After 3 Years, Man Finally Gets Photos of Hummingbird w/ Rainbow Wings | My Modern Met
After 3 Years, Man Finally Gets Photos of Hummingbird w/ Rainbow Wings | My Modern Met
By Jessica Stewart on September 21, 2022
These stunning photos really capture the unique beauty of hummingbird wings.
During the summer of 2020, Stan Maupin found himself with some time on his hands. Like most of us, he was spending his days at home instead of the office and decided to try his hand at photography. Inspired by the hummingbirds who visited his backyard, he began learning more…
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Musicology and Ethnomusicology Students and Faculty Present at Annual Meetings
The UK program in Musicology and Ethnomusicology played a prominent role at both the 2019 annual Meeting of the South-Central Chapter of the American Musicological Society held at the University of the South in Sewanee, TN and the 2019 Annual Meeting of the Society for American Music in New Orleans held in New Orleans.
Representing UK at the American Musicological Society meeting were three UK Musicology and Ethnomusicology Phd students: Benjamin Adamo: “The Free Real-Estate Dilemma”, Elizabeth Navarra Varnado “Brands, Fans, and Instagram: A Study of Music Festival Advertising and Female Image” and Desiree Scarambone, who was awarded the Rey Longyear Prize for best student paper for “The Sensual Semiotics of Christ’s Body.” UK Music Theory alum Enoch Jacobus presented “Crossing the Diegetic Divide with Linkage Technique in Batman: Arkham Knight”.
Two UK Musicology faculty also presented papers: Beth Glixon “Becoming Barbara Strozzi: The Composer and her Family Heritage” and Jonathan Glixon “Trumpets and Cannons and Drums, oh my! The Ceremonial Sounds of Seicento Venice”
Three recent UK Musicology PhDs also played important roles: César Leal is the Chapter President, John McCluskey is the Vice President and Program Committee Chair and Kevin Kehrberg is the immediate Past President and session chair.
At the 2019 Annual Meeting of the Society for American Music in New Orleans held on March 20-24, three current UK Musicology PhD students delivered papers: Isaac Maupin “Photographing the Carnival of Swing: An Immigrant’s Perspective on the First Jazz Festival”, Erin Fulton “Innovation and Tradition in a Composition Treatise by Lowell and William Mason”, and Saesha Senger “Muscles, a Mullet, and a RoMantic: Michael Bolton and Masculine Melodrama”. Two UK faculty members also presented their papers: Dr. Revell Carr “Cosmopolitan Venues and Musical Exoticism in Gold Rush-Era San Francisco” and Dr. Stan Pelkey “Edith Sings: Music, Nostalgia, and Moral Character in All in the Family”. In addition, two recent PhDs, Megan Murph from the University of South Carolina–Upstate and Kevin Kehrberg from Warren Wilson College, chaired sessions, as did Professor Emeritus Ron Pen
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Mejores películas de mi 2016
Como para 2014 y 2015, este listado de películas pretende reflejar, de forma limitada, cuáles han sido mis filmes favoritos vistos por primera vez a lo largo de 2016. Sólo he puesto dos condiciones: no repetir directores y que las cintas seleccionadas sean anteriores al año 2000. Sin ningún tipo de orden:
- À Flor do Mar (João César Monteiro, 1986)
- The Errand Boy (Jerry Lewis, 1961)
- Daniel (Sidney Lumet, 1983)
- U samogo sinego morya (Boris Barnet, 1936)
- Lodz Symphony (Peter Hutton, 1993)
- The Music Room (Satyajit Ray, 1958)
- Cielo Negro (Manuel Mur Oti, 1951)
- Judex (Georges Franju, 1963)
- Osaka no yado (Heinosuke Gosho, 1954)
- An American Romance (King Vidor, 1944)
- The Mammals of Victoria (Stan Brakhage, 1994)
- Madamigella di Maupin (Mauro Bolognini, 1967)
- Koibumi (Kinuyo Tanaka, 1953)
- The Great Man’s Lady (William A. Wellman, 1942)
- Gueule d'amour (Jean Grémillon, 1937)
- Detstvo Gorkogo (Mark Donskoy, 1938)
- The Docks of New York (Josef von Sternberg, 1928)
- Vive L'Amour (Tsai Ming-liang, 1994)
- At Land (Maya Deren, 1944)
- Spawn of the North (Henry Hathaway, 1938)
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When Jazz goes further
A lot of the music I posted where quite “traditional” in Jazz music. Standards played by Chet Baker or Miles Davis, Bebop from Thelonious Monk played by a quartet etc...
But Jazz music really amazed me when I listened to one of the most beautiful yet disturbing album of all times: Bitches Brew from Miles Davis
Bitches Brew is a studio double album by American jazz musician Miles Davis, released on March 30, 1970, on Columbia Records
This album is from 1970. What you need to understand about music at that time can be said in two words “electronic revolution”. Jazz musicians used to play with regular pianos. At that time they used fenders.
With the use of these instruments, such as the electric piano and guitar, Davis rejected traditional jazz rhythms in favor of a looser, rock-influenced improvisational style.
They added hundreds of effects as a part of the musical creation on postproduction (the sound engineer was sensible to french concrete musi which uses a lot of electroacoustic modifications).
This led to other fusion records that "refined" Davis' new style of jazz and sold millions of copies, including Head Hunters by Herbie Hancock
The high number of people playing in bitches brew (or working on it) needs to be known to understand the complexity of the album :
Musicians:
"Bitches Brew"
"John McLaughlin"
"Sanctuary"
Recorded Columbia Studio B, New York City August 19, 1969
Miles Davis – trumpet
Wayne Shorter – soprano saxophone
Bennie Maupin – bass clarinet
Joe Zawinul – electric piano – Left
Chick Corea – electric piano – Right
John McLaughlin – electric guitar
Dave Holland – bass
Harvey Brooks – electric bass
Lenny White – drum set – Left
Jack DeJohnette – drum set – Right
Don Alias – congas
Juma Santos (credited as "Jim Riley") – shaker, congas
On "John McLaughlin" omit Brooks, Shorter and Davis
On "Sanctuary" omit Maupin, Brooks and White
"Miles Runs the Voodoo Down"
Recorded Columbia Studio B, New York City August 20, 1969
Miles Davis – trumpet
Wayne Shorter – soprano saxophone
Bennie Maupin – bass clarinet
Joe Zawinul – electric piano – Left
Chick Corea – electric piano – Right
John McLaughlin – electric guitar
Dave Holland – electric bass
Harvey Brooks – electric bass
Don Alias – drum set – Left
Jack DeJohnette – drum set – Right
Juma Santos (credited as "Jim Riley") – congas
"Spanish Key" "Pharaoh's Dance"
Recorded Columbia Studio B, New York City August 21, 1969
Miles Davis – trumpet
Wayne Shorter – soprano saxophone
Bennie Maupin – bass clarinet
Joe Zawinul – electric piano – Left
Larry Young – electric piano – Center
Chick Corea – electric piano – Right
John McLaughlin – electric guitar
Dave Holland – bass
Harvey Brooks – electric bass
Lenny White – drum set – Left
Jack DeJohnette – drum set – Right
Don Alias – congas
Juma Santos (credited as "Jim Riley") – shaker
"Feio"
Recorded Columbia Studio B, New York City January 28, 1970
Miles Davis – trumpet
Wayne Shorter – soprano saxophone
Bennie Maupin – bass clarinet
Joe Zawinul – electric piano – Left
Chick Corea – electric piano – Right
John McLaughlin – electric guitar
Dave Holland – electric bass
Billy Cobham – drum set – Left
Jack DeJohnette – drum set – Right
Airto Moreira – percussion and cuica
Production
Teo Macero – producer
Frank Laico – engineer (August 19, 1969 session)
Stan Tonkel – engineer (All other sessions)
Mark Wilder – mastering
Mati Klarwein – cover painting
Bob Belden, Michael Cuscuna – reissue producer
Robert Honablue – mastering
Many people didn’t consider this album as a Jazz album. I personally do. I think that the essence of Jazz is being very permissive about creation, being limitless. When Jazz musicians come together and produce somthing totally new it should still be considered as Jazz music, even though it is a new form of it.
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