Anatomy of a Perfect Album: On Joni Mitchell’s Blue
“ONLY A PHASE, THESE DARK CAFÉ DAYS.” https://lithub.com/anatomy-of-a-perfect-album-on-joni-mitchells-blue/
Mitchell starts the record right off with wanderlust, her first words: I am on a lonely road and I am traveling, traveling, traveling, traveling, amplifying the feeling later: I am on a lonely road and I am traveling / Looking for the key to set me free. By boat, plane, foot, and ice skate, her whims and fancies take her to a Greek island, Paris (she doesn’t like it there), Spain, Las Vegas, maybe Amsterdam and Rome, and return home to her Ithaca, which is California. You hear Mitchell’s original Canadian-ness when she lands on the word “sorrow” as “soe-row” on “Little Green,” a poignant 1967 song, revived for this recording, from the perspective of a young single mother, also in the reverent way she intones the Canadian national anthem, “O Canada,” in the middle of “A Case of You.”
Friend JOEL BERNSTEIN Musician / Photographer / Writer / Archivist Compilation of Photographs – all the album covers you know
2018 IPHF FEATURES PROFILE ON JOEL FOR HIS LIFETIME ACHIEVEMENT AWARD [ friend during junior high / high school times ] https://www.edu-cyberpg.com/Ringleaders/joel.html
“Virality Is Dead
I’m an independent concert promoter going on 40 years now. My clients are now only a few, and I work them nationwide. Without question, Facebook “boosted posts” are quietly putting radio and print out of business in terms of how to get the word out on a cost-effective basis. And you don’t really need virality anymore in order to promote an artist or event.
I’m not talking Facebook “ads,” but “boosted posts.” Users see these posts from the artist’s page in their newsfeeds and can share them organically, unlike “ads,” which cannot be shared. I used to spend thousands of dollars breaking a show with print ads and radio. I won’t mention the act or the market, but recently I spent $1000 on a print ad in a major metropolitan market and… in a literal example of the old saying… “Did 10 tickets.” That’s right. I sold exactly 10 tickets, not even covering the cost of the ad. I spent a fraction of that amount on boosted Facebook posts and did 500 tickets. And you wonder how the Russians spent only $100k on Facebook and turned an entire election in 2016? ~ Brian Martin” https://www.sfgate.com/news/article/Investors-say-promoter-owes-them-2-million-3242597.php
Online Spreadsheet Discloses Museum Workers’ Salaries http://www.artnews.com/2019/05/31/google-spreadsheet-museum-workers-disclose-salaries/
In another sign of increasing demand for transparency at art institutions across the world, museum workers have begun making public their salary rates via a Google Spreadsheet document that began circulating on Friday morning. Titled Art/Museum Salary Transparency 2019, the document allows users to add information about the terms of their employment and their rates of pay at some of the biggest museums in the world.
Overview of the ArtPlace/DAISA initiative (download a copy of the report) here: https://www.artplaceamerica.org/agriculture-food
The report argues that “integrating artistic and cultural practices with food and agriculture enables a creative and inclusive process and ensures community members see their identities, histories, and interests reflected in the work.” ~ Clifford Murphy – Folk & Traditional Arts Director | Multidisciplinary Arts National Endowment for the Arts
GPS Degraded Across Much of US
Blog Editor’s Note: Even as a Presidential Advisory Board was discussing GPS as “the Gold Standard” for satellite-based navigation last week, the system may have been operating in a degraded mode.
On Sunday the Federal Aviation Administration held a teleconference to discuss the issue that seems to have persisted for several days. While not “failing,” GPS signal quality seems to have degraded and this is impacting some equipment and services. Specifically, the aviation safety Automatic Dependent Surveillance Broadcast system has been impacted across much of the United States. FAA has posted the following map depicting the areas impacted:
These problems have delayed and cancelled flights, possibly by the thousands. The FAA seems to have addressed some of this problem by issuing waivers for some aircraft to fly without operable ADS-B safety systems, as long as they stay on pre-planned routes and below 28,000 ft altitude.
Speculation on some on-line forums point to specific manufactures’ equipment and aircraft that are primarily effected. Previous degradation in GPS signal quality, such as the SVN-23 caused problem in January 2016, have shown that equipment from different vendors react differently to the problem. Some are unaffected, some go offline, and some just perform poorly.
The January 2016 SVN-23 degradation caused much of the nation’s ADS-B system to be unavailable for much of the day. Other receivers and systems were impacted also. Cellular networks, first responder systems, digital broadcast, and numerous other systems were impacted.
Watchstanders at the US Coast Guard Navigation Center seemed unaware of the problem early Monday morning, but promised to investigate and respond. https://rntfnd.org/2019/06/10/gps-degraded-across-much-of-us-ads-b-impacted/
“60 Minutes” in May, Mr. Bigelow said he was “absolutely convinced” that aliens exist and that U.F.O.s have visited Earth.
STUPID AMERICANS HELD BACK BY THEIR UFO JUVENILE TABOO TALK.
SCIENCE FICTION IS NOW FACT
SO GET OVER YOUR IGNORANT SELVES
The program collected video and audio recordings of reported U.F.O. incidents, including footage from a Navy F/A-18 Super Hornet showing an aircraft surrounded by some kind of glowing aura traveling at high speed and rotating as it moves. The Navy pilots can be heard trying to understand what they are seeing. “There’s a whole fleet of them,” one exclaims. Defense officials declined to release the location and date of the incident.
Luis Elizondo, who led the Pentagon effort to investigate U.F.O.s until October. He resigned to protest what he characterized as excessive secrecy and internal opposition to the program. Mr. Bigelow, Bigelow Aerospace, Mr. Reid, Mr. John Glenn, Mr. Elizondo, Mr. Stevens and Mr. Inouye, used to work with the Navy, C.I.A. Pentagon, Defense Secretary Jim Mattis, Harold E. Puthoff, William Lynn III Robert Bigelow, a billionaire entrepreneur and longtime friend of Mr. Reid, received most of the money allocated for the Pentagon program. On CBS’s “60 Minutes” in May, Mr. Bigelow said he was “absolutely convinced” that aliens exist and that U.F.O.s have visited Earth.
How to report what the military calls unexplained aerial phenomena, or unidentified flying objects.
Videos filmed by Navy pilots show two encounters with flying objects.
One was captured by a plane’s camera off the coast of Jacksonville, Fla., on Jan. 20, 2015. That footage, published previously but with little context, shows an object tilting like a spinning top moving against the wind. A pilot refers to a fleet of objects, but no imagery of a fleet was released. The second video was taken a few weeks later.
#UFO Videos filmed by Navy pilots #UFOVideosfilmedbyNavyPilots
Resizeable pull the bottom right corner to the right
Make Cootie Catchers, Games, Music Games, Memory Certificates, Saying Goodbye to Teacher, Memory Video Project, Collect Children’s songs games chants, Preschool graduation Party, (BEFORE CHATBOTs) produce a chatterbox, fortune teller, You May Also Connect Autograph Books to the National Standards: FINE ARTS: Visual Arts GRADES K – 12 Understanding the Visual Arts In Relation to History and Cultures.
The Cootie Catcher Game
cite: Educational CyberPlayGround, Inc.
Title: K12 END-OF-YEAR ACTIVITIES K12 end of the year activities that combine fun and learning. Find great ideas for the LAST DAYS OF SCHOOL AND THROUGH THE SUMMER
#LICE CATCHERS #LOUSE CATCHERS #COOTIE CATCHERS FORTUNE TELLERS OR COOTIE CATCHERS The history of those folded paper finger manipulated toys.
“Sue Samuelson traces the origin of cooties to the earliest use of cootie,” meaning body louse, as 1917.
Fortune tellers: Opies’ Lore and Language of School children
We all know “no more pencils no more books no more students dirty looks” but do you know when they first appeared?
HOW TO MAKE A COOTIE CATCHER!
HOW TO PLAY WITH A COOTIE CATHER FORTUNE TELLER
MAKING AN AUTOGRAPH BOOK
Autograph books are a significant piece of Americana, recollecting the times, but they have been given little attention in the body of folklore.
25 JUMBO INDEX CARD, RIBBON, HOLE PUNCHER
You May Also Connect Autograph Books to the Core Standards:
FINE ARTS: Visual Arts GRADES K – 12
Understanding the Visual Arts In Relation to History and Cultures
LANGUAGE ARTS: English GRADES K – 12 Reading for Perspective Communication Skills Applying Knowledge
Autograph books are a significant piece of Americana, recollecting the times, but they have been given little attention in the body of folklore. Such books have a history, possibly continuing the German tradition of writing sentiments of affection in family keepsake albums and of friendship in school notebooks.
Try this on in a yearbook or someone’s autograph book:
If you think you are in love,
And there is still some question,
Don’t worry much about it.
It may be indigestion.
End of the School Year ACTIVITIES
LINK TO YOUR SCHOOL CLASSROOM STEM COOTIE CATCHER VIDEO
The beginning of cloud based music streaming technology starts in 1899.
There is Nothing new under the sun, so if you were born after 1985 this may sound like fossil hunting, however this really happened!
Swing Hostess is a comedy that shows a fictional company named Jukebox Emporium Company using the real technology – serving music from vinyl records through the telephone wire that allowed Jukebox users to hear the requested songs.
Watch Swing Hostess 1944 Comedy
Lots of sexist, nasty comments about “those kind of women”
► 33:38 Jukebox User Request to the operator:
How About the Cook Stove Special?
Yeah, you know Home on the Range. 🙂
► 14:00 The Job Training explains the “File” system
In the beginning of Wired Music technology, you ordered your song to play by telephone. The company service had a central office with operators who loaded disks onto record players. It only served a limited area of office buildings and other businesses. The bandwidth of the premium phone lines was better than a standard phone line (300-3000 Hz), but still not exactly “hi-fi”, but for 78 records it was good enough.
► 34:00 Get the marines! we’ve got a war to wage.
► 34:24 The company phone operator receives a phone call from the Juke Box “User” who has paid .25¢, .10¢, or .05¢ cents to hear the vinyl record spin the requested song through the telephone wire to the customer/user who paid to hear it.
► From vinyl records, cassettes, CDs, Napster files, mp3, mp4, wav etc, ipod players, cell phones to Streaming companies where it is no longer necessary to own the file.
Now we pay $10.00 monthly for all you can eat modern cloud based streamingtech companies when a user can choose from millions of files.
The Shyvers Multiphone, released in 1939 by Kenneth C. Shyvers, was an early model of a coin-operated phonograph (also known as a jukebox). It allowed patrons at restaurants, cafes and bars to play music at their table, and worked through telephone lines. The user inserted the necessary amount of coins, and was connected to a team of all-female disc jockeys in Seattle, who manually put on the selected song on a phonograph, playing the music through the telephone connection. At the height of the product’s popularity, the 8,000 Multiphones were used in various establishments primarily on the west coast. – Shyvers’ 1947 patent for his music box design – Development of Telephone Line Broadcasting Systems -A Centralized Music Library
The Multiphone was a music selection device that operated over telephone lines mostly in Seattle, Tacoma and Olympia, Washington from 1939 to 1959.
It was created by Kenneth and Lois Shyvers of the Seattle, Washington area. This man also invented the pinball machine. The Multiphone is a version of a jukebox wall box.
These units were typically placed on tables, counters or bars. A patron could deposit a coin and speak with a telephone operator standing at a turntable at the Central Music studio, who would then play a selection in the speaker at the bottom of the Multiphone. These units became popular because they had a record range of 170 whereas jukeboxes only had a record range of 20-48.
How it worked
These units sat on tables, counters, and bars. The system required two leased telephone lines, one for the multiphone, one for the loudspeakers on the wall that were connected to the record playing station. First you would select from the 170 choices of tunes, drop the correct amount of dimes in the coin slot at the top of the machine, for your selections. The two lights in the middle of the unit would then light up, and thru one of the leased telephone lines the disc jockey would be alerted and then they would talk direct to you thru the speaker in the top of the unit to find out your choices. You would give the numbered choices, they would then be played, with the sound coming thru the four inch speaker in the bottom of the unit. These units became popular because they had a record range of 170 whereas jukeboxes only had 20-24. The jukebox was remodeled to play 180 45 rpm records and the multiphone could not compete and went out of business in 1959. This unit is buffed cast aluminum and has been rewired to plug in and see the lights work. There is also speaker wire attached to hook up to your unit if so desired. The condition is excellent for its age. All original except the cord, no dents, no rust and no pitting. … Empire State Building Shyvers Jukebox Selector Pic
played an important role in the evolution of the jukebox, an invention that grew to become a staple of its time and is still often used in cafes and restaurants to recreate the temporality of the mid 20th century. The first recorded coin operated phonograph was presented in 1889, in a public demonstration at the Palais Royal Restaurant in San Francisco on November 23, 1889.
Louis T. Glass, the operator of this initial model, is credited as “the father of the concept.” Before delving into the phonograph world, Glass worked as a telegraph operator at Western Union, but then left the company with the advent of the telephone, investing in various telephone companies in Oakland and San Francisco. He eventually became the general manager of the Pacific States Telephone and Telegraph Co. After his successful investments, he then partnered with businessman William S. Arnold to further develop the coin-operated phonograph.
Though Glass is considered to be the “father” of the jukebox, he and Arnold only filed a patent for the “Coin Actuated Attachment for Phonographs,” not a completely functional coin-operated phonograph in 1889.
The people of the 1930s and 1940s had coin-operated music players.
The Multiphone and jukeboxes created a new “social practice” of listening to the same music together as media scholar Jose van Dijck says in his article
“Record and Hold: Popular Music between personal and Collective memory.”
According to Dijck, a listener’s memory of music cannot be removed from the context in which it was experienced. For the people during the age of the Multiphone and jukeboxes, the conversations at bars and diners about selecting a song to play made a special place in listeners’ minds. More importantly, this very practice of going to a public place to listen to music is the effect of the technology’s power to create new rituals and thinking as media scholar, Marshall McLuhan discusses in his pivotal work, “The Medium Is The Message.”
2019 The Music Modernization Act passes
Copyright Royalty Board (CRB) ruled to increase royalty payments to songwriters and music publishers from music streaming companies by nearly 44 percent, the biggest rate increase granted in CRB history. These rates will go into effect for interactive streaming and limited download services like Amazon, Apple, Google, and Spotify for the years 2018-2022, and will transform how songwriters are paid by these interactive streaming services.
This was a hearing pitting songwriters and music publishers against five technology companies, including three of the largest companies in the world (Apple, Amazon and Google), which sought to reduce the already low rate of royalties that they pay to songwriters for the use of their music on their streaming services. [monopolies vs. antitrust law]
Even though the songwriters were looking for a per-stream rate, that they did not get, the digital services were fighting to reduce rates, so it is still a victory for them. Streamlined rate terms replace calculations with a simplified formula based on the “greater of” concept. This, under previous conditions, may have involved dozens of computations involving different offerings has been reduced to two variables. Originally, songwriters asked the CRB to grant the greater of 15 cents per 100 streams or $1.06 per user per month, but they did gain ground. Over the last decade, since the beginning of music streaming, writer royalties had been strictly based on a percentage of each streaming service’s revenue, putting them at the mercy of subjective corporate decision-making.
► Broadcasts are considered a public performance, and garner a higher performance license rate. For instance, Rodney Jerkins illustrated the discrepancy in September at the Recording Academy’s District Advocacy Day in Los Angeles by sharing an accounting statement for “As Long As You Love Me,” a top 10 hit for Justin Bieber in 2012. By 2013, Jerkins’ stake in the song generated $146,000 in performance royalties, while streaming revenue from the same period garnered $278 for 38 million Pandora plays and $218 for 34 million YouTube streams.
1) For the next five years (from 2018 – 2022) the per-stream royalty rate for mechanical royalties will increase incrementally from the current 10.5% of Gross revenue to 15.1% of Gross revenue. For example, in the current model, if a music service made $100 in Gross Revenue, then 10.5% of $100 is the pot of money being paid for all the compositions, an amount of $10.50. If there are 100 streams in that one month, the service divides $10.50 by 100 streams to get a per stream rate of $0.105 per stream Under the new model, by 2022, the 10.5% will increase to 15.1%. Doing the same calculation means each stream is now worth $0.151 per stream, an increase of about 40%.
2) If the music services pay the royalties late, they will be charged a late fee.
3) If a record label negotiates a higher rate with Spotify for the recording (as there is no government regulation or rate for recordings), then the royalty rate for the composition can also increase, but with a limit. For example, if a record label gets 70% of Gross Revenue, then the amount being paid for the composition could theoretically increase to above 15.1%.
HOW LONG HAS THIS BEEN GOING ON?
The Telephone Line Music Systems were an interesting but short-lived feature in the history of the jukebox.
► 2019 The CRB mandated 15.1% rate, phasing in over the next five years, is one of the highest rates in the world and is now a rate that must be met under the law.
2019 ARSC CONFERENCE The Outreach Committee of the Association for Recorded Sound Collections (ARSC)
53rd annual ARSC Conference, May 8-11, 2019, in Portland, Oregon.
The conference programs will take place at the Benson Hotel, an historic hotel located within walking distance of shopping, dining, and entertainment in the Pearl District, Pioneer Square, and downtown Portland. It is within striking distance of several of the city’s many record stores and Powell’s City of Books. Museums include the Portland Art Museum, Oregon Historical Society, and the Oregon Museum of Science and Industry.
The pre-conference workshop, “All Things Digital: Digital Audio Workstation Basics,” will be held on May 8, 9:00 a.m.-5:00 p.m., at the Crystal Ballroom, in the Benson Hotel.
A block of rooms has been reserved at special rates for ARSC conference attendees. ARSC’s contracted dates extend from May 7-11. Additionally, the group rate will be honored three days before and three days after, based on availability. The deadline for reservations at the group rate is April 12. After that date, reservations will be accepted on a space available basis at the prevailing rate.
Register early and save! In order to receive the early registration discount, you must register for the conference by April 19. Registration options are available for members and non-members. A special fee waiver program is available for student members. Online registration is now available at:
ARSC is dedicated to the preservation and study of sound recordings — in all genres of music and speech, in all formats, and from all periods. Reflecting this broad mission, the upcoming conference offers talks and sessions that will appeal to both professionals and collectors.
Presenters include representatives from archives across North America and Europe, as well as record collectors, dealers, audio engineers and producers, academics, historians, and musicians.
This year’s plenary sessions are:
► The Music Modernization Act and You
Discogs — Collaboration and Crowdsourcing in the 21st Century
Presentations and session topics include:
The Fabulous Wailers and the Founding of the Northwest Rock ’n’ Roll Sound
Phil Moore: Portland’s Forgotten Groomer of the Stars and Musical Genius
Portland’s Native Son Mel Blanc: “Wascally Wabbit” Making “Wecords” 🙂
Recent Developments in Audio Retrieval via Optical Methods
Discography, Then and Now
Recent Developments in the Preservation of Wire Recordings, Magnabelts, and Dictabelts
The First Black-Owned Recording Ventures Reissued: Black Swans
Jack Penewell: The Paramount Test Pressings and Private Recordings of the Inventor of the Twin-Six Guitar
Lacquers: Playback and Content
How to Leverage Open Mass Digitization Audio Projects
A Century of Concert Spiritual Recordings: The Pioneers
The First Days of Disco
Preserving NBC Radio Coverage of the Founding of the United Nations
Media Preservation and Digitization Principles and Practices
Portland’s DIY Scene: The Punk Underground, and Rock and Roll
Mahalia Jackson’s Apollo Recordings
How Archiving Challenges of the Past Can Be Used to Shape Future Approaches
Laurel and Hardy on the Radio: Rare and Well Done
Bob Fass and Radio Unnameable: Saving NYC’s Radical Radio History
Surveying Archival Yiddish Audio Collections: A Treasure of Yiddish Songs and Stories
Where the Music Matters: KEXP Audio Archives Digitization
Inventing the Recording in 1900 Spain: The Era of the Gabinetes Fonográficos
► Thursday evening “Ask the Technical Committee”
► Friday evening open to the general public “Collectors’ Roundtable” Friday evening, join Mark Cantor for the music-on-film event, “Music is Where You Find It.” Most fans of music on film are well aware of the riches to be found within feature films, short subjects, SOUNDIES, and television broadcasts. But popular music — jazz, blues, country, ethnic, and just plain “pop” — can be found in many other film genres. In this session, we will explore some of the other sources — often neglected when music on film is discussed — where great performances can be found: fund raising films, industrial shorts, television commercials, raw newsreel footage, experimental and independent films, propaganda pieces, animated cartoons, and home movies. This program is drawn from the Celluloid Improvisations Music Film Archive, perhaps the largest private collection of musical content where 16mm sound film is the primary source. Join us for a session of rarities that includes appearances from Benny Goodman, Duke Ellington, Helen Humes, Don Shirley, Big Bill Broonzy, “Cannonball” Adderley, Spade Cooley, Eddie Lang, and many more!
► PRE-CONFERENCE WORKSHOP
“All Things Digital: Digital Audio Workstation Basics” is a full-day, hands-on workshop on May 8, at the Benson Hotel. The workshop will give attendees a practical overview of digital audio workstation use for archival applications. It is intended for archivists, collection managers, researchers, students, and anyone who needs to have a working knowledge of digital audio. No previous experience necessary. The workshop is limited to 50 attendees.
OPTIONAL PRE-CONFERENCE TOUR
On May 8, tour Cascade Record Pressing, the first large-production, automated record pressing plant in the Pacific Northwest. It is Oregon’s only vinyl record pressing plant, and produces high-quality records for discerning artists and labels. Learn about all aspects of the record pressing process. Cascade Record Pressing is located about 20 minutes southeast of downtown Portland in Milwaukie. Grace Krause, Project Manager at Cascade Record Pressing, is generously offering a pre-conference tour for a limited number of participants (maximum: 15). Participants meet in the Benson Hotel lobby at 1:15 p.m. for 1:30 p.m. departure for the tour. Transportation will be by shared Uber vehicles. Participants return to hotel at 3:30 p.m. Fee applies (covers transportation).
NEWCOMER ORIENTATION and MENTORING PROGRAM
ARSC invites first-time conference attendees and conference veterans to participate in the Conference Mentoring Program. The program pairs newcomers with long-time members, based on their shared interests. Mentors provide mentees with an orientation to the conference, the association, and its participants in informal meetings over the course of the conference. Only ARSC veterans who are committed to the mentoring program should volunteer.
The conference will conclude on Saturday evening with the annual Awards Banquet. Winners of the 2018 Awards for Excellence and 2019 Lifetime Achievement and Distinguished Service awards will be honored. Finalists for the 2019 Awards for Excellence will be announced.
The Association for Recorded Sound Collections is a nonprofit organization dedicated to the preservation and study of sound recordings — in all genres of music and speech, in all formats, and from all periods. ARSC is unique in bringing together private individuals and institutional professionals — everyone with a serious interest in recorded sound.
Imperialst Family of Nicholas II or Nikolai II (Russian: Николай II Алекса́ндрович, tr. Nikolai II Aleksandrovich; 18 May [O.S. 6 May] 1868 – 17 July 1918),
Empress Alexandra was one of her granddaughters, and the uncle of Tsar Nicholas II was married to one of her daughters, so the family ties between the Romanov family and the English queen were pretty strong. Both Nicholas II and Empress Alexandra referred to the English queen as “granny” or “grandmamma”.
The last Emperor of Russia Nicholas II of Russia was given the nickname Nicholas the Bloody or Vile Nicholas by his political adversaries due to the Khodynka Tragedy, anti-Semitic pogroms, Bloody Sunday, the violent suppression of the 1905 Russian Revolution.
His son Alexander III, and his wife, tsaritsa Empress Alexandra Fyodorovna from in St. Petersburg, Imperial Russia who escaped to England.
Peaky Blinders were Real <peaky means looking sickley, pale, thin, starving>
The Peaky Blinders were a criminal gang based in Birmingham, England, during the great war. The name Peaky Blinders is popularly said to be derived from a practice of stitching razor blades into the peak of their flat caps, which could then be used as weapons, but actually appears to be describing a combination of their peaked caps and stylish clothing.
The King of England, Russian Aristocracy, White Movement.
He was forced to flee Russia after the revolution. The Soviets are undergoing a kind of civil war between the whites and the reds (capitalists vs. communists). Britain being capitalist wants to help out the whites to gain control but can’t do it publicly.
See Churchill Plot and the Economic League
The Romonovs live on the King’s Property the remaining Imperial Family were rescued on the HMS Marlborough in 1919. This was all thanks to Queen Alexandra’s iron determination to save her beloved sister.
Siberian Times Royal dog fled from Siberia into British exile, living in shadow of Windsor Castle By Kate Baklitskaya, 21 January 2014
Crown Prince’s spaniel saw the Romanov family gunned to death before his epic escape.
Rich Uncle Pennybags the mascot of the game Monopoly
In 1902 to 1903, Magie designed the game and play tested it in Arden, Delaware.
The game was created to be a “practical demonstration of the present system of land grabbing with all its usual outcomes and consequences”.
She based the game on the economic principles of Georgism, a system proposed by Henry George, with the object of demonstrating how rents enrich property owners and impoverish tenants.
She knew that some people could find it hard to understand why this happened and what might be done about it, and she thought that if Georgist ideas were put into the concrete form of a game, they might be easier to demonstrate.
Magie also hoped that when played by children the game would provoke their natural suspicion of unfairness, and that they might carry this awareness into adulthood.
The Landlord’s Game has some similarities to the basic rules of the board game Zohn Ahl, played by the Kiowa Indians of North America.
There are hints that suggest Elizabeth Magie might have known Zohn Ahl and incorporated some of the game’s ideas.
In 1903, Magie filed for a patent on the game which was granted in 1904. Magie and other fellow Georgists formed a company,
Economic Game Company, in 1906 New York to publish the game. Besides Magie, the incorporators were E. H. Monroe of Chicago and E. G. Lenbusher of New York. Magie approached c to publish this and one other game in 1909.
Communism, Socialism, Capitalism
Dancer Margo Fontyne paid for guns for Tito in panama jail with husband helping cuba using arms dealer mr w.
MUSIC EDUCATION, CLASSROOM RESOURCES AND MUSIC LAW IDEAS FOR CLASSROOM USE THE HISTORY OF JAZZ Question: Can You Guess who this is?
A Grandson of slaves, a boy was born in a poor neighborhood of New Orleans known as the “Back of Town.” His father abandoned the family when the child was an infant, His mother became a prostitute and the boy and his sister had to live with their grandmother. Early in life he proved to be gifted for music and with three other kids he sang in the streets of New Orleans. His first gains were the coins that were thrown to them. A Jewish family, Karnofsky, who had immigrated from Lithuania to the USA had pity for the 7-year-old boy and brought him into their home. Initially given ‘work’ in the house, to feed this hungry child. There he remained and slept in this Jewish families home where, for the first time in his life he was treated with kindness and tenderness. When he went to bed, Mrs. Karnovsky sang him a Russian Lullaby that he would sing with her. Later, he learned to sing and play several Russian and Jewish songs. Over time, this boy became the adopted son of this family. The Karnofskys gave him money to buy his first musical instrument; as was the custom in the Jewish families.
They sincerely admired his musical talent. Later, when he became a professional musician and composer, he used these Jewish melodies in compositions, such as St. James Infirmary and Go Down Moses. The little black boy grew up and wrote a book about this Jewish family who had adopted him in 1907.
In memory of this family and until the end of his life, he wore a star of David and said that in this family he had learned “how to live real life and determination.”
Answer: You might recognize his name. This little boy was called Louis “Satchmo” Armstrong. Louis Armstrong proudly spoke fluent Yiddish!
New Orleans-based Musicologist John Baron discusses Louis Armstrong’s relationship with the Karnofskys, a New Orleans Jewish family he worked for, and who helped him buy his first musical instrument. Interview by Neil W. Levin.
Each year American Routes americanroutes.org celebrates Thanksgiving weekend with words and music from the National Heritage Fellows Concert in Washington DC. Since 1982 the National Endowment for the Arts has presented the fellowships. It’s America’s highest award in Folk & Traditional Arts. We’ll hear a mix of this year’s fellows live from the stage as well as great recordings of those from years gone by: The Holmes Brothers, Doc Watson, Tremé Brass Band, Michael Doucet with Beausoleil, Boozoo Chavis, Flaco Jimenez, Mavis Staples, Del McCoury, John Cephas & Phil Wiggins, Andy Statman and many more. Blues and jazz, Cajun and zydeco, Téjano and klezmer, bluegrass and gospel as well as Native American voices, make a cornucopia of sounds and stories for the holiday!
All from American Routes, the weekly public radio program devoted to the music and culture of New Orleans, the Gulf South and beyond. American Routes is produced with Tulane University’s School of Liberal Arts and distributed nationally by Public Radio Exchange.
This Week’s Playlist:
The Maryland and Delaware Singing and Praying Bands live performance live recording at NEA Heritage Concert 2014
“Black Cat on the Line” (Cephas) Cephas and Wiggins From Richmond to Atlanta (Bullseye Blues)
“Big Black Train” (Johnson/Sherry) The Earls of Leicester The Earls of Leicester (Rounder)
“House of the Rising Sun” (Ray/Holmes) Doc & Richard Watson Third Generation Blues (Sugar Hill)
Instrumental: “Fiddler’s Dream/Whistling Rufus/Ragtime Annie” (Trad.) Doc Watson Foundation: The Doc Watson Guitar Instrumental Collection 1964-1998 (Sugar Hill)
Kevin Doyle on-stage interview live recording at NEA Heritage Concert 2014
“Parlez-Nous A Boire (Speak to Us of Drinking)” (Trad.) Beausoleil Parlez-Nous A Boire & More (Arhoolie)
“Dog Hill” (Chavis/Simien) Boozoo Chavis Boozoo Chavis (Electra Nonesuch)
“Ay Te Dejo en San Antonio” (Jimenez) Flaco Jimenez Ay Te Dejo en San Antonio (Arhoolie)
Instrumental: “Viva Seguin” (Jimenez) Flaco Jimenez Arriba El Norte (Rounder)
“Descarga Cachao” (Lopez) Cachao Descarga Cachao (Epic)
Cowboy Donley live performance and on-stage interview live recording at NEA Heritage Concert 2014
“Sing On” (Trad.) The Treme Brass Band New Orleans Music! (Mardi Gras)
End Bed: “Tipitina” (Byrd) Allen Toussaint American Routes original recording
Rufus White live performance and on-stage interview live recording at NEA Heritage Concert 2014
Yvonne Walker Keshick on-stage interview live recording at NEA Heritage Concert 2014
“On the King’s Highway” (Statman) Andy Statman Old Brooklyn (Shefa)
Vera Nakonechny on-stage interview live recording at NEA Heritage Concert 2014
Instrumental: “One in Nine” (Statman) Andy Statman Old Brooklyn (Shefa)
Henry Arquette on-stage interview live recording at NEA Heritage Concert 2014
“Loggin’ Man” (McCoury) The Del McCoury Band The Cold Hard Facts (Rounder)
“John Henry” (Trad.) John Jackson Don’t Let Your Deal Go Down (Arhoolie)
Caroline Mazloomi on-stage interview live recording at NEA Heritage Concert 2014
“I’ll Take You There” (Isbell) The Staple Singers The Muscle Shoals Sound (Rhino)
Instrumental: “Opus de Soul” (Thomas/Isbell) Albert King, Steve Cropper, Pops Staples Jammed Together (Stax)
The Holmes Brothers live performance and on-stage interview live recording at NEA Heritage Concert 2014
End Bed: “Will the Circle Be Unbroken” (Carter) 2014 NEA Heritage Fellows live recording at NEA Heritage Concert 2014