bluuebunny/crossref_metadata_2025_split huggingface dataset:
Language and Thought
Authors: Macaulay Ronald 
Published: November 2023

Abstract
One of the most frequently cited passages on the relationship between language and thought is the following by the pioneering American linguist Edward Sapir: Human beings do not live in the objective world alone, nor in the world of social activity as ordinarily understood, but very much at the mercy of the particular language which has become the medium of expression for their society. It is quite an illusion to imagine that one adjusts to reality essentially without the use of language and that language is merely an incidental means for solving specific problems of communication and reflection. The fact of the matter is that the “real world” is to a large extent unconsciously built up on the language habits of the group. No two languages are ever sufficiently similar to be considered as representing the same social reality. Sapir and his pupil Benjamin Lee Whorf investigated various aspects of the relationship between thought and language and developed what is sometimes called the Linguistic Relativity Theory and sometimes the Sapir/Whorf Hypothesis. The claim, as the quotation from Sapir suggests, is that the way people perceive objects and conceive of the world around them is affected or even determined by the language that they speak. This theory or hypothesis has been the subject of much debate. The main point at issue is the question whether thinking is rigidly determined by language or strongly or weakly affected by it. This in turn revolves around the question of which aspects of language could influence thought.
The Golden Age, Part I: 1580-1603
Authors: Spring Matthew 
Published: November 2023

Abstract
for the play that is now, and the lessons (that are now a daies) are so curiouslie set, that we of the olde mine, are smoakt up like to seacole, and this age, hath the golden ore, and sparkling diamondes of divine Musitions, that for mine owne part, I am content, to give place both to youth, and the time, onelie content to be an auditore, and lover of the best. Knight to Timotheus, in Thomas Robinson, The Schoole of Musicke (1603), sig. B Ovid, in his first book of the Metamorphoses, describes the four ages of man, of which ‘The Golden Age was first; which uncompelled, And without rule, in faith and truth exceelled’. Under the reign of Saturn this age experienced no wars, no laws, no seasons, and there was no work to be done. Peace, justice, and equality were universal. Virgil in his fourth Eclogue spoke of the dawning of a new golden age for Rome under Augustus, when civilization and the arts would flourish. This poem was later reinterpreted by Constantine, with the virgin goddess Astraea, who ushers in the new golden age, identified as the Virgin Mary. John Foxe, in his Book of Martyrs, the most influential and popular book of Elizabethan times after the Bible, drew a parallel between Constantine’s ending of religious persecutions, and the accession of Elizabeth after the repression and burnings of the Marian period.2 The new Astraea was personified by Elizabeth I, whose favourite personal device was the phoenix. Like Augustus in the early days of Imperial Rome, she was seen to have re-established justice, and to have provided a rule under which peace and the arts could flourish. This point was made by Sir John Davies in his Hymnes of Astraea (1599), referring to Elizabeth as she who: ‘Hath brought againe the golden dayes, And all the world amended.
The Sterilization Movement and Global Fertility in the Twentieth Century
Authors: Dowbiggin Ian 
Published: November 2023

Abstract
Many would be surprised to learn that the preferred method of birth control in the United States today is actually surgical sterilization. This book takes an historical look at the sterilization movement in post-World War II America, a revolution in modern contraceptive behaviour. Focusing on leaders of the sterilization movement from the 1930’s through the turn of the century, this book explores the historic linkages between environment, civil liberties, eugenics, population control, sex education, marriage counselling, and birth control movements in the 20th-century United States. Sterilization has been variously advocated as a medical procedure for defusing the “population bomb,” expanding individual rights, liberating women from the fear of pregnancy, strengthening marriage, improving the quality of life of the mentally disabled, or reducing the incidence of hereditary disorders. From an historical standpoint, support for free and unfettered access to sterilization services has aroused opposition in some circles, and was considered a “liberal cause” in post-World War II America. This story demonstrates how a small group of reformers helped to alter traditional notions of gender and sexuality.
A Great Wave
Authors: Dowbiggin Ian 
Published: November 2023

Abstract
On the evening of October 1, 1969, Hugh Moore, president of the Association for Voluntary Sterilization (AVS), was in a buoyant mood. As he approached the microphone at New York City’s Carnegie Endowment Center, he gazed at the overflow audience, which included television host Ed Sullivan; entertainer Arthur Godfrey; feminist author Betty Friedan; and Stanford University biologist Paul Ehrlich, author of the 1968 bestseller The Population Bomb. Moore could n’t resist gloating; only ‘‘a few years ago,’’ he reminisced, meetings of the board were held ‘‘quietly’’ in a West 58th Street apartment in Manhattan, when we were known as the Human Betterment Association, believe it or not. Before that the name had been ‘Birth Right!’ [sic] These ambiguous terms were adopted because of our not daring to use sterilization, lest we be chased out of town.
Going Global
Authors: Dowbiggin Ian 
Published: November 2023

Abstract
As the 1980s dawned, the sterilization movement reached another crossroads in its ongoing struggle to alter global reproductive behavior and fertility rates. After the Association for Voluntary Sterilization (AVS) rebranded itself, in 1984, as the Association for Voluntary Surgical Contraception (AVSC), sterilization advocates for the balance of the twentieth century shifted their official focus away from population and birth control as ends in themselves to women’s reproductive health in general, and gradually muted their traditional emphasis on sterilization alone in favor of a broader approach to reproductive health that included post-abortion care, maternal and child health care, HIV=AIDS services, and greater male involvement in family planning.
Textbook of International Health: Global Health in a Dynamic World
Authors: Birn Anne-Emanuelle , Pillay Yogan , Holtz Timothy H 
Published: November 2023

Abstract
This classic text, formerly known as the "Basch" textbook, now completely revised in an updated new edition, brings together information that students and professionals working in the wide variety of disciplines concerned with international health will find in no other single source. It synthesizes historical, cultural, environmental, economic and political considerations to provide a comprehensive global overview of the many factors that determine the health of individuals and populations. The major determinants of health status in all regions of the world are discussed, and interventions undertaken at community, national, and international levels are described. The new edition features a renowned new authorship committed to updating and expanding the entire content while retaining the core elements of Basch's excellent text.
A Wholistic Approach to Singing
Authors: Smith W Stephen , Chipman Michael 
Published: November 2023

Abstract
Wholism is a philosophy that considers all the various aspects of the human experience—physical, mental, emotional, spiritual, and so forth. I will explain how my approach to singing falls into a wholistic category later in this chapter. First, I would like to discuss the title of Part I of this book: Basic Instincts. What are our most basic instincts? When we strip away all our complicated layers of cultural conditioning and neurosis, what is left? Our most basic instincts are the first two things we do in life: breathing and speaking. Breathing is the first life—giving activity after birth. Before making any sound, we breathe. Speaking is the first creative activity after birth. (We actually begin with phonation—the vibration of the vocal cords—which later evolves into speech.) When we come out wailing, we affirm that we are alive, and that wailing itself is a creative activity—the pure expression of fear or discomfort in our new surroundings. Those two foundational elements enable us to express ourselves through-out life.
The Third Invention: A Balancing Act
Authors: Smith W Stephen , Chipman Michael 
Published: November 2023

Abstract
Singing, like life, is a struggle to find balance. Just as a pendulum swings back and forth to the extreme sides, its natural course is to finally settle in the balanced middle. For singers to find balance, they sometimes must go to the extreme opposite of what they are doing wrong. This is what I call “overcorrecting,” and we often overcorrect so that ultimately we arrive in a balanced place. Singers who always sing with a bright, clear sound by squeezing the cords together have to be opened up for a while to focus on the darker, warmer back space that is the exact opposite of what they are accustomed to. The reason we overcorrect is to give singers the entire spectrum of possibilities so that they can find the balance in the middle of those extremes.
Miles Ahead (JVC 1991, Part Two)
Authors: Giddins Gary 
Published: November 2023

Abstract
The recent banner on the Voice cover that read “Best JVC in Memory” took me aback. The salute to Doc Cheatham was one of the best concerts in memory (anyway, the best since Sonny Rollins barnstormed Carnegie Hall with Roy Hargrove and Jim Hall in April), but I wrote that review when the festival was still in full swing, just before it took a nosedive in the much abused name of bebop, first in a staid set by the under-40s and then in a misguided tribute to Dexter Gordon. Yet there was a buzz this year, heightened by low expectations. Why, I can’t say. Most of the performers were familiar, sound problems and rude latecomers were omnipresent, among them an unusual number of camera-jockey tourists. Maybe, it’s this simple: For good and bad, and notwithstanding its conservative leanings, it was a jazz festival, largely unpretentious and guileless. The lesson of this particular generation of under-40s is not that they exist, but that they feel no compulsion to seek commercial prestige in the trappings of rock.
Swing to Black (Doc Severinsen)
Authors: Giddins Gary 
Published: November 2023

Abstract
When the siege of Johnny Carson sentimentality began to burgeon, my usually circumspect bride suggested we tape some of the final shows. Astonished, I asked her how many times she estimated we had watched The Tonight Show in the nine years we’d known each other. Neither of us had to hesitate before supplying the answer: never. We had never watched the entire show, not once. We had seen hundreds of Carson’s monologues, of course, usually with pleasure and no little admiration (while noting that nothing dates more irrevocably than Carson’s headline-scanning humor), but then switched off, assuming—after plenty of experience with his first 20 years—that the rest of the hour would be a procession of fading stars and hopeful starlets, pedestrian musicians and desperate comics, all selling something, usually non sequitur film clips. Sure, exceptions come to mind, nights I kept the sound off and read, awaiting Sonny Rollins or Sarah Vaughan or Stan Getz. But they were rare. Carson, the ardent jazz fan, preferred Pete Fountain. So as much as I will miss Carson’s reassuring professionalism, and as much as I loathe Jay Leno’s tit-for-tat political humor, logorrheic addons to ill-timed jokes, and brothel-inspired decor, I can’t say I’ve experienced the changing of the guard with any emotional upheaval. Carson’s primary innovation, ignored amid all the crocodile hype, is that he took a live and loose-limbed, spontaneous talk show, in which the increasing number of guests bolstered the conviviality of the evening’s chat, and replaced it with a militantly fastidious 44-minute comedy hour with occasional music, in which the guests on the Siberian wing of the couch sat quietly while the latest addition peddled his/her wares unmolested by impulsive wit or possible skirmish. Carson’s less imaginative heirs assume that his way is the only way; most arrive at work with a stentorian announcer, raucously grateful audience, second-banana bandleader, and a lineup of Hollywood hucksters.
Always True in Her Fashion (Peggy Lee)
Authors: Giddins Gary 
Published: November 2023

Abstract
The first time I really listened to Peggy Lee was accidental. I’d bought a Benny Goodman set on Harmony, an old subsidiary of Columbia, got it back to the dorm late, put it on and soon fell asleep. The last thing I recalled hearing was “Why Don’t You Do Right,” and I dozed off happily surprised because I didn’t expect to hear any Billie Holiday on the album. I thought about it in class the next morning, and that evening some friends came by to hear this performance I raved about. We all agreed: Definitely an ace record—primo Lady Day. Only after they left and I looked at the small print did I discover that the singer was Peggy Lee: the platinum blonde with the mole on her right cheek to whom I had never tumbled and was now ready to dismiss as yet another Billie imitator, another minstrel. Live and learn. Probably it was the two-note bubble on the word “ri-ight” that girded my ignorant assumption, that and the thin voice and the legato time and the knowledge that Billie had sung early on with Goodman. Because Lee, though admittedly influenced by Holiday’s sense of economy, swing, and ability to make the most of a small range, never sounded that much like her. They did share something profound, however, a candid vulnerability that draws you into the drama of what they sing and how they sing it. They slur notes, but their slurs have different pedigrees, even if they had monstrous childhoods in common. Read either of their lives and you may wonder if the slurs aren’t a kind of musical recoiling, wounded sighs. The former Norma Deloris Egstrom of North Dakota, who started singing on radio at 14 in part to escape the ministrations of a wicked stepmother, sings in the clipped cadences of the cold country, the vowels rarely indulged, the timbre cool and coy, icily sexy, giving way to an intimate vibrato as she attains high notes she only pretends to find daunting. A noted perfectionist, Lee gets it right or she doesn’t go for it. Yet you feel she’s at constant risk.
PG-13 (Rosemary Clooney)
Authors: Giddins Gary 
Published: November 2023

Abstract
It’s amusing, in a dismaying sort of way, to watch the occasional pop critic of the ‘90s recapitulate the contempt for received wisdom that made much ‘60s criticism seem arrogantly self-satisfied. You know, the solemn young writers who have no intention of aging themselves, and who treat Dylan, Jagger, McCartney, and Fat Elvis (the one who lost the stamp election) as grizzled hacks who should have retired gracefully or died with the glow of flaming youth. After glimpsing Jagger, never a favorite of mine, on Saturday Night Live, I admit to sharing in the ridicule: why did he appear ludicrous, while Jimmy Witherspoon, his senior by two decades, was riveting at Fat Tuesday’s last week, singing blues that were venerable when Jagger was born? Wasn’t Jagger once touted as a kind of white bluesman? Did he forget everything he ever knew, or has he come to accept his own limitations? Witherspoon mentioned Jagger as playing a role in his receiving a Lifetime Achievement award from the Rhythm-and-Blues Foundation this week, an event certified with a ceremonial performance of his signature tune, “Ain’t Nobody’s Business.”
Jaki Byard, 1922–1999
Authors: Giddins Gary 
Published: November 2023

Abstract
Lea was two months old the first time we took her to a concert—Jaki Byard’s 1989 recital at Weill Hall. He sat at the piano and played a 10note discord. She whimpered and looked distressed. But he followed instantly with a lambent stride passage. She raised her head, smiled, then fell into an hour’s sleep. I knew the feeling. Jaki never put me to sleep, but he always made me smile and frequently knocked me out. Listening to him was like turning on a tap in which all the strains of modern piano, from James P. Johnson to Cecil Taylor, flowed in one luscious rush. Yet having described the most obvious aspect of his playing, I feel obliged to backpedal from the old saw that his music stood for no more than a promethean eclecticism. His style was his own and unmistakable, by turns hard, percussive, witty, sentimental, sardonic, whimsical, subversive, ebullient, anguished. Like Sonny Rollins, he could fake you out— making you think, for example, that those corny arpeggios were a joke, so that you didn’t know whether to feel embarrassed or grateful at the emotions he extracted from them.
Prisoners of the Past (JVC 1999)
Authors: Giddins Gary 
Published: November 2023

Abstract
Midway through the week, the JVC Jazz Festival kicked into life at a sedate homage to Charlie Parker’s romance with strings, when the featured soloist, James Moody, bounded into an exultant “Cherokee,” shaking off the ensemble like a great swan beating the wet from its wings. He soared, dove, and crested. The rhythm section floated him on the song’s hammered harmonies, inspiring him on his tear while the resting chamber players looked slightly glazed with wonder. When he finally looped the last loop into a mocking shave-and-a-haircut finish, the crowd levitated. We talk about bop as though every postwar jazzman who plays changes with a beat enjoys equal access to its mysteries, but in fact few can essay the music’s curvy melodic purity and drive of 50 years ago, when it was mint, daring, and not a little unbelievable. Though Moody was one of the first to augment and even parody the style, he never lost the knack—he just doesn’t go for broke that often. Moody was also one of the first to record with strings, two years after Parker; the subject in 1951 was “Cherokee” and he didn’t do much with the piece that Parker had made his personal anthem. When Moody finally put his mark on the song in the 1960s, he adapted it as a virtuoso shimmered with warmth and seemed to shave 30 years off Brubeck, most of whose best music was achieved in company with saxophonists of Moody’s stature.
Here’s the Melody (John Lewis)
Authors: Giddins Gary 
Published: November 2023

Abstract
Melody is the rarest of musical talents and the most treasured, which is one reason only a handful of 19th-century composers continue to speak to us. Those who do are true melodists as opposed to generic ones: preachers who hear a kind of songfulness no one else has heard rather than parishioners who elaborate on that approach, reducing inspiration to style. True melodists may be few, yet they seem to arrive in groups, carrying the ball for a paternal titan, as though waiting for a properly melodious climate—thus Mozart kicked off for Schubert, Mendelssohn, and Schumann; Verdi for Bizet, Tchaikovsky, and Puccini; Berlin for Kern, Rodgers, and Porter. This schema is simplistic but helps pass the time as we wait and wait and wait for melody’s return. In the hip-hop era, its stock has fallen in direct proportion to rhythm’s rise. Jazz has been abundant in melody, or should I say improvisational lyricism. It produces far fewer Jelly Roll Mortons, Duke Ellingtons, and Thelonious Monks than Louis Armstrongs, Lester Youngs, and Charlie Parkers. A more melodious musician than Young never lived, but his genius is to be found in ad-lib solos, not in his handful of copywrited tunes. Stan Getz was immensely lyrical, yet never wrote a single important tune. On the other hand, some players are more adept at melodious themes than at sustaining them in variations, most notably John Coltrane and Ornette Coleman. At the present time, jazz is, inevitably, caught up in the same antimelodic vice as the rest of the musical landscape. So when we hear the real thing, it can be overwhelming.
Over the Transom (Arnie Carruthers / Larry Vuckovich / Nicholas Hoffman / Gold Sparkle)
Authors: Giddins Gary 
Published: November 2023

Abstract
The first time I met John Hammond he regaled me by playing reel-to-reel tapes of unissued Artie Shaw and Joe Turner. This was back in 1969, and much of his desk, the top of the radiator, and just about every other flat surface in his office was stacked with white reel-to-reel boxes. Did they all contain such gems? Oh, God, no, he explained with a shudder; they were mostly over-the-transom or under-the-table offerings from unknown musicians and managers hoping to grab the attention of American music’s most fabled talent scout. He claimed he listened to them all and he probably did (Springsteen and Stevie Ray were in his future), but he seemed perfectly content if not transported as Joe Turner rumbled through “Roll ‘Em, Pete” for the millionth rip-roaring time. I am reminded of those stacks whenever someone slips me, as though it were contraband, a homegrown cassette or CD. A certain amount of mutual embarrassment invariably colors the transaction, which is instigated with a remark like, “I’m sure you get these all the time, but . . .” or “Do you mind if . . .” or the increasingly popular “A friend asked me to . . .” Critics are not talent scouts, nor do they wish to be; we come later in the process, evaluating professionals, not amateurs looking for help or a kind word. I never know what to do with these gifts, though my silent response is usually, “Damn, now I’ve got to carry this stuff around all night,” because I am too cowardly to throw it out. An angel sits on my right shoulder, warning, “It could be the next Bird,” while the devil on my left mocks, “Don’t be a chump.” The devil’s been around.
Weird and Forgotten Dreams (Charles Mingus / Helen Carr / Herb Jeffries / LH&R / Sarah Vaughan)
Authors: Giddins Gary 
Published: November 2023

Abstract
Reissues usually get their due at year’s end, when they come giftwrapped in cloth or steel boxes with fancy prices and hyped-up art direction, but record companies stay alive and keep their distributors happy by recycling old records all year long. Many classic LPs remain unissued after 20 years of digitalization and a trunkful of 78s that never even made it to LP waste away like Edmond Dantés in the vaults, awaiting their second acts. Yet now that most of the better-known product has returned in two, three, and more CD incarnations, labels are burrowing deeper, proving that wondrous unearthings are still possible. The year’s most remarkable recovery has produced Charles ‘Baron’ Mingus, West Coast, 1945–49 (Uptown), 23 sides made under Mingus’s leadership for five fly-by-night labels that couldn’t distribute farther than their car trunks. The names alone smack of Central Avenue postwar optimism and desperation: Excelsior, Four Star, Dolphins of Hollywood, Fentone, Rex Hollywood. Some of these platters were so hard to come by that the Smithsonian abandoned an attempt to create such a collection in the 1980s; they are cited with errors or not at all in Mingus discographies and biographies. Research by co-producers Robert E. Sunenblick, whose blindingly detailed notes make up the bulk of a 96-page booklet, and Chuck Nessa correct a number of long-held assumptions. For one thing, Mingus is not the cellist on “He’s Gone”; it’s Jean McGuire, one of many people Uptown interviewed. For another, the long-sought mystery record, “God’s Portrait,” made for Fentone, was never issued. Ralph