bluuebunny/crossref_metadata_2025_split huggingface dataset:
Ezra Pound:The Archaeology of the Immanent
Authors: Schneidau Herbert N 
Published: November 2023

Abstract
The decisive moment in the history of Modernism’s self-definitions came just before the First World War, when the Vorticists, led by Wyndham Lewis and Ezra Pound, rejected an alliance with the Futurists, led by Filippo Marinetti. Marinctti had come to England to propagandize for his noisily nihilistic demands that the entire past of Western culture be scrapped, museums destroyed, and so forth; he sought to broaden the base of his movement, though its natural locus was Italy, where (as he complained) the whole country was a museum. The Vorticists had initially welcomed Futurism’s strident self-advertising as a way to wake up the somnolent British public, but began to gag when they saw the covert sentimentalism of Marinetti’s nostalgia for the future. In the Vorticist journal BLAST Futurism was condemned as “accelerated impressionism” and “automobilism.” Marinetti was written off for having merely updated nineteenth-century worship of the machine, and Pound condemned his nihilistic demands, for example that Venice be torn down, as childishness:
Postwar Comedian
Authors: Longenbach James 
Published: November 2023

Abstract
Just before he left Harvard to join the newspaper business, Stevens published “Hawkins of Cold Cape,” a story about “Sly” Hawkins, editor of the Cold Cape Traveller. The tale begins with Hawkins’s realization that “there was little or no money in the provincial newspaper business.” Barker, Hawkins’s equally frustrated reporter, hears that John Havers of North Point has seen a meteor, and he writes an article for the paper that begins like this. As is well known to most of those who do us the honor of reading the Traveller, Man is but mortal.
It Must Be Masculine
Authors: Longenbach James 
Published: November 2023

Abstract
“There must be mercy in Asia”: It seems likely that in “Montrachet-le-Jar din,” published a month after Japan bombed Pearl Harbor, Stevens addressed the nation he now thought of as an enemy. But “Montrachet” is more profoundly marked by a wartime consciousness of an enemy in its call for the poet to speak simply “of good in the voice of men.” Just a few years earlier, in “Idiom of the Hero,” a disdainful Stevens had pronounced that “The great men will not be blended” with the weak; now the simple act of speaking humanly of human things is to “equate the root-man and the super-man, The root-man swarming, tortured by his mass, he super-man friseured, possessing and possessed.” As we have seen, the war allowed Stevens to feel that a generation’s will is a healthy thing, and these lines reveal him attempting to smooth the class-bound tensions that once marked his work.
Protein Evolution
Authors: Gillespie John H 
Published: November 2023

Abstract
The study of protein evolution, like that of morphological evolution, is a multi-level enterprise. At the most fundamental level are those studies that infer what actually happened. At the next level are studies of rates of change. Once we know what happened, we want to know how quickly it happened. Finally, we want to know why these changes occurred. What are the mechanisms producing the changes in the amino acid sequences of proteins? The Atlas of Protein Sequence and Structure [52] is the repository of much of the work on the first two levels.
Two About Pee Wee
Authors: Williams Martin 
Published: November 2023

Abstract
A new release on Counterpoint, “A Portrait of Pee Wee,” shows us (again) that Pee Wee Russell takes chances, dares, explores. He is never intimidated by a melody or a chord structure. Even when he uses devices that are common in his work, say, on I Used to Love You here, he is not playing it safe, coasting, or being trite.
A Rock Cast in the Sea
Authors: Williams Martin 
Published: November 2023

Abstract
In the thirties, it used to be said that the blues were (in the phrase of the times) “social protest.” Some of blues are, but comparatively few.
The blues, on the whole, deal with universals —the things all men in all times experience and have to come to terms with; things that no man ever escapes, regardless of his circumstances. That is probably the highest tribute one could pay to them —higher still when we remember what grinding circumstances surrounded most of the blues singers as they conceived their songs.
Whir-r-r-r
Authors: Williams Martin 
Published: November 2023

Abstract
At 4:00 p.m. on a quiet Friday afternoon this fall, a group gathered at the Olmstead Recording Studio to record Jimmy Giuffre’s new trio. Besides the leader and his clarinet, there was pianist Paul Bley, a decidedly inner-directed man whose heavy sandals clacked noisily on the steel ladder connecting the studio and the control booth. (“Olmstead, get that sound on the record!” a visitor suggested.) And there was bassist Steve Swallow, barely dry behind the ears professionallybut it is said those young ears are already among the fastest in jazz.
Stitt in the Studio
Authors: Williams Martin 
Published: November 2023

Abstract
Alto saxophonist Sonny Stitt was one of the first jazzmen to grasp Charlie Parker’s style, and he had apparently recognized an aesthetic kinship with Parker long before most followers of jazz had heard of either man. His absorption of Parker’s ideas is so complete that, as one commentator has put it, Stitt is the kind of player who refutes every concept we have about originality, even personal expression, in jazz. Yet Stitt plays with spontaneity, involvement, and conviction. If he lacks Parker’s brilliance and his daring quickness of imagination in rhythm, harmony, and melody, Stitt nevertheless is not playing an imitation, and his work is far from pastiche or popularization. He simply finds his own voice in Parker’s musical language. He may construct a solo almost entirely out of Parker’s ideas, but he will play them so as to convince you that he discovered each of them for himself. As if to give a final contradiction, Stitt also plays tenor, usually in different, somewhat simpler style, but with no less effectiveness. By almost all we profess to believe about jazz, it cannot be. But it is.
King Oliver in New York*
Authors: Williams Martin 
Published: November 2023

Abstract
That is how I learned to distinguish the differences between Buddy Bolden, King Oliver, and Bunk Johnson To me Joe Oliver’s tone was as good as Bunk’s. And he had such range and such wonderful creations in his soul! He created some of the most famous phrases you hear today and trends to work from. Joseph Oliver was “King” in New Orleans, not only because trombonist Kid Ory gave him the title as a billing but also because musically he was king. Later, in Chicago, even before Armstrong joined him, Oliver’s Creole Jazz Band was celebrated for its leader’s style, its excellent ensemble work, and its deep feeling. In the late twenties, Oliver, as leader of the Savannah Syncopators, had a couple of hit recordings.
The Modern Jazz Quartet: Plastic Dreams*
Authors: Williams Martin 
Published: November 2023

Abstract
If this LP were nothing else (it’s a lot else), it would be evidence of the enviable, rewarding durability of perhaps the most illustrious small ensemble in jazz history. Think about it: the Modern Jazz Quartet has been with us for nearly twenty years. No other small ensemble of relatively stable personnel has had such a sustained career. Indeed, no other jazz ensemble of any size except the Duke Ellington orchestra.
Grove American II: A Letter to a Friend
Authors: Williams Martin 
Published: November 2023

Abstract
I have continued to ponder your comments on Grove American, and frankly I continue to be puzzled by them. You say that the editors have chosen a broad scope for the book, and they have, but then you appear to be saying that critics, journalists, and other reviewers (including academics) may prove to be opposed to that decision. Gary Giddins in his review in the Village Voice is upset on the basis of length and proportion awarded to certain rock stars, and because of outstanding omissions in the jazz, blues, and popular entries. He is not opposed to the presence of other kinds of entries. He says, in effect, that the editors failed in the premise they set for themselves. I agree, and I add that they show themselves ignorant of some of the very ways Americans make music, and of the importance and significance of those ways throughout the world-perhaps an even greater failure.
Curves and Competence
Authors: Silverstein Brett , Perlick Deborah 
Published: November 2023

Abstract
Actress Lillian Russell may have been the most popular sex symbol this nation has ever known. From the early 1880s to the late 1890s, the shows she starred in were often sold out, newspaper gossip columns overflowed with details of her life, and her photograph frequently graced major magazines. At the height of her popularity, one Western coal miner shot a friend who had the effrontery to claim Lillian Russell was not the most beautiful woman in the world. She was even selected to make the first public long-distance telephone call, singing in New York City to President Grover Cleveland who sat listening in the White House. Her popularity rested on her beauty. One columnist wrote unabashedly, “She looks like Venus after her bath,” while another gushed, “If Lillian Russell does not cease to take on new phases of beauty every month or so, there will be no reason why the flowers of Spring should bloom.” Even a half-century later, the New York Timesdescribed her as “the raging beauty of her period.”A modern audience, overexposed to media hype, might not be surprised at the adulation accorded Miss Russell but for one detail: By today’s standards, Lillian Russell was plump. Recalling a pilgrimage to New Haven he made to see Lillian Russell appearing in a play, Clarence Day wrote in the Saturday Evening Post.
Recognition, Prevention, and Treatment
Authors: Silverstein Brett , Perlick Deborah 
Published: November 2023

Abstract
Throughout, we have gathered information from a variety of sources, including historical, anthropological, demographic, biographical, clinical, epidemiologic, survey, and laboratory studies all of which point to the same conclusion: a syndrome involving several psychological and somatic symptoms that afflicts many women beginning at adolescence, particularly during periods of changing gender roles. The syndrome frequently occurs among women who come to feel that their gender places them at an unfair disadvantage in pursuing their aspirations and who develop a conflicted or confused sense of self. We have called such confusion and conflict over gender and self gender ambivalence,and the syndrome anxious somatic depression.Our observations and data supporting the existence of a distinct syndrome of anxious somatic depression, and its connection to gender ambivalence and changing gender roles, have direct implications for designing programs for the prevention and treatment of depression, disordered eating, and other symptoms of the syndrome.
Birdland
Authors: Crow Bill 
Published: November 2023

Abstract
Birdland was my alma mater. I studied for a little while at another institute of higher learning, the University of Washington in Seattle, but when I dropped out and moved to New York, Birdland became my college of modern jazz. The illustrious professors there, who taught by example, were some of the world’ s finest jazz musicians. The dean of them all was Charlie Parker, “Bird,” for whom the club was named. I studied hard and learned my lessons well at Birdland. But if any-one had told me when I first arrived that just two years later I would be playing on that hallowed bandstand myself, I would have scoffed. And had that prophet declared that the instrument I’ d be playing at my Birdland graduation would be the string bass, I’ d have laughed out
Home, School, and the Army
Authors: Crow Bill 
Published: November 2023

Abstract
Except for my first two months in the Army, I can’ t remember a time in my life when I wasn’ t making music. Though my mom, Lucile, didn’ t care for jazz, I have her to thank for my ears and my early musical training. She had a lovely soprano voice and sang regularly in our church, in local operettas, and on local radio programs in Seattle. She even got fan mail. I remember one letter, addressed to “Lou Seal Crow,” that said, “I just love your voice, Mrs. Crow. It is so nice and shrill.” Mom taught singers and elementary piano students at home. She only charged a dollar or two for a lesson, but it helped us eke out a living during the Depression when my dad, Harry, a carpenter, was having trouble finding work. When I was just a tot, I started singing along. She would play a phrase for a student to repeat, and then she would have to wait until I sang it, too, from my crib in the bedroom.
Tacoma, Baltimore, and Washington
Authors: Crow Bill 
Published: November 2023

Abstract
No instruments or equipment had arrived at Fort Lewis for the new Fifty-first Army Band. Eager to be playing again, I went home to Kirkland on a weekend pass and got my baritone horn. I had bought one of my own in high school, a King, paying it off on the installment plan with money I earned on after-school jobs. Some of the other Army musicians also had their own instruments with them. We got together and played every day for our own amusement. I had the most fun playing with Ray Baram, a cornet player from Brookline, Massachusetts. Ray had a great enthusiasm for jazz and was happy to find a soul mate. Ray had lived in New York for a while before being drafted, and he knew musicians like Frankie Newton, Muggsy Spanier, and Pee Wee Russell, who were only names on record labels to me. A self-professed “moldy fig,” Ray taught me all the tradition ! Dixieland tunes. He thought the baritone horn was a quaint tailgate instrument. We jammed together whenever we could, and kept wishing for a good jazz clarinet player to complete our Dixieland front line, but the Army never provided us with one. We had no rhythm section either; our Army band drummers only played the street drums.
West Tenth Street
Authors: Crow Bill 
Published: November 2023

Abstract
Not long after I left Mike Riley and returned to New York, I moved in with Dave Lambert. He and Horty had separated, and Dave had found a basement room in Greenwich Village at 145 West Tenth Street, behind Jerry Francis’ s typewriter shop. Dave needed help with the rent, and I needed a home. Our entrance was through a dark hallway -under the stoop of the building’ s main entrance. The large single room, originally used for storing coal before the building installed oil heat, had rough stone walls and a concrete floor, with a single air shaft window that provided a tiny bit of air and light. There was a bathroom with a shower and a sink, but no kitchen.
Gigging Around
Authors: Crow Bill 
Published: November 2023

Abstract
Glen Moore wasn’ t able to sell his television pilot, and his work petered out after our boat trip. But, through the musicians at the Prescott Hotel, I began to find a few jazz gigs. I met New Jersey pianist Billy Triglia, who hired me once in a while for jobs that he found west of the Hudson, from Englewood, New Jersey, to the Club Paradise in Nyack, New York.
Claude Thornhill
Authors: Crow Bill 
Published: November 2023

Abstract
In April 1953, Stan Getz changed bass players. He and Brookmeyer decided they would like to try Teddy Kotick, who had worked and recorded with Charlie Parker. Stan broke the news to me at the end of a week we played in Philadelphia. I was bitterly disappointed, but accepted the news realistically. Stan certainly deserved the best bass player he could get. His quintet went on to Kansas City and California, and I went back to New York.
Europe
Authors: Crow Bill 
Published: November 2023

Abstract
The Gerry Mulligan Quartet, with Art Farmer, Dave Bailey, and me, toured Europe for Norman Granz in the spring of 1959, along with the Gene Krupa Quartet and the Jimmy Giuffre Trio. Jim Hall and bassist Buddy Clark were with Giuffre; Krupa’ s group included tenor man Eddie Wasserman, pianist Ronnie Ball, and bassist Jimmy Gannon. We flew to a different city every day, and Clark, Gannon, and I each had a bass to stow in every plane. At the airports I often had the responsibility of convincing the plane crew that there was space inside for three string basses. There always was, somehow.
japan
Authors: Crow Bill 
Published: November 2023

Abstract
Bob Brookmeyer, Dave Bailey, and I toured Japan with Mulligan in the spring of 1964. Judy Holliday came with us. By this time we all knew that Judy had cancer. She had been fighting it for over three years, but I hadn’ t known anything about it during the early stages. She was so beautiful and full of life that I was stunned when I heard about her illness. She never talked about it, but on the way to Tokyo I could see that she was beginning to have a rough time, often looking tired and dispirited. Her condition worsened after we returned to New York, and her long ordeal finally came to an end in June 1965. She was only forty-one when she passed away.
The Studios
Authors: Crow Bill 
Published: November 2023

Abstract
Radio Registry called me one day: “A double date tomorrow at Columbia Records, Fifty-second Street, Studio B, seven P.M. Fender and acoustic bass.” I sent in a sub for the night at Playboy. When I arrived at Columbia, half an hour early, I found the studio dark and empty. I checked Studio A and found a rock group there that had its own bass player. After calling Registry to made sure I was in the right place, I went back to Studio .B to wait.
Around 7:15 an engineer showed up.
Lainie Kazan
Authors: Crow Bill 
Published: November 2023

Abstract
In October 1970, the New York Playboy Club and Local 802 negotiated a new contract that for the first time included a two-week paid vacation for the musicians. My working life had been liberally sprinkled with unpaid vacations, but I had never had a paid one before. The following April, Aileen and I and our four-year-old son, Daniel, flew to Florida with our camping equipment, rented a car, and lived for two weeks in campgrounds on the Keys, in the Everglades, and on Sanibel Island. We had a perfectly lovely time.
Peter Duchin
Authors: Crow Bill 
Published: November 2023

Abstract
When the Americana Hotel abandoned their entertainment policy, the Royal Box became a restaurant with Muzak, and Hal Turner’ s house band was disbanded. With less jazz work turning up, I turned to the New York club date offices to make a living. Before long I was doing all of Peter Duchin’ s society jobs, which often meant flying out of town with him to the mansions and country clubs of the wealthy.
42nd Street
Authors: Crow Bill 
Published: November 2023

Abstract
Zoot Sims hired Jimmy Rowles for a few quartet jobs. I was glad that Jimmy had come to live in New York. Bob Brookmeyer had played with him in California, and had brought the word east about what a good piano player he was. Jimmy loved to invent musical surprises. He found unusual voicings and rhythmic patterns and imaginatively connected them to whatever tune he was playing. He knew a million songs, and played them in very original ways.
Jazz Anecdotes
Authors: Crow Bill 
Published: November 2023

Abstract
Early in the run of 42nd Street our orchestra chose me to be its representative on the Theater Committee of Local 802, and I was part of the union team that negotiated the musicians’ new theater contract in 1982. I also joined a coalition of activist musicians who had long been dissatisfied with the policies of the old administratiol). of Local 802. We formed the Members’ Party and ran a slate in the union election. John Glasel, a good jazz trumpet player, ran for president, and I ran for a seat on the Executive Board. Our whole slate was elected, and John and I are now serving our fifth two-year terms.
Pl* and the Plasticity of Motivational Strength
Authors: Mele Alfred R 
Published: November 2023

Abstract
Pl, Pl*, and the like do not place us at the mercy of our desires. Even if, to oversimplify the underlying idea, we always act as we want most to act, we may have considerable control over what we want most. Unless a desire is irresistible, it is, in some sense, up to us whether we act on it. This is not to say that it is up to us whether our intentional actions coincide with what we want most. Rather, the point is that in the case of desires that are not irresistible, we have some control over motivational strength.
Acquiring Intentions
Authors: Mele Alfred R 
Published: November 2023

Abstract
If intention plays an important role in the production of intentional action, a robust theory of the explanation of intentional action will provide an account of the production of intentions themselves. In sections 1 through 4 I limit my investigation to intentions formed or acquired on the basis of practical evaluative inference and to the role of various kinds of evaluative judgment in the etiology of these intentions. Section 5 addresses varieties of intention acquisition that do not involve such inference.
Conclusion: An Unsuccessful Brief Against “Causalism”
Authors: Mele Alfred R 
Published: November 2023

Abstract
I have been guided in much of this book by the popular idea that our intentional attitudes play significant causal roles in the production of our intentional behavior. What I regarded as the most threatening challenge to that idea was addressed in chapter 2. That challenge grew out of recent literature in the philosophy of mind on the causal relevance of intentional attitudes generally. However, within the philosophy of action itself, there has been resistance to the thesis at issue. The “logical connection argument” (see ch. 2.1) was, for a time, deemed an insurmount-able obstacle to a traditional, intentionalistic, causal approach to action explanation. Related charges of explanatory vacuity were made (see ch. 4). And some claimed that instances of causal deviance (see ch. 11) showed that no causal characterization of action or intentional action could possibly succeed.
Introduction: Irving Berlin and the Nature of Tin Pan Alley Song
Authors: Hamm Charles 
Published: November 2023

Abstract
Between 1907, when Irving Berlin wrote “Marie From Sunny Italy” in collaboration with Mike Nicholson, and December 1914, when his first full-length musical show, Watch Your Step, opened at New York’s New Amsterdam Theatre, 190 songs for which he had written lyrics, music, or both were copyrighted and published. These are listed, alphabetically by title, in Appendix.
Berlin and Blackface
Authors: Hamm Charles 
Published: November 2023

Abstract
Some thirty of Irving Berlin’s songs published through 1914 have black protagonists or black characters and were sometimes, although not always, performed in blackface. Some of these pieces are “coon” songs, a subgenre of the ethnic novelty song discussed in Chapter One, but others are quite different in style and content, and the group is in fact hetereogeneous enough to make it a mistake to approach these pieces as if they all had a single meaning for Berlin and his audiences. Although conditioned to some extent by the ambivalent and shifting attitudes of New York City’s immigrant and firstgeneration Jews toward African Americans, they are also rooted in an American tradition of songs about blacks that dates from before the time that Jews came to New York City in large numbers.