a man”.
Southern Whites Fight Back
Authors: Patterson James T
Published: November 2023

Not long after the Court issued Brown II,a founeen-year-old black youth, Emmett Till, left his home in Chicago for a vacation with relatives in Tallahatchie Country, Mississippi. Till did not understand the racial mores of the South. He bragged to acquaintances in Mississippi that he had had sex with white women in Chicago. He also entered a store and, it was alleged, whistled at the cashier, a young white woman. The woman’s husband and his brother-in-law went to the cabin where Till was staying with his great-uncle, Moses Wright, and dragged him away. Three days later Till’s mangled body was discovered in the Tallahatchie River. He had been shot in the head and tied to a heavy fan that had dragged him into the depths. His mother had his body returned to Chicago and displayed it in an open casket for four days. Thousand of people paid their respects. The media gave the story wide coverage and graphic photography.
The Politics of Health, Identity, and Culture
Authors: Lock Margaret
Published: November 2023

Anthropologists are trained to be inherently skeptical of generalizations; to be alert to boundaries, margins, and difference. Most, but not all of us, are “splitters” in Tambiah ‘s idiom (1990, p. 15); that is, we seek to relativize knowledge by situating it in context. Moreover, for virtually all anthropologists, the relevant context is a culture. However, these days we must start out by specifying what we mean by culture; not only has this category become extremely problematic, some anthropologists wonder if it continues to be useful at all. Second, the majority of researchers insist that all knowledge and practices, including scientific knowledge, together with its associated ethical commentary, must in tum be contextualized, for science too is historically and culturally produced. Furthermore, accounts of actual practices and not theoretical abstractions should provide the starting point for specifying context. The goal then becomes establishing the effect of knowledge at local sites, the legitimacy of competing knowledge claims, and, above all, the impact on the lives of those people most directly affected by the resultant practices.
The Relationship between Personality and Health: What Self and Identity Have to Do with It
Authors: Ouellette Suzanne C
Published: November 2023

How and why might personality be linked to changes in health? The aim of this chapter is to show that compelling and useful responses to this question hinge on researchers ‘ broad complex thinking about personality, including specifically an appreciation of personality ‘s complicated structures and processes of self and identity. The chapter is intended as an antidote to trivial depictions of personality in discussions of health. Oversimplifications may be found in only part of the formal personality and health research literature, but they permeate the popular representations of that literature (e.g., Dreher, 1995). From these sources, readers might get the impression that researchers investigating the link between personality and health study personality only in the form of simple traits.1 Readers might be misled to think that personality is something fixed, caught in a ready label such as a “hostile personality” or “introverted personality,” and that personality consists of no more than particular isolated dimensions of behavior on which individuals are said to differ from one another, as in the view of personality in a phrase such as “those subjects who scored higher on neuroticism were twice as likely to get sick as those who scored low on neuroticism.” On the contrary, there has long been, and there still is, good reason to think that personality
Prelude
Authors: Lee Antoinette J
Published: November 2023

When this prophecy was written in 1887, comparing the succession of supervising architects with that of the kings of England, the “Government Architects” were those who headed the Office of the Supervising Architect of the U.S. Treasury Department. The prophecy was not borne out and only a few of the fifteen supervising architects are remembered: Ammi B. Young, Alfred B. Mullett, William A. Potter, James G. Hill, and James Knox Taylor are the most prominent. The names of Mifflin E. Bell, Jeremiah O’Rourke, and Oscar Wenderoth are obscure at best, even in the relatively restricted field of architectural history. The Supervising Architect’s Office was a bureau located within the U.S. Treasury Department, which for nearly a century designed custom houses, courthouses, post offices, and other buildings that housed federal government functions. Established in 1852, the Office blossomed at a time when the U.S. Congress appropriated funds to design and construct a large group of federal buildings in communities east of the Mississippi River and in the South.