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Jonathan Richman

Jonathan Michael Richman is an American singer and guitarist. In 1970, he founded an influential proto-punk band. Since the mid-1970s, Richman has worked either solo or with low-key and electric, backing, he plays only acoustic to protect his hearing. He is known for his wide-eyed and childlike outlook, music that, while rooted in rock and roll, is influenced by music from around the world. Born in Natick, into a Jewish family, Richman began playing music and writing his own songs in the mid-1960s, he became infatuated with the Velvet Underground, in 1969, he moved to New York City, lived on the couch of their manager, Steve Sesnick, worked odd jobs and tried to break in as a professional musician. Failing at this, he returned to Boston. While in Boston, Richman formed a proto-punk garage rock band. Other notable members of the group were keyboard player Jerry Harrison and drummer David Robinson, who joined Talking Heads and the Cars, respectively. In 1972, they recorded a series of demos with producer John Cale.

Among these songs were the seminal "Roadrunner" and "Pablo Picasso" which were released on the group's post-breakup album, The Modern Lovers. The album was strange for its time, featuring Velvets-influenced basic three-chord rock at a time when glam and progressive rock were the norm. In 1972, the group recorded with producer Kim Fowley. Despite playing live the Modern Lovers had a difficult time securing a recording contract. By late 1973, Richman wanted to scrap the recorded tracks and start again with a mellower, more lyrical sound, influenced by the laid-back local music he had heard when the band had a residency at the Inverurie Hotel in Bermuda earlier in the year; these stymied efforts to complete a debut album led to the breakup of the original Modern Lovers in February 1974. In 1975, Richman moved to California to record as a solo singer/songwriter with the independent Beserkley Records label, his first released recordings appeared on 1975's Beserkley Chartbusters compilation, where he was backed by members of Earth Quake and the Rubinoos.

The four songs on the compilation appeared on singles released by Beserkley. In January 1976, Richman put together a new version of the Modern Lovers, which included original Modern Lovers drummer, David Robinson, former Rubinoos bassist Greg'Curly' Keranen and Leroy Radcliffe on guitar; the new group, now billed as Jonathan Richman and The Modern Lovers, found Richman turning away from the harder, Velvet Underground-influenced electric rock of the original Modern Lovers, toward gentler sound mixing pop with 1950s rock and roll, including a bigger emphasis on harmony vocals. During this period, Richman recorded a mix of original songs and material by other writers, such as Chuck Berry's "Back in the USA", the traditional spiritual songs "Amazing Grace" and "Angels Watching Over Me", older pop songs like "Emaline", "Buzz, Buzz", "Lydia". Richman's own songs continued to mix straightforward love themes with more whimsical themes like Martians, the Abominable Snowman, mosquitoes. Richman's 1977 recording of the children's music standard "The Wheels on the Bus" made explicit his interest in making music for listeners of all ages.

The album Jonathan Richman and the Modern Lovers was released in May 1976, three months before the older The Modern Lovers sessions were released. Drummer David Robinson left the group soon thereafter, due to frustration with Richman's quest for lower volume levels, joined with Ric Ocasek in forming the band the Cars. After several months as a trio, Richman found a new drummer, D. Sharpe, an avant-garde jazz player on the Boston scene, who went on to become a member of pianist Carla Bley's band. Rock and Roll with the Modern Lovers was released in 1977 and, just as this record began to climb the charts in Europe, Keranen left the group to attend college. A subsequent live album, Modern Lovers Live, was released with Asa Brebner on bass. In the United Kingdom, Richman was recognised as a progenitor of the punk rock scene, several of his singles became hits. "Roadrunner" reached Number 11 in the UK Singles Chart, its follow-up, the instrumental "Egyptian Reggae", made Number 5 in late 1977. "Egyptian Reggae" was a version of Jamaican musician Earl Zero's reggae song "None Shall Escape the Judgment".

Back in Your Life was released in 1979 under the "Jonathan Richman and the Modern Lovers" moniker, but only about half the disc featured a backup band. The balance of the album was Richman playing solo. Following this version of The Modern Lovers' final breakup, Richman went on sabbatical for a few years, staying in Appleton and playing at local bars in Belfast, Maine. By 1981, Richman was recording and touring once again with various combinations of musicians under the band name Jonathan Richman and the Modern Lovers; the touring band was as large as five backup musicians during parts of 1981, when the group had bassist Curly Keranen once again, along with drummer Michael Guardabascio, keyboard player Ken Forfia and guitarist Ellie Marshall, vocalist Beth Harrington for a gig at New York's Bottom Line. This expanded Modern Lovers group would go on to record much of the music on the Jonathan Sings, Rockin' & Romance, It's Time for Jonathan Richman

Mark Griep

Mark Griep is a chemistry professor at the University of Nebraska-Lincoln. He has doctorate in biochemistry from the University of Minnesota, he studies the enzymes DnaB helicase in his search for antibiotics that inhibit them. He is co-author with Marjorie Mikasen of the nonfiction book ReAction! Chemistry in the Movies. Griep studies the proteins that namely primase and DnaB helicase. Of these, most of his work concerns primase, the enzyme that initiates DNA synthesis during DNA replication, his goal is to discover the next generation of antibiotics by searching for inhibitors of bacterial primase. To help him do this, he seeks to understand the structure and function of primase from many bacteria. For his science outreach efforts, he studies the chemistry found in feature films and communicates his findings to the other chemists and the public. In recognition of this work, he was awarded a Distinguished Teaching Award from the University of Nebraska-Lincoln. Griep is the coauthor with artist Marjorie Mikasen of the nonfiction book ReAction!

Chemistry in the Movies. It gives the perspectives of a scientist and artist on the dark and bright sides of chemistry found in over 110 films, he and Mikasen were awarded an Alfred P. Sloan Foundation Fellowship in the area of Public Understanding of Science to research and write the book; the appendix describes ways to use movies or movie clips in the chemistry classroom. Griep contributed 10 movie boxes to the chemistry textbook "The World of Chemistry", his innovative entries relate in-chapter chemistry concepts to eight contemporary and two classic films. Word problems are included in each movie box for possible student assignments. 2008 Nebraska Public Radio Interview by Jerry Johnston titled “Chemist, Artist Explore Chemistry in the Movies” 2006 Nebraska Public Radio Interview by Jerry Johnston “UNL Prof Finds Chemistry in the Movies” 2004 New York Times article by Randy Kennedy “Forget Star Chemistry: How About the Film’s”

Ejective consonant

In phonetics, ejective consonants are voiceless consonants that are pronounced with a glottalic egressive airstream. In the phonology of a particular language, ejectives may contrast with aspirated and tenuis consonants; some languages have glottalized sonorants with creaky voice that pattern with ejectives phonologically, other languages have ejectives that pattern with implosives, which has led to phonologists positing a phonological class of glottalic consonants, which includes ejectives. In producing an ejective, the stylohyoid muscle and digastric muscle contract, causing the hyoid bone and the connected glottis to raise, the forward articulation is held, raising air pressure in the mouth so when the oral articulators separate, there is a dramatic burst of air; the Adam's apple may be seen moving. In the languages in which they are more obvious, ejectives are described as sounding like “spat” consonants, but ejectives are quite weak. In some contexts and in some languages, they are easy to mistake for tenuis or voiced stops.

These weakly ejective articulations are sometimes called intermediates in older American linguistic literature and are notated with different phonetic symbols: ⟨C!⟩ = ejective, ⟨Cʼ⟩ = weakly ejective. Strong and weak ejectives have not been found to be contrastive in any natural language. In strict, technical terms, ejectives are glottalic egressive consonants; the most common ejective is if it is more difficult to produce than other ejectives like or because the auditory distinction between and is greater than with other ejectives and voiceless consonants of the same place of articulation. In proportion to the frequency of uvular consonants, is more common, as would be expected from the small oral cavity used to pronounce a voiceless uvular stop. On the other hand, is quite rare; that is the opposite pattern to what is found in the implosive consonants, in which the bilabial is common and the velar is rare. Ejective fricatives are rare for the same reason: with the air escaping from the mouth while the pressure is being raised, like inflating a leaky bicycle tire, it is harder to distinguish the resulting sound as salient as a.

Ejectives occur in about 20% of the world's languages. Ejectives that phonemically contrast with pulmonic consonants occur in about 15% of languages around the world; the occurrence of ejectives correlates to languages in mountainous regions such as the North American Cordillera where ejectives are common. They occur throughout the Andes and Maya Mountains, they are common in East African Rift and the South African Plateau, see Geography of Africa. In Eurasia they are common in the Caucasus which forms an island of ejective languages. Elsewhere, they are rare. Everett argues that the geographic correlation is because of decreased air pressure making ejectives easier to produce, as well as the way ejectives help to reduce water vapor loss. Language families that distinguish ejective consonants include: Ethiosemitic: Languages such as Amharic and Tigrinya All three families of the Caucasus: the Northwest Caucasian languages such as Abkhaz and languages of the Cherkess family. Ejectives are found today in Ossetian only because of influence of the nearby Northeast Caucasian and/or Kartvelian language families.

It had once been predicted that ejectives and implosives would not be found in the same language but both have been found phonemically at several points of articulation in Nilo-Saharan languages, Mayan language and the Oto-Manguean Mazahua. Nguni languages, such as Zulu have an implosive b alongside a series of allophonically ejective stops. Dahalo of Kenya, has ejectives and click consonants. All ejective consonants in the world's languages are stops or affricates, all ejective consonants are obstruents. is the most common ejective, is common among languages with uvulars, less so, is uncommon. Among affricates, are all quite common and are not unusual. A few languages have ejective fricatives. In some dialects of Hausa, the standard affricate is a fricative. Tlingit is an extreme case, with ejective alveolar, lateral and uvular fricatives,. Upper Necaxa Totonac is unusual and unique in that it has ejective fricatives but lacks any ejective stop or affricate. Other languages with ejective fricativ

Since We've Become Translucent

Since We've Become Translucent is the sixth studio album by the grunge band Mudhoney, released in 2002. The album was the first to be recorded after the departure of their original bassist, Matt Lukin, three years earlier, it was the first to be released through Sub Pop after the band returned to the label. Since We've Become Translucent marked a prominent change in the band's sound; the album was a departure from their typical garage-oriented sound and features a accessible Rock sound. However, on tracks such as "Baby, Can You Dig the Light?", Psychedelica and Jazz are explored. "Baby, Can You Dig the Light?" - 8:26 "The Straight Life" - 3:33 "Where the Flavor Is" - 3:34 "In the Winner's Circle" - 4:27 "Our Time Is Now" - 3:39 "Dyin' for It" - 4:54 "Inside Job" - 2:52 "Take It Like a Man" - 2:35 "Crooked and Wide" - 4:54 "Sonic Infusion" - 7:40 Mark Arm - vocals, organ, piano Steve Turner - electric guitar, backing vocals Guy Maddison - bass guitar Dan Peters - drums Jo Claxton - violin. Martin Feveyear - backing vocals Craig Flory - horn arrangements, sax Jeff McGrath - trumpet Greg Powers - trombone Wayne Kramer - bass guitar on "Inside Job"

Robert Cortes Holliday

Robert Cortes Holliday was an American writer and literary editor. He was born on July 18, 1880 in Indianapolis and moved to New York to study at the Art Students' League and worked as an illustrator for periodicals, he sold books, worked as a librarian, became a literary editor at the New York Tribune, Page & Co. and George H. Doran & Co. before taking an editorial position with The Bookman, serving as its chief editor from 1919 to 1920. After he left The Bookman in 1923, Holliday continued his criticism, worked for brief stints in advertising, in 1926 became an instructor on writing for publication. Holliday published fifteen books, including The Walking-Stick Papers and Books and Cities, Literary Lanes and Other Byways, as well as volumes on Booth Tarkington and poet Joyce Kilmer, he died on January 1947 in Manhattan, New York City of heart disease. Writer and friend, Christopher Morley, wrote of Holliday: " has the genuine gift of the personal essay, mellow and pleasantly eccentric." Walking-Stick Papers Booth Tarkington Peeps at People Broome Street Straws Men and Books and Cities Turns about Town Literary Lanes and Other Byways Works by Robert Cortes Holliday at Project Gutenberg Works by or about Robert Cortes Holliday at Internet Archive Works by Robert Cortes Holliday at LibriVox

Robert J. S. Ross

Robert J. S. Ross is an American sociologist and activist known for his research on the global garment trade, he is a Research Professor in the Department of Sociology and at the Mosakowski Institute for Public Enterprise at Clark University where he has taught since 1972. He is the former Director of the International Studies Stream and was among the founders of the program in Urban Development and Social Change, he is a former Sociology Department Chair. He served as the elected Faculty Chair of Clark University from 2000-2006. Ross attended the renowned Bronx High School of Science, he grew up in a Jewish household imbued with leftist politics. His stepfather, a cutter in the garment industry with a family history of union activism, his mother, a teacher and social democrat, withdrew from politics out of fear of reprisals during the McCarthy era. Ross received a B. A. from the University of Michigan and an M. A. and a Ph. D. from the University of Chicago. During a fellowship year in London, after completing his undergraduate degree, he studied with the distinguished British sociologist and academic Marxist Ralph Miliband.

As an undergraduate at the University of Michigan, Ann Arbor, Ross became engaged with political activism on behalf of progressive causes and emerged as a student leader. Inspired by the sit-in movement against racial segregation that began in February 1960. Ross became part of the early leadership of Students for a Democratic Society. Ross became a founder of the Ann Arbor chapter, he helped enlist Tom Hayden. At an SDS meeting held at Ann Arbor in 1961, a National Executive Committee was elected with Ross as Vice President; as a delegate at the 1962 annual convention, a member of the "drafting committee", Ross participated in writing the Port Huron Statement, adopted as the SDS political manifesto. His reading of C. Wright Mills' The Power Elite shaped Ross' intellectual contributions to the document, his senior honors thesis examined the theoretical basis for Mill's work. Ross has published on the globalization of capital and labor. In 1990, he co-authored Global Capitalism: the New Leviathan.

Ross is a leading scholar and activist on the resurgence of sweatshops in the global apparel industry. Author of Slaves to Fashion: Poverty and Abuse in the New Sweatshops, he is a member of the Board of Directors of the Sweatfree Purchasing Consortium and of the International Labor Rights Forum. In 2015, on the second anniversary of the Rana Plaza building collapse he traveled to Bangladesh to commemorate the victims and assess the steps taken to advance worker safety