#steven bley

[zombilenium]

Steven Bley Photography

[whereifindsanity]

Steven Bley

[brookstonalmanac]

Birthdays 11.10

Beer Birthdays

Martin Luther; religious leader (1483)

William Hogarth; English artist (1647)

Jacob Betz (1843)

Edward Cecil Guinness (1847)

Five Favorite Birthdays

Bill Bryson; writer (1946)

Neil Gaiman; English writer (1960)

Billy May; composer, bandleader (1916)

Roy Scheider; actor (1932)

Carl Stalling; composer (1891)

Famous Birthdays

Francis Maitland Balfour; British biologist (1851)

Paul Bley; Canadian-American pianist and composer (1932)

Richard Burton; Welsh actor (1925)

Jacob Cats; Dutch poet, jurist (1577)

Charles the Bold, Duke of Burgundy (1433)

Winston Churchill; author and painter (1871)

Francois Couperin; French composer (1668)

Tommy Davidson; comedian (1963)

Zoey Deutch; actress (1994)

Taron Egerton; Welsh actor (1989)

Roland Emmerich; German film director (1955)

Robert F. Engle; economist, Nobel Prize laureate (1942)

Jacob Epstein; American-English sculptor (1880)

Ernst Fischer; German chemist (1918)

Oliver Goldsmith; Irish writer (1728)

W.E.B. Griffin; writer (1929)

Hachikō; Japanese dog (1923)

William Hogarth; English painter, illustrator (1697)

Russell Johnson; actor (1924)

Mikhail Kalashnikov; Russian general, designed AK-47 (1919)

Jared P. Kirtland; naturalist (1793)

Greg Lake; rock guitarist, singer (1947)

Louis le Brocquy; Irish painter and illustrator (1916)

Vachel Lindsay; poet (1879)

Dave Loggins; singer, songwriter (1947)

J.P. Marquand; writer (1893)

Johnny Marks; composer and songwriter (1909)

Mike McCarthy; Green Bay Packers coach (1963)

Tracy Morgan; comedian, actor (1968)

Ennio Morricone; Italian composer (1928)

Brittany Murphy; actor (1977)

Zofia Nałkowska; Polish author and playwright (1884)

Tom Papa; comedian, actor, tv host (1968)

Mackenzie Phillips; actor (1959)

Ellen Pompeo; actress (1969)

Henri Rabaud; French composer (1873)

Claude Rains; actor (1889)

Ann Reinking; dancer, actor (1949)

Tim Rice; lyricist (1944)

Friedrich Schiller; German poet and playwright (1759)

Sinbad; comedian (1956)

David "Screaming Lord" Sutch; English entertainer (1940)

Bram Tchaikovsky; English singer-songwriter (1950)

Steven Utley; author and poet (1948)

Friedrich von Schiller; German writer (1759)

Brooks Williams; singer, songwriter (1958)

Arnold Zweig; German author (1887)

[semioticapocalypse]

Steven Bley. 2017

[::SemAp Twitter || SemAp::]

[burlveneer-music]

Joe Fiedler’s Open Sesame - Fuzzy and Blue - my WVUD pal Ako turned me on to this last night, a trombone-led quintet doing Sesame Street songs! (Oh, and Fiedler actually works on Sesame Street!)

In 2019 trombonist Joe Fiedler released Open Sesame, packed with inventive jazz readings of material drawn from his longstanding “day job” as an EMMY-nominated music director and staff arranger for the famed children’s show Sesame Street. The effort was equally beloved by lay listeners and the jazz world alike. DownBeat praised the music’s “diverse aesthetic,” in which Fiedler blends “elements of funk, rock, free-jazz and New Orleans polyphony into a potent mix that gives depth and texture to the lighthearted compositions.” When Fiedler and the band toured the music, including a stop at Dizzy’s Club Coca-Cola with guest luminaries Wynton Marsalis and none other than Elmo himself, the realization set in that the project would be no one-off. “I have these songbooks from the Sesame Street office,” Fiedler says, “and if you whip through the first 30 tunes, absolutely everyone knows them. But there are six or seven thousand songs they’ve done over the past 50 years, with plenty of gold in there to do a second album for sure.” Fuzzy and Blue, Fiedler’s second volume of Sesame Street songs, shines still more light on the extraordinary wit and melodic gift of the foundational Sesame Street composers Joe Raposo and Jeffrey Moss, among others. The album boasts the same top-tier lineup as Open Sesame, with a couple of twists. Trumpeter Steven Bernstein, who played on only part of Open Sesame, now becomes an integral cog in a nimble three-horn section, expanding and varying the palette and allowing Fiedler to bring his seasoned orchestration skills to the foreground. Reedman Jeff Lederer plays tenor and clarinet and relies more heavily on soprano sax this time out, helping achieve the ideal blend of colors and registers that Fiedler was seeking. Drummer Michael Sarin and bassist Sean Conly keep the rhythms locked and creatively churning, from the Dr. John/Professor Longhair vibe of “Fuzzy and Blue” to the reggae feel of “Elmo’s Song” (by Tony Geiss), to the Hugh Masekela-inspired Afropop of “Ladybug’s Picnic” (originally a peppy country novelty by the late William “Bud” Luckey). The ensemble also gets a visit from vocal powerhouse Miles Griffith, the very model of a guest on Sesame Street. On the “I Love Trash/C Is for Cookie” melange (a one-two shot of Moss and Raposo), Griffith’s singing is unabashed, larger than life, uproariously funny but insightful and firmly in control. He’s equally compelling in a sociopolitical vein on “I Am Somebody,” in which Fiedler combines an original song with the lyrics of Reverend William Holmes Borders — words recited to powerful effect on Sesame Street in 1972 by Reverend Jesse Jackson. Fiedler felt a need on Fuzzy and Blue to acknowledge social tumult at the close of the Trump presidency and the still-tentative aftermath of the COVID pandemic. “We Are All Earthlings,” a gentle and idyllic Jeffrey Moss folk ballad from 1993, accomplishes this as well, though Fiedler brings a stark added tension with his Stravinsky-esque horn voicings. Throughout the album there’s an atmosphere of fun, “a sense of burlesque” as Fiedler put it in the Open Sesame liner notes, that flows from the trombonist’s deep love of Ray Anderson, the Jazz Passengers, Carla Bley and other major influences. Steven Bernstein’s Sexmob is another. The improvisational openness and risk of Fiedler’s trio dates Sacred Chrome Orb, The Crab, I’m In and Joe Fiedler Plays the Music of Albert Mangelsdorff also carry over to this more song-oriented endeavor. Fuzzy and Blue, like its predecessor, is Fiedler’s way of bringing it all together, reminding himself and all of us that inspiration can and does come from everywhere, and that everything is connected.

[s0irenic]

friends with benefits. - Steven Bley

[trevorbarre]

ECM Records: The Early Flowering

I've recently returned to listening to the early catalogue of ECM Records, a habit that I first developed around 47 years ago, and one that only slacked off, for a while, when I got swept up in the punk and post-punk thing. By 'early', I am talking about the first 80 or so releases, which spans the years of, approximately, 1970 to 1977. It's a catalogue that bears the test of time, only suffering from perhaps brief diminishing returns around 1977-80 (i.e.approaching ECM 1100), when albums by the likes of Pat Metheny, Gary Burton, Eberhard Weber, Ralph Towner and the 'Scandi-Jazz' crew began to sound slightly generic: "the ECM Sound", as it began to be called, "cool, acoustic, European, very spacious and classical" as Brian Morton succinctly put it. (The expression was always ambiguous and not entirely complimentary.)

Very early ECM records (the first 30 say) were pretty much all sonic and aesthetic delights, and producer Manfred Eicher's touch was notably and resonantly delicate. The albums were also expensive ('luxury purchases', almost), I recall, and mostly beyond the purse of the schoolboy that I still was in 1972/3 (I seem to remember them being around £2.50 at that time?) The content was also satisfactorily avant-garde, featuring prominent American avantists such as Paul Bley (then in his brief electronic period, although his ECM's were acoustic), Anthony Braxton (as a participant on albums with Circle, Dave Holland and Marion Brown), Chick Corea (both solo and on Return to Forever), Barre Phillips (Mountainscapes, with John Surman), Mal Waldron (Free At Last!, ECM 1001!) and, inevitably, the label's eventual saviour, Keith Jarrett (also in a sadly short electric piano and organ phase at the time, represented on ECM by Ruta + Daitya, a real oddity in his extensive canon, and made with Jack de Johnette). Most notably, though, the label featured several recordings by English free improv experimentalists: Music for Two Basses (Dave Holland, with Barre Phillips), the first release by the Music Improvisation Company and Improvisations for Cello and Guitar by Holland and Derek Bailey. Eicher's studio sound seemed to especially suit this particular form of 'free chamber music'.

Major record labels had lost interest after their very brief late-60s flirtation with UK free improvisation (CBS, with Howard Riley and Tony Oxley, in particular), so these few ECMs were very welcome additions to the then-miniscule amount of available albums by these improvisers. Incus Records, formed in 1970, was really then the only other way to get hold of this music. Although a quartet of these musicians (John Stevens, Barry Guy, Howard Riley and Trevor Watts) made a record for Japo, an ECM subsidiary, in 1979 (by which time, the main focus of the label had shifted to the more 'ambient' territory of Scandi - American artists/groups) called, rather unfortunately, Endgame, the drunken and obnoxious behaviour of Stevens so offended the very proper Eicher that he refused to ever work with the drummer again. (And, by extension,with other UK free improvisers.) The label indeed subsequently ceased to record our improv heroes, making an exception with Evan Parker's Electro-Acoustic Ensemble. It's a shame, as I would love to hear an Eicher recording of, say, one of Howard Riley's trios, or of a Barry Guy solo album, never mind a Parker solo soprano excursion.

ECM's 'bland-out' period soon received some 'shock treatment', recovering somewhat it's mojo, with the release of the Art Ensemble of Chicago's Nice Guys and Full Force in 1979 and 1980 respectively, and the label has walked the tightrope of high-quality mainstream modern jazz, various folk forms, and classical/modern composition ever since, over literally hundreds of releases, keeping both it's 'sound' and it's 'look', with it's album covers being treated with the same level of admiration (and occasional cynicism) as the music contained within (the 'ECM Factory'?).

One specific musical instrument that ECM has always foregrounded since its beginning is that of the double bass (and, by extension, the cello),this being Manfred Eicher's particular area of expertise, the results of which I intend to discuss next.

[earthanthem]

(via Pinterest)

Credit:  Steven Bley on Flickr

[surrealistnyc]

A Spark in Search of a Powderkeg

Rebellion is its own justification, completely independent of the chance it has to modify the state of affairs that gives rise to it. It’s a spark in the wind, but a spark in search of a powder keg.

André Breton

If only one thing has brought me joy in the last few weeks, it began when the matriarchs at Unist’ot’en burned the Canadian flag and declared reconciliation is dead. Like wildfire, it swept through the hearts of youth across the territories. Reconciliation was a distraction, a way for them to dangle a carrot in front of us and trick us into behaving. Do we not have a right to the land stolen from our ancestors? It’s time to shut everything the fuck down!

Tawinikay (aka Southern Wind Woman)

The toxic cargo carried in Canadian pipelines, whether it be tar sands oil or fracked liquid natural gas (LNG), is, according to all serious climate scientists, a major, perhaps even decisive contribution to global warming, i.e. ecological catastrophe.   Meant to fuel industrial expansion, the pipelines have themselves become fuel for revolt. Designed to move these dirty fossil fuels from one location to another, they are a crucial element in normalizing the dubious paradise of unlimited growth in awe of which all obedient consumer/citizens are supposed to genuflect. In what the colonial mapmakers have called British Columbia (BC), resource extraction has always been the name of the game. However, the emergence in February of this year of a widespread oppositional network ranging from “land back” Indigenous warriors to elder traditionalists and from Extinction Rebellion activists to anarchist insurrectionaries was heartening. Railways, highways and ferries were blockaded, provincial legislatures, government administrative offices, banks and corporate headquarters were occupied. The catalyst for this rebellion was a widespread Indigenous uprising that refused the illusory promises of reconciliation. Together, these rebel forces disrupted business as usual in solidarity with the Unist’ot’en Big Frog clan of the Wet’suwet’en tribal house.

       ​As objective chance would have it, the primary Indigenous land defense camp is situated not far from the same Hazelton, B.C. area to which surrealist Kurt Seligmann and his wife Arlette had journeyed in 1938. During that time, they visited Gitxsan and Wet’suwet’en villages, marveled at the imaginative power of the totem poles and ceremonial objects, made field notes, shot 16mm film, collected stories and recorded mythic histories. Now, in 2020, growing numbers of these same Indigenous peoples have been threatening to bring the Canadian economy to a grinding halt. Unwilling to be bought off by corporate petrodollars or mollified by a legal system that has never done anything but pacify, brutalize, or betray them in the process of stealing their land, Indigenous peoples passionately fought back against the forces of colonial law and order in a radical whirlwind of willful disobedience and social disruption. One action built upon another in creating a rolling momentum that seemed unstoppable. When one railroad blockade would be busted by the Royal Canadian Mounted Police (RCMP), another would spring up in its place elsewhere extending the frontlines of the battle all across the continent. Then the debilitating Covid-19 virus arrived to compound the damage that had previously been done to the capitalist economy by the incendiary virus of revolt. The resistance of these Indigenous communities against the pipelines concerns all of us, worldwide, since they are on the front lines of the struggle to prevent cataclysmic climate change.

       ​In the future, a key question will be whether Canadian authorities can successfully put the genie of Indigenous rebellion back in the colonial bottle of “reconciliation”. As surrealists, we hope they will not, and we stand in solidarity with the unreconciled insurgent spirit of defiant Indigenous resistance. A new reality is to be invented and lived instead of the one that today as yesterday imposes its environmental miserabilism and its colonialist and racist hierarchies.  As surrealists, we honor our historical affinity with the Kwakwaka’wakw Peace Dance headdress that for so long had occupied a place of reverence in André Breton’s study during his lifetime before being ceremoniously returned in 2003 to Alert Bay on Cormorant Island by his daughter, Aube Elléouet, in keeping with her father’s wishes. With this former correspondence in mind, we presently assert that our ongoing desire to manifest the emancipation of the human community as distinctively undertaken in the surrealist domain of intervention is in perfect harmony with the fight of the Indigenous communities of the Americas against globalized Western Civilisation and its ecocidal folly.

                                                                                                               Surrealists in the United States: Gale Ahrens, Will Alexander, Andy Alper, Byron Baker, J.K. Bogartte, Eric Bragg, Thom Burns, Max Cafard, Casi Cline, Steven Cline, Jennifer Cohen, Laura Corsiglia, David Coulter, Jean-Jacques Dauben, Rikki Ducornet, Terri Engels, Barrett John Erickson, Alice Farley, Natalia Fernandez, Brandon Freels, Beth Garon, Paul Garon, Robert Green, Maurice Greenia, Brigitte Nicole Grice, Janice Hathaway, Dale Houstman, Karl Howeth, Joseph Jablonski, Timothy Robert Johnson, Robin D.G. Kelly, Paul McRandle, Irene Plazewska, Theresa Plese, Michael Stone-Richards, David Roediger, Penelope Rosemont, LaDonna Smith, Tamara Smith, Steve Smith, Abigail Susik, Sasha Vlad, Richard Waara, Joel Williams, Craig S. Wilson

Surrealists in the UK: Jay Blackwood, Paul Cowdell, Jill Fenton, Rachel Fijalkowski, Krzysztof Fijalkowski, Merl Fluin, Kathy Fox, Lorna Kirin, Rob Marsden, Douglas Park, Michel Remy, Wedgwood Steventon, Frank Wright, the Leeds Surrealist Group (Gareth Brown, Stephen J. Clark, Kenneth Cox, Luke Dominey, Amalia Higham, Bill Howe, Sarah Metcalf, Peter Overton, Jonathan Tarry, Martin Trippett), the London Surrealist Group (Stuart Inman, Philip Kane, Timothy B. Layden, Jane Sparkes, Darren Thomas) and the surrealists of Wales (Jean Bonnin, Neil Combs, David Greenslade, Jeremy Over, John Richardson, John Welson)

Surrealists in Paris: Ody Saban and The Surrealist Group of Paris (Elise Aru, Michèle Bachelet, Anny Bonnin, Massimo Borghese, Claude-Lucien Cauët, Taisiia Cherkasova, Sylwia Chrostowska, Hervé Delabarre, Alfredo Fernandes, Joël Gayraud, Régis Gayraud, Guy Girard, Michael Löwy, Pierre-André Sauvageot, Bertrand Schmitt, Sylvain Tanquerel, Virginia Tentindo, Michel Zimbacca)

Surrealists in Canada: Montréal (Jacques Desbiens, Peter Dube, Sabatini Lasiesta, Bernar Sancha), Toronto (Beatriz Hausner, Sherri Higgins), Québec City (David Nadeau), Victoria (Erik Volet), the Ottawa Surrealist Group (Jason Abdelhadi, Lake, Patrick Provonost) and the Inner Island Surrealist Group (as.matta, Jesse Gentes, Sheila Nopper, Ron Sakolsky)

The Surrealist Group of Madrid: Eugenio Castro, Andrés Devesa, Jesús Garcia Rodriguez, Vicente Gutiérrez Escudero, Lurdes Martinez, Noé Ortega, Antonio Ramirez, Jose Manuel Rojo, María Santana, Angel Zapata

Surrealists in Sweden: Johannes Bergmark, Erik Bohman, Kalle Eklund, Mattias Forshage, Riyota Kasamatsu, Michael Lundberg, Emma Lundenmark, Maja Lundgren, Kristoffer Noheden, Sebastian Osorio

Surrealists in Holland: Jan Bervoets, Elizé Bleys, Josse De Haan, Rik Lina, Hans Plomp, Pieter Schermer, Wijnand Steemers, Laurens Vancrevel, Her de Vries, Bastiaan Van der Velden

Surrealists in Brazil: Alex Januario, Mário Aldo Barnabé, Diego Cardoso, Elvio Fernandes, Beau Gomez, Rodrigo Qohen, Sergio Lima, Natan Schäfer, Renato Souza

Surrealists in Chile: Jaime Alfaro, Magdalena Benavente, Jorge Herrera F., Miguel Ángel Huerta, Ximena Olguín, Enrique de Santiago, Andrés Soto, Claudia Vila

 The Middle East and North Africa Surrealist Group: Algeria (Onfwan Foud), Egypt (Yasser Abdelkawy, Mohsen El-Belasy, Ghadah Kamal), Iraq (Miechel Al Raie), Syria (Tahani Jalloul), and Palestine (Fakhry Ratrout)

Surrealists in Prague: Frantisek Dryje, Joe Grim Feinberg, Katerina Pinosova, Martin Stejskal, Jan Svankmajer

The Athens Surrealist Group (Elias Melios, Sotiris Liontos, Nikos Stabakis, Theoni Tambaki, Thomas Typaldos, Marianna Xanthopoulou)

Surrealists in Costa Rica: Gaetano Andreoni, Amirah Gazel, Miguel Lohlé, Denis Magarman, Alfonso Peña

Surrealists in Buenos Aires: Silvia Guiard, Luís Conde, Alejandro Michel

Surrealists in Australia: Anthony Redmond, Michael Vandelaar, Tim White

Surrealists in Portugal: Miguel de Carvalho, Luiz Morgadinho

Surrealists in Bucharest (Dan Stanciu), Mexico (Susana Wald), and the Canary Islands (Jose Miguel Perez Corales)

 Postscript: During the process of gathering signatures for the above declaration, we were inspired to see its uncompromising stance against white supremacy and police repression reflected in the brightly sparkling flames of the Minneapolis uprising that lit a powder keg of pent-up rage and incited an earth-shaking eruption of spontaneous rebellion in the streets of America. It was only fitting that in solidarity with the uprising about police brutality kicked off by George Floyd’s execution/lynching at the hands of the police, anti-racism protestors in the United States would take direct action by beheading or bringing down statues of Christopher Columbus, genocidal symbol of the colonial expropriation of Native American lands. (Guy Girard, Michael Löwy, Penelope Rosemont, and Ron Sakolsky, June 18, 2020).

[weirdletter]

The Big Book of Classic Fantasy, edited by Ann Vandermeer and Jeff VanderMeer, Vintage Books, 2019. Cover art by (Jean Ignace Isidore Gerard) Grandville, info: penguinrandomhouse.com.

Unearth the enchanting origins of fantasy fiction with a collection of tales as vast as the tallest tower and as mysterious as the dark depths of the forest. Fantasy stories have always been with us. They illuminate the odd and the uncanny, the wondrous and the fantastic: all the things we know are lurking just out of sight—on the other side of the looking-glass, beyond the music of the impossibly haunting violin, through the twisted trees of the ancient woods. Other worlds, talking animals, fairies, goblins, demons, tricksters, and mystics: these are the elements that populate a rich literary tradition that spans the globe. A work composed both of careful scholarship and fantastic fun, The Big Book of Classic Fantasy is essential reading for anyone who’s never forgotten the stories that first inspired feelings of astonishment and wonder.

Contents: Introduction by Ann and Jeff VanderMeer “The Queen’s Son” by Bettina von Arnim “Hans-My-Hedgehog” by Jacob and Wilhelm Grimm “The Story of the Hard Nut,” by E.T.A. Hoffmann “Rip Van Winkle” by Washington Irving “The Luck of the Bean-Rows” by Charles Nodier “Transformation” by Mary Wollstonecraft Shelley “The Nest of Nightingales” by Théophile Gautier “The Fairytale About a Dead Body, Belonging to No One Knows Whom” by Vladimir Odoevsky “The Story of the Goblins who Stole a Sexton” by Charles Dickens “The Nose” by Nikolai Gogol “The Facts in the Case of M. Valdemar” by Edgar Allan Poe “The Story of Jeon Unchi” by Anonymous “Feathertop: A Moralized Legend” by Nathaniel Hawthorne “Master Zacharius” by  Jules Verne “The Frost King: Or, the Power of Love” by Louisa May Alcott “The Tartarus of Maids” by Herman Melville “The Magic Mirror” by George MacDonald “The Diamond Lens” by  Fitz-James O’Brien “Goblin Market” Christina Rossetti “The Will-o’-the-Wisps Are in Town” by Hans Christian Andersen The Legend of the Pale Maiden” by Aleksis Kivi “Looking-Glass House” by Lewis Carroll “Furnica, or the Queen of the Ants” by Carmen Sylva “The Story of Iván the Fool” by Leo Tolstoy “The Goophered Grapevine” by Charles W. Chestnutt “The Bee-Man of Orn” by Frank R. Stockton “The Remarkable Rocket” by Oscar Wilde “The Ensouled Violin” by H. P. Blavatskaya “The Death of Odjigh” by Marcel Schwob “The Terrestrial Fire” by Marcel Schwob “The Kingdom of Cards” by Rabindranath Tagore “The Other Side: A Breton Legend” by Count Eric Stanlislaus Stenbock “The Fulness of Life” by Edith Wharton “Prince Alberic and the Snake Lady,” by Vernon Lee “The Little Room,” by Madeline Yale Wynne “The Plattner Story” by H. G. Wells “The Princess Baladina—Her Adventure” by  Willa Cather “The Reluctant Dragon” by Kenneth Grahame “Iktomi Tales” by Zitkala-Ša “Marionettes” by Louis Fréchette “Dance of the Comets: An Astral Pantomime in Two Acts” by Paul Scheerbart “The White People” by Arthur Machen “Blamol” by Gustav Meyrink “Goblins: A Logging Camp Story” by Louis Fréchette “Sowbread” by Grazia Deledda “The Angry Street” by  G.K. Chesterton “The Aunt and Amabel” by E. Nesbit “Sacrifice” by Aleksey Remizov “The Princess Steel” by W. E.B. Du Bois “The Hump” by Fernán Caballero “The Celestial Omnibus” by E.M. Forster “The Legend of the Ice Babies” by E. Pauline Johnson “The Last Redoubt” by William Hope Hodgson “Jack Pumpkinhead and the Sawhorse” by L. Frank Baum “The Plant Men” by Edgar Rice Burroughs “Strange News from Another Star” by Hermann Hesse “The Metamorphosis” by Franz Kafka “The Hoard of the Gibbelins” by Lord Dunsany “Through the Dragon Glass” by A. Merritt “David Blaze and the Blue Door” by E.F. Benson “The Big Bestiary of Modern Literature” by Franz Blei “The Alligator War” by Horacio Quiroga “Friend Island” by Francis Stevens “Magic Comes to a Committee” by Stella Benson “Gramaphone of the Ages” by Yefim Zozulya “Joiwind” by David Lindsay “Sound in the Mountain” by Maurice Renard “Sennin” by Ryūnosuke Akutagawa “Koshtra Pivrarcha” by E. R. Eddison “At the Border” by Der Nister “The Marvelous Exploits of Paul Bunyon” by W.B. Laughead “Talkative Domovoi” by Aleksandr Grin “The Ratcatcher” by Aleksandr Grin “The Shadow Kingdom” by Robert E. Howard “The Man Traveling with the Brocade” by Edogawa Ranpo “A Visit to the Museum” by Vladimir Nabokov “The Water Sprite’s Tale” by Karel Čapek “The Capital of Cat Country” by Lao She “Coyote Stories” by Mourning Dove “Uncle Monday” by Zora Neale Hurston “Rose-Cold, Moon Skater” by María Teresa León “A Night of the High Season” by Bruno Schulz “The Influence of the Sun” by Fernand Dumont “The Town of Cats” by Hagiwara Sakutarō “The Debutante” by Leonora Carrington “The Jewels in the Forest” by Fritz Leiber “Evening Primrose” by John Collier “The Coming of the White Worm” by Clark Ashton Smith “The Man Who Could Walk Through Walls” by Marcel Aymé “Leaf by Niggle” by J.R.R. Tolkien Acknowledgments Permissions About the Translators About the Editors

[jazzmusicsposts]

Best known as a sideman extraordinaire, Danish drummer Kresten Osgood has shared stages and recording studios with Sam Rivers, Paul Bley, Kurt Rosenwinkel.

[zombilenium]

Steven Bley Photography

[brookstonalmanac]

Birthdays 11.10

Beer Birthdays

Martin Luther; religious leader (1483)

William Hogarth; English artist (1647)

Jacob Betz (1843)

Edward Cecil Guinness (1847)

Five Favorite Birthdays

Bill Bryson; writer (1946)

Neil Gaiman; English writer (1960)

Billy May; composer, bandleader (1916)

Roy Scheider; actor (1932)

Carl Stalling; composer (1891)

Famous Birthdays

Francis Maitland Balfour; British biologist (1851)

Paul Bley; Canadian-American pianist and composer (1932)

Richard Burton; Welsh actor (1925)

Jacob Cats; Dutch poet, jurist (1577)

Charles the Bold, Duke of Burgundy (1433)

Winston Churchill; author and painter (1871)

Francois Couperin; French composer (1668)

Tommy Davidson; comedian (1963)

Zoey Deutch; actress (1994)

Taron Egerton; Welsh actor (1989)

Roland Emmerich; German film director (1955)

Robert F. Engle; economist, Nobel Prize laureate (1942)

Jacob Epstein; American-English sculptor (1880)

Ernst Fischer; German chemist (1918)

Oliver Goldsmith; Irish writer (1728)

W.E.B. Griffin; writer (1929)

Hachikō; Japanese dog (1923)

William Hogarth; English painter, illustrator (1697)

Russell Johnson; actor (1924)

Mikhail Kalashnikov; Russian general, designed AK-47 (1919)

Jared P. Kirtland; naturalist (1793)

Greg Lake; rock guitarist, singer (1947)

Louis le Brocquy; Irish painter and illustrator (1916)

Vachel Lindsay; poet (1879)

Dave Loggins; singer, songwriter (1947)

J.P. Marquand; writer (1893)

Johnny Marks; composer and songwriter (1909)

Mike McCarthy; Green Bay Packers coach (1963)

Tracy Morgan; comedian, actor (1968)

Ennio Morricone; Italian composer (1928)

Brittany Murphy; actor (1977)

Zofia Nałkowska; Polish author and playwright (1884)

Tom Papa; comedian, actor, tv host (1968)

Mackenzie Phillips; actor (1959)

Ellen Pompeo; actress (1969)

Henri Rabaud; French composer (1873)

Claude Rains; actor (1889)

Ann Reinking; dancer, actor (1949)

Tim Rice; lyricist (1944)

Friedrich Schiller; German poet and playwright (1759)

Sinbad; comedian (1956)

David "Screaming Lord" Sutch; English entertainer (1940)

Bram Tchaikovsky; English singer-songwriter (1950)

Steven Utley; author and poet (1948)

Friedrich von Schiller; German writer (1759)

Brooks Williams; singer, songwriter (1958)

Arnold Zweig; German author (1887)

[compneuropapers]

Interesting Papers for Week 14, 2018

Neural activity in cortico-basal ganglia circuits of juvenile songbirds encodes performance during goal-directed learning. Achiro, J. M., Shen, J., & Bottjer, S. W. (2017). eLife, 6, e26973.

Spatial representations of self and other in the hippocampus. Danjo, T., Toyoizumi, T., & Fujisawa, S. (2018). Science , 359(6372), 213–218.

Predictions through evidence accumulation over time. Darriba, Á., & Waszak, F. (2018). Scientific Reports, 8, 494.

Online but Accurate Inference for Latent Variable Models with Local Gibbs Sampling. Dupuy, C., & Bach, F. (2017). Journal of Machine Learning Research, 18(126), 1–45.

Somatostatin and parvalbumin inhibitory synapses onto hippocampal pyramidal neurons are regulated by distinct mechanisms. Horn, M. E., & Nicoll, R. A. (2018). Proceedings of the National Academy of Sciences of the United States of America, 115(3), 589–594.

The effect of image position on the Independent Components of natural binocular images. Hunter, D. W., & Hibbard, P. B. (2018). Scientific Reports, 8, 449.

A role for autophagy in long-term spatial memory formation in male rodents. Hylin, M. J., Zhao, J., Tangavelou, K., Rozas, N. S., Hood, K. N., MacGowan, J. S., … Dash, P. K. (2018). Journal of Neuroscience Research, 96(3), 416–426.

Experience-Dependent Plasticity of Odor Representations in the Telencephalon of Zebrafish. Jacobson, G. A., Rupprecht, P., & Friedrich, R. W. (2018). Current Biology, 28(1), 1–14.e3.

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[kccproductions]

Pinecrest Gardens presents "Banyan Bowl Live" featuring Kurt Elling

WHAT: Faced with canceling their all-star jazz series due to COVID-19, the village of Pinecrest, FL, has reimagined it as a livestream world-wide event and fundraiser for both Pinecrest Gardens and World Central Kitchen, a nonprofit founded by acclaimed international Chef José Andrés, feeding victims and medical personnel nationwide. The full series will feature Jon Secada, Dee Dee Bridgewater, Kurt Elling, the Glenn Miller Orchestra, Wycliffe Gordon, Grace Kelly, Joey Alexander, and Manhattan Transfer.  Tickets are $15 USD each or $87 for the entire series and may be purchased at https://jazzaid.eduvision.tv/liveevents

WHO: Renowned for his singular combination of robust swing and poetic insight, GRAMMY winner Kurt Elling has secured his place among the world’s foremost jazz vocalists. Declared “the standout male vocalist of our time” by The New York Times, Elling has garnered unprecedented accolades, including a fourteen-year run atop the DownBeat Critics Poll, a dozen GRAMMY nominations, and eight Jazz Journalists Association awards for “Male Singer of the Year.”

WHERE: Online only at https://jazzaid.eduvision.tv/liveevents

WHEN: Saturday, December 12, at 8:00 PM (20:00) USA Eastern Time

DETAILS: Elling’s most recent release, The Questions, searches for answers to the culture’s most divisive social, political and spiritual issues via the songs of Bob Dylan, Carla Bley and Leonard Bernstein, and the poetry of Rumi and Wallace Stevens. Whether transforming timeless standards or crafting his own enthralling originals, Elling balances elegant lyricism and technical mastery with emotional depth and keen observations into the human condition. “Since the mid-1990s,” hails the Washington Post, “[Elling] has come to embody the creative spirit in jazz."

Video: https://jazzaid.eduvision.tv/Default.aspx?q=3SfVi13wT7RGTyAh1tw89HfJBhsJkHGrh7orwU%252f0YSf3WOC50cfs%252fA%253d%253d

Hosted by Tito Puente, Jr, Billboard Music Award winner, & Ceci Velasco, Executive Director of Miami Beach's Ocean Drive Association. Music courtesy of KCC Productions.

[semioticas]

Cenas de Sinequismo

Telefone público em um prédio em ruínas na cidade de Trenton, New Jersey (EUA). Fotografia de 2012 de Steven Bley.

Veja também:

Semióticas – Cenas de Sinequismo

http://semioticas1.blogspot.com/2017/02/cenas-de-sinequismo.html

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