bluuebunny/crossref_metadata_2025_split huggingface dataset:
Learning a Second Language
Authors: Macaulay Ronald 
Published: November 2023

Abstract
For some reason, many people seem to find the very notion of bilingualism threatening. Yet bilingualism (or more commonly multilingualism) is the norm for most nation-states. There are fewer than two hundred nation-states and perhaps six thousand languages. Only about ten of the nation-states can be said to be predominantly monolingual (for example, Portugal, Iceland, Japan, North Korea, South Korea, Bangladesh, and the Dominican Republic). Even in countries where the overwhelming majority speak one language, as in the United States and Britain, there may be substantial numbers of people who speak other languages. In 1976 the number of people in the United States from a non-English language background was determined to be 28 million, and it is estimated that by the year 2000 this figure will have risen to 39.5 million. However, rather than being seen as an asset, the presence of speakers of other languages is resented by many Americans. In recent years this anxiety has taken the form of “English-only” proposals designed to make English the official language of the United States and to ban the use of other languages in public institutions. This is a reaction to, among other things, the Bilingual Education Act of 1968, which for the first time in decades provided public support for instruction in a language other than English. At the same time, American educational institutions devote extensive resources to instruction in “foreign” languages, with little evidence of widespread success.
The Establishment of African Slavery in Latin America in the 16th Century
Authors: Klein Herbert S , Ben Vinson III 
Published: November 2023

Abstract
The European conquest of the American hemisphere did not automatically guarantee the expansion of African slave labor to the New World. Africans within Europe and the Atlantic islands were still a relatively minor part of the European labor force, and even sugar production was not totally in the hands of black slaves. At the same time, the existence of some 20 to 25 million American Indians seemed to mean that Europeans would have an abundant supply of labor available for the exploitation of their new colonies. Finally, Europe itself was experiencing major population growth in the 16th century and could probably rely on migrations of its poorer peasants and urban dwellers for its American labor needs. Yet despite these alternative labor supplies, America became the great market for an estimated 10 million African slaves in the course of the next &gt;ve centuries, and it was in the New World that African slavery most ? ourished under European rule. Until the 1830s more Africans than Europeans crossed the Atlantic annually and as late as 1750 some 4.5 million of the estimated 6.6 million people who had come to the Americas since 1492 were African slaves.
Slavery and the Plantation Economy in Brazil and the Guyanas in the 19th Century
Authors: Klein Herbert S , Ben Vinson III 
Published: November 2023

Abstract
The impact of the Haitian revolution was not con&gt;ned to the nearby Caribbean plantation societies. It was also to have a profound influence on South American developments as well, both in such major slave societies as Brazil and in the smaller European continental colonies on the northeastern coast. In these regions the elimination of the world’s leading sugar and coffee producer generated renewed growth in both the plantation regime and slavery after 1791. Only in the Spanish American republics was there little economic response to these changes.
Slave Resistance and Rebellion
Authors: Klein Herbert S , Ben Vinson III 
Published: November 2023

Abstract
The growth of a sense of identity and community among African slaves in Latin America was essential for their survival as a society and group. Families were established, children were educated, and beliefs were developed that gave legitimacy to their lives. But many aspects of their lives were controlled by others. Their labor was de&gt;ned by others and was not typically organized by households, as in the case of other working-class persons. Even their social behavior was restricted by whites when it clashed with the needs for control or the norms of behavior found acceptable by whites.
On Speaking
Authors: Smith W Stephen , Chipman Michael 
Published: November 2023

Abstract
Speaking is innate to the human condition; we all do it. It is also the original creative activity. We phonate from the moment of birth, when we come screaming from our mother’s womb. Doctors and midwives worry if a baby doesn’t cry very quickly after birth because in that context, phonation is literally a sign of life (it is also one of the most beautiful sounds in the world). The baby’s first action in life—after taking its first breath—is to phonate, to express fear at being thrust into a new world or to react to the pain, discomfort, and confusion of the birthing process. That compulsion to communicate—the need to express—is what I call the source of utterance.
The First Invention: Simply Speaking Simply
Authors: Smith W Stephen , Chipman Michael 
Published: November 2023

Abstract
The idea of Simply Speaking Simply is to learn to speak with clarity. In an ideal world, all of our actions and words would be free from the contamination of insecurity, fear, and ulterior motives. However, in the real world, we often don’t speak with clear, direct, and honest intentions; instead, our words sometimes veil the truth we want to communicate, the emotions we truly want to express, or the needs we want the world to meet. Most of us are unaware of the ulterior motives that entangle our words, actions, and relationships. When we begin to look honestly at who we are and what we want and then access that most authentic part of ourselves, those entanglements become obvious. Seeing our-selves clearly, we have the power to change. Change brings freedom, and freedom enables us to speak with pure intention—the original source of utterance I discussed in Chapter .
The Second Invention: Free-Flowing Air
Authors: Smith W Stephen , Chipman Michael 
Published: November 2023

Abstract
In Simply Speaking Simply we learned to speak with a clean, clear sound, free from entanglements but with full engagement of the vocal folds. In Free-Flowing Air, we go to the other extreme, only minimally engaging the vocal folds so that the air flows freely and consistently in any range. We begin with a simple sigh and then build on that sensation in different ways to achieve a feeling of free-flowing air. Simply Speaking Simply isolates the chiaro or bright part of the sound; Free-Flowing Air isolates the oscuro or dark part of the sound. Neither extreme is a complete chiaroscuro sound, but by isolating them, we can fuse them together healthily later on.
The Fourth Invention: Spontaneous Combustion
Authors: Smith W Stephen , Chipman Michael 
Published: November 2023

Abstract
Just as in Simply Speaking Simply, the basic neurological impulse to speak is the basis for the action in the Fourth Invention, Spontaneous Combustion. Here we return to basic speech and the original source of utterance, the desire to express and communicate. Spontaneous Combustion happens when we are poised— calm, collected, still, and ready. Spontaneity is not the same as impromptu, which implies a lack of preparation; rather, the spontaneous singer is poised and prepared with the ideal conditions for a spontaneous action to occur. In the same way that poise affects healthy vocalism, it affects performance on stage and in everyday life.
The Fifth Invention: The Wobble
Authors: Smith W Stephen , Chipman Michael 
Published: November 2023

Abstract
Why would any singer want to master the art of the wobble? A wobble is usually associated with the elderly soprano in the church choir whose vibrato is big enough to drive a truck through. No singer wants a wobble, and no audience wants to hear a voice wobbling out of control. So why in the world would I use this word? There is a simple reason: I call it The Wobble for its shock effect. It tends to stir people up and get them thinking about vocal control in a different way.
Find Your Own Path
Authors: Smith W Stephen , Chipman Michael 
Published: November 2023

Abstract
Once singers have established a solid technique and are committed to the process of continual improvement, many decide to pursue a professional career in singing. I am often asked how one goes about achieving a successful career as a singer. There is no easy answer to that question because all of the singers I have worked with who have achieved what many would call a successful career have attained their success by following very different paths. The most important principle in pursuing any career should be the same as the principle involved in learning to sing: Be true to yourself.
Weather Bird
Authors: Giddins Gary 
Published: November 2023

Abstract
Gary Giddins’s magnificent book Visions of Jazz has been hailed as a landmark in music criticism. Jonathan Yardley in The Washington Post called it “the definitive compendium by the most interesting jazz critic now at work.” And Alfred Appel, Jr., in The New York Times Book Review, said it was “the finest unconventional history of jazz ever written.” It was the first work on jazz ever to win the National Book Critics Circle Award for Criticism. Now comes Weather Bird, a brilliant companion volume to Visions of Jazz. In this superb collection of essays, reviews and articles, Giddins brings together, for the first time, more than 140 pieces written over a 14-year period, most of them for his column in the Village Voice (also called “Weather Bird”). The book is first and foremost a celebration of jazz, with illuminating commentary on contemporary jazz events, on today’s top musicians, on the best records of the year, and on leading figures from jazz’s past. Readers will find extended pieces on Louis Armstrong, Erroll Garner, Benny Carter, Sonny Rollins, Dave Brubeck, Ornette Coleman, Billie Holiday, Cassandra Wilson, Tony Bennett, and many others. Giddins includes a series of articles on the annual JVC Jazz Festival, which taken together offer a splendid overview of jazz in the 1990s. Other highlights include an astute look at avant-garde music (“Parajazz”) and his challenging essay, “How Come Jazz Isn’t Dead?” which advances a theory about the way art is born, exploited, celebrated, and sidelined to the museum. A radiant compendium by America’s leading music critic, Weather Bird offers an unforgettable look at the modern jazz scene.
Chippin’ Off the Old Block (Javon Jackson)
Authors: Giddins Gary 
Published: November 2023

Abstract
Tenor saxophonist Javon Jackson was a 22-year-old student at the Berklee College of Music when he auditioned for Art Blakey in 1987. Blakey took him on, and three years later, when the roving graduate program known as the Jazz Messengers came to an end, Jackson had seniority among the band’s sidemen. Tracing his early development on records is a gratifying game of cat and mouse. For one thing, his improvisations are short and efficient (he hasn’t the time to outwear his welcome), and for another, he has crafted a cagey style from readily identifiable gambits associated with Sonny Rollins and Joe Henderson, among others. You keep waiting for an authoritative leap, a departure that lets you know the gifted student is now on his own road, and you get plenty of indications. Compare his solos on the title tracks of Blakey’s Not Yet (Black Saint, 1988) and Chippin’ In (Timeless, 1990). The former, five choruses long, starts with two modulated riffs, expands with Rollinsesque triplets and a fluent navigation through the low register, and finishes with a whirling Hendersonian arpeggio. It’s a fine solo, but you can practically see the wheels turning.
Heavy Mettle Thunder (Ronald Shannon Jackson)
Authors: Giddins Gary 
Published: November 2023

Abstract
The trouble with most fusion is that nothing ever really fuses. A few surface aspects of jazz and rock are tacked together in a highly calculated manner that only confirms the suspicion that jazz-rock is more often than not an oxymoron—an exceedingly dull one at that. As a movement, fusion is to music what melting-pot civics is to sociology. Which is, I suppose, why it has a huge popular following and a minute body of critical confirmation. A unique situation: Fusion has been with us for a quarter of a century, twice as long as the Swing Era, but virtually all commentary is focused on things like equipment and technique or nostalgia. Yet one recalls, and even revisits, some of the rousing beginnings—Tony Williams’s Emergency! (blemished by the leader’s decision to sing), and the crushing sound-storms created by Miles Davis and John McLaughlin— and wonders anew at how its potential could so quickly be sapped of vitality and innovation.
Go Wes, Young Man (Mark Whitfield)
Authors: Giddins Gary 
Published: November 2023

Abstract
You can’t help but suspect that much of the delayed interest generated by Mark Whitfield, the talented 23-year-old no-frills jazz guitarist who made his Village Vanguard debut last week, is related to the surprising fact that he records for Warner Bros. I mean, how many critics, having registered the label affiliation, scanned the cover photos on his first album, The Marksman (young and clean-cut, brown suit and tasseled loafers, no socks, crouching or leaping, guitar at the ready, in quasi–Chuck Berry poses), and tossed it into the maybe-three-weeks-from-Thursdayif-nothing-else-comes-out-in-the-interim pile? Arriving from a company that construes jazz as stylish background music, which is to say polite fusion or, worse, Quincified sampling, Whitfield is as confounding as an IBM researcher who preaches the merits of the pencil: “Inexpensive and portable, doesn’t require electricity or a printer, makes instant corrections and, with practice, can be moved as fast as a cursor. Could be the writing implement for the ‘90s.”
Jazz Danish (The Jazzpar Concert)
Authors: Giddins Gary 
Published: November 2023

Abstract
Denmark is neither the most nor least surprising nation in the world to sponsor the first international jazz prize. It has enjoyed direct contact with black music’s perceived threat to European values since the first minstrel troupes visited almost 130 years ago. In the 1890s, Copenhagen was host to the Fisk Jubilee Singers and a black opera company; in 1903, Sousa brought over the cakewalk. Yet for half a century, at least until the 1920s, this famously liberal country, which behaved so bravely during the World War II occupation, shared the typical European paranoia about black music, characterizing it as the product of savages and worse. In his three-volume Jazz i Danmark, published in 1982 with a summary chapter in English, Erik Wiedemann identifies five myths that shaped the reception of jazz in Denmark: (1) racism—its creators were “subhuman”; (2) chauvinism—jazz, being primitive and exotic, represented a threat to European culture; (3) reverse racism—jazz can only be played by blacks because they are born with it; (4) biological democracy—jazz is a “natural” music because “everyone is born with it”; (5) aesthetic— jazz is folk, not art, music.
The Glow of Doc Cheatham (JVC 1991, Part One)
Authors: Giddins Gary 
Published: November 2023

Abstract
Seven years ago, I wrote, “Few educated Americans can name even five jazz musicians under the age of 40.” One measure of how quickly jazz evolves is that I can’t imagine typing such a thing today. “Under 40” is the ide´e fixee of the current JVC Jazz Festival, two-thirds over as I write, and thus far the most genial and satisfying in years. Where racism and sexism wouldn’t dare raise their shameful heads, ageism is casually flaunted. Two kinds of musicians predominate this year—under 40 and over 60. Players who came up in the ‘60s and early ‘70s must be on vacation somewhere; either that, or the programming has been done in collusion with The New Republic and other regressive think tanks that want to put those scarifying years... where? Behind us, of course. Still, it isn’t a bad thing to underscore a phenomenon that scarcely seemed imaginable seven years back. We have gone beyond Wyntonism.
The Advocate (Eddie Condon)
Authors: Giddins Gary 
Published: November 2023

Abstract
Eddie Condon was a vigorous jazz activist whose barbed tongue and stubborn beliefs were powerful implements for spreading the jazz gospel as he interpreted it. Decades after his death, in 1973, the kind of music he championed was still widely known as Condon-style, though, inevitably, the prophet and his music receded into memory when the last practitioners passed on. They merit our respect all the same. Condon and the success he enjoyed recall a tremulous period in jazz history, when the racial divide was first breached and the very act of playing jazz or representing oneself as a jazz musician conveyed the thrill of anarchy. The suspicion of outlawry was real in the United States, where Ladies Home Journal blamed jazz for an increase in rape, and severe in the Soviet Union, where playing it was a criminal offense. Condon’s career could hardly have been more unorthodox. Though not an important instrumentalist or bandleader, Condon performed on many fine—even important—recordings and fronted countless bands. His accomplishments as a composer were few, yet he helped to codify an enduring school of jazz. He was a radical in his youth and a reactionary ever after, yet he won a lasting respect as one of jazz’s most effective propagandists, heralding America’s brave new music on the bandstand and off, as a musician, organizer, memoirist, broadcast personality, newspaper columnist, and club owner.
Martin Williams, 1924–1992
Authors: Giddins Gary 
Published: November 2023

Abstract
It is inconceivable to me that anyone ever called Martin Williams, the tireless advocate and critic of America’s native arts (primarily jazz, but also movies, newspaper comics, and TV), Marty. He wore the name Martin, much as he did his inevitable narrow ties, with a casual certitude he was wont to characterize as “insufferable egomania.” He had, in a word, presence. Tall and trim, the slender neckwear accentuating the span of his military frame, and exceedingly vain of his good looks, he did not lend himself to diminutives of any sort; on the contrary, he was more martinet than Marty, yet more Martin than Mr. Williams. His death leaves a gaping wound in the field of jazz criticism and education, and in the lives of all who knew and learned from him. Martin had been undergoing radiation treatment for cancer, which left him vulnerable to the flu. He was found dead in his Alexandria, Virginia, home in the early hours of April 13, 1992. Martin was my mentor—indeed, he instructed a whole generation: critics and listeners and teachers, even musicians, though some of his contemporaries took his measure too lightly, criticizing his austere prose and even questioning the depth of his affections. Others knew he was onto something important, a way of writing about jazz that eschewed familiar anecdotes about colorful semi-mythological musicians in favor of formal but accessible musical analysis. He accomplished this with a diction virtually shorn of metaphor and reminiscence. His ego notwithstanding, Williams’s criticism is remarkably selfless. When he returned to writing in the early ‘80s, after a long and uneasy hiatus, I encouraged him to put more of himself in his work—if not a memoir then at least a personal expression of his involvement with music. He smiled and shook his head decisively. “I can’t,” he said. Thirty years ago, Whitney Balliett referred to him as a man “who thinks about jazz more than any other public observer,” and Martin’s prose did, in fact, suggest an ascetic’s attempt to pose ideas and ask useful questions.
Grand-Lee (Lee Konitz)
Authors: Giddins Gary 
Published: November 2023

Abstract
Is there any designation more debilitating to the commercial welfare of an artist than that of “musician’s musician”? And is any jazz-man more closely identified with that universally respected yet marginalized breed than Lee Konitz? For 45 years, his work has been the subject of close analysis, imitation, high regard, and occasional bewilderment. In 1947, at age 20, he recorded his first acclaimed alto saxophone improvisations with Claude Thornhill’s band: “Thrivin’ on a Riff” and the splendid “Yardbird Suite,” in which he alights with puckish alertness, a lowercase bird chirping in a timbre shy of vibrato though formidably songful. In those days he astonished simply by virtue of not mimicking (uppercase) Bird, while fully reflecting Bird’s modernist breach in melody, harmony, and rhythm. Konitz’s cool sound, a partial reflection of his clarinet studies with a member of the Chicago Symphony, was so much his own that a school seemed almost destined to grow around it.
Lions in Summer (JVC 1992)
Authors: Giddins Gary 
Published: November 2023

Abstract
An alluring melancholy pervaded the 1992 JVC Jazz Festival, as though the music, on the battlements at high tide, wanted nothing more than to linger in the warmth of its glorious past and customarily rattled present; one last and loving look before dawn breaks on the vacant shore. JVC itself is rattled, by competing interests and a dearth of sure-fire attractions. The nine-day commemoration was nothing like a sweeping or even discerning survey of the jazz terrain, but rather a stoic meditation on departed or ailing kings, with tributes proffered by followers, jesters, and a reassuring body of untried princes, only rarely by equals. Opening with the first of two homages to Dizzy Gillespie, whose 75th year is receiving much of the recognition it deserves, JVC unfurled appreciations of gray eminences (Lionel Hampton, Illinois Jacquet, the Modern Jazz Quartet, Ray Charles) and the recently and not-so-recently departed: John Coltrane, Buck Clayton, John Carter, Clifford Brown, Thelonious Monk, and Stan Getz. Gerry Mulligan revived the 52and 53-year-old recordings of the Miles Davis Nonet; Charlie Haden reconstituted the Liberation Music Orchestra; Nina Simone compensated for her no-show of several years ago; and the return of the Brecker Brothers proved that fusion, too, has its memorialists.
Computer Wars (Robert Parker)
Authors: Giddins Gary 
Published: November 2023

Abstract
Among the finest early jazz recordings are those by the Clarence Williams Blue Five of 1924, in which Louis Armstrong and Sidney Bechet resolve by example such essential issues as the role of the soloist, dispositions toward repertoire, and ensemble infrastructure. Bechet held his own, occasionally besting Armstrong, which no one else would ever do. “Mandy, Make Up Your Mind” is a less than hair-raising but highly picturesque sample of their work, and it’s unique for boasting the only sarrusophone solo on a jazz recording. The brass double-reed instrument (invented in 1865 and used primarily in military bands) came in a family assortment, descending in pitch from sopranino to contra-bass: Bechet wielded the bass version. Not surprisingly, given acoustical recording techniques of 1924, he produced a clamorous rumble suggesting the kind of internal combustion caused by bad diet. Unless, that is, you listen to the recording as reprocessed a few years ago by the Australian engineer Robert Parker.