Adam Renn Olenn

Month

October 2011

16 posts

Dig this: Matthew Rybicki

Bassist Matthew Rybicki ‘95 has performed with Wynton Marsalis and the Lincoln Center Jazz Orchestra, Nnenna Freelon, Renee Fleming, Mark Whitfield, and a host of other jazz luminaries on storied stages like the Village Vanguard and the Blue Note, and at festivals from Italy to Taiwan.

Rybicki taught the inaugural bass course in the Essentially Ellington Band Director Academy at Jazz at Lincoln Center and served as musical director for Jazz in the Schools and Lincoln Center’s Department of Programs and Services for People with Disabilities. His musical workshops at the Whitney Museum were included in their acclaimed Romare Bearden exhibition. 

His debut album, Driven, includes performances by jazz greats Ron Blake, Freddie Hendrix, Gerald Clayton, and Ulysses Owens, and showcases Rybicki’s compositions. 

Listen to Matthew Rybicki’s “Lowcountry Boil”

Oct 31, 2011
#music #dig this
A Sister's Eulogy for Steve Jobs

It’s really beautiful.  You’ll probably cry.

http://www.nytimes.com/2011/10/30/opinion/mona-simpsons-eulogy-for-steve-jobs.html?pagewanted=1&_r=1&smid=fb-share

Oct 31, 2011
Oct 30, 2011
What's in play

“Come and Find Me” by Hallie Ephron.  #fridayreads

Oct 28, 2011
Dig this: Joe Walsh

I co-produce a podcast called Sounds of Berklee, which features great music created by students, faculty, alumni, and visiting artists at Berklee College of Music.  There are some really great tracks in here, so I figure I’ll share them with you periodically.

As Berklee’s first-ever mandolin principal, Joe Walsh ‘07 toured nationally on behalf of the college, including a performance at the Kennedy Center to honor Earl Scruggs. When he’s not supporting artists like Emmylou Harris and Gillian Welch, Walsh spends his time teaching music to the students of the 317 Main Street Music Center in Yarmouth, Maine.  

Walsh also cofounded the well-known string band Joy Kills Sorrow and currently performs nationally with the Gibsons; the Jonathan Edwards band; and in a quartet with Steve Roy, Grant Gordy, and Darol Anger, who coproduced Walsh’s 2010 release Sweet Loam.

Listen to Joe Walsh’s “Wolfcat Breakdown”

Oct 25, 2011
Tom Waits's new record

First Listen: Tom Waits, ‘Bad As Me’

by STEPHEN THOMPSON

Everything about Tom Waits is a contradiction of one sort or another: He cuts an unknowable and even otherworldly figure, yet his songwriting can be tear-jerkingly humane. He’s untethered to eras or trends, yet his sound and the characters he inhabits are distinctly American. And, for all the ways his image classifies him as a lone wolf, he’s one of music’s great collaborators, having spent the last three decades working closely with wife and songwriting partner Kathleen Brennan.

Click here for the full story, and to hear the record in its entirety.

Oct 24, 2011
Mowing the lawn

I discovered something on the soles of my shoes, but it wasn’t diamonds.

Oct 22, 2011
Postcard contest

Find a public-domain image and write a 500-words-or-less story to go with it.

First prize is $250, second prize is $150.

http://www.geist.com/articles/8th-annual-literal-literary-postcard-story-contest

Oct 20, 2011
Generosity-based publishing?

Over on Janet Reid’s blog, I just read about the Concord Free Press.  The idea is that they’ll send you one of their books (which are reportedly good), but only after you have made a charitable contribution.

Apparently it doesn’t matter where the contribution was made, or how big it is, only that you made it.  I believe it’s an honor-based system as well.

If you’re interested, click the logo or right here.

If you don’t know Janet Reid’s blog, it’s here.

Earning bonus cool points, the Concord Free Press tagline hearkens back to Funkadelic.

Oct 20, 2011
Read this. It's good.

IN THESE DESERTS: WAR STORIES FROM AFGHANISTAN

- - - -

In 1990, six-year-old Nathan Bradley read a magazine article about Afghanistan and was fascinated, vowing to someday see it for himself. He finally got his chance in 2009 as an Army officer, and he’ll go back eventually. His column chronicles his travels through the concertina wire gates, the bomb filled culverts, the rough adobe castles, the concrete blast walls and the sprawling gravel yards of our longest war—all the scenes that spoke to him—but most importantly it chronicles the stories of the Afghans he’s come to know.

Oct 19, 2011
Charles Bukowski on Censorship

If found the following here and wanted to share it with you.

In 1985, following a complaint from a local reader, staff at the Public Library in Nijmegen decided to remove Charles Bukowski’s book, Tales of Ordinary Madness, from their shelves whilst declaring it “very sadistic, occasionally fascist and discriminatory against certain groups (including homosexuals).” In the following weeks, a local journalist by the name of Hans van den Broek wrote to Bukowski and asked for his opinion. It soon arrived.

Transcript
7-22-85

Dear Hans van den Broek:

Thank you for your letter telling me of the removal of one of my books from the Nijmegen library. And that it is accused of discrimination against black people, homosexuals and women. And that it is sadism because of the sadism. 

The thing that I fear discriminating against is humor and truth. 

If I write badly about blacks, homosexuals and women it is because of these who I met were that. There are many “bads”—bad dogs, bad censorship; there are even “bad” white males. Only when you write about “bad” white males they don’t complain about it. And need I say that there are “good” blacks, “good” homosexuals and “good” women?

In my work, as a writer, I only photograph, in words, what I see. If I write of “sadism” it is because it exists, I didn’t invent it, and if some terrible act occurs in my work it is because such things happen in our lives. I am not on the side of evil, if such a thing as evil abounds. In my writing I do not always agree with what occurs, nor do I linger in the mud for the sheer sake of it. Also, it is curious that the people who rail against my work seem to overlook the sections of it which entail joy and love and hope, and there are such sections. My days, my years, my life has seen up and downs, lights and darknesses. If I wrote only and continually of the “light” and never mentioned the other, then as an artist I would be a liar. 

Censorship is the tool of those who have the need to hide actualities from themselves and from others. Their fear is only their inability to face what is real, and I can’t vent any anger against them. I only feel this appalling sadness. Somewhere, in their upbringing, they were shielded against the total facts of our existence. They were only taught to look one way when many ways exist. 

I am not dismayed that one of my books has been hunted down and dislodged from the shelves of a local library. In a sense, I am honored that I have written something that has awakened these from their non-ponderous depths. But I am hurt, yes, when somebody else’s book is censored, for that book, usually is a great book and there are few of those, and throughout the ages that type of book has often generated into a classic, and what was once thought shocking and immoral is now required reading at many of our universities. 

I am not saying that my book is one of those, but I am saying that in our time, at this moment when any moment may be the last for many of us, it’s damned galling and impossibly sad that we still have among us the small, bitter people, the witch-hunters and the declaimers against reality. Yet, these too belong with us, they are part of the whole, and if I haven’t written about them, I should, maybe have here, and that’s enough. 

may we all get better together, 
yrs,

(Signed)
Charles Bukowski  

Oct 19, 2011
Oct 15, 20111 note
Play
Oct 13, 2011
The true cost of commuting

This is really eye-opening.  Commuting makes you poor.

You can also calculate your own costs.

Oct 12, 2011
Are you reading this?

Are you reading this on a computer?  Is there a cup of Earl Gray steaming on your desk?  Is there a small guilt tickling the inner reaches of your brain as you ignore the email from your boss?

Do you then decide to follow the link, having heard that the story at the other end of it is quite good?  Do you listen to the well-modulated British voice?  Does the accent make you feel sophisticated?  Are you gleeful to have found a way to listen to stories and look like you’re working at the same time?

Does the story reel you in?  Do you become enmeshed in it, forgetting that your toast was burnt this morning, forgetting that on the train the fat woman talked on her cell phone the entire way?  Is there a powerful movement to the questions?

Have you found the New Yorker fiction podcast?  Do you tell your friend who works on another floor?  Do you find that Salman Rushdie is right all along, that Donald Barthelme is inimitable, that your attempts to copy him are sad and ham-handed?

Oct 6, 2011
Biophilia

First Listen: Björk, ‘Biophilia’

Björk is not one for half measures: When she embarks on a new project, it’s guaranteed to be a fully conceived artistic statement. For more than two decades, the Icelandic pop musician has created album after album of genre-bending, globe-spanning, forward-thinking songs with oversized intentions and flair that’s distinctly her own. Björk has been similarly imaginative in other media, too; in her wild, colorful costuming and bizarre hairstyles, and in her mind-blowing music videos. There’s no one else out there quite like her. [-MICHAEL KATZIF]

Click the headline or photo for the full story, and to HEAR THE RECORD ONLINE, FOR FREE.

Oct 5, 2011
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