text:
The problem with the Rabbits is not that left-wing politics is dessicating and poisoning their fiction. While I have made the case elsewhere that SF is libertarian at its core, it nevertheless remains possible to write left-wing message SF that is readable, enjoyable, and of high quality – Iain Banks's Culture novels leap to mind as recent examples, and we can refer back to vintage classics such as Pohl & Kornbluth's The Space Merchants for confirmation. Nor, I think, is the failure of Rabbit fiction to engage most SF fans and potential fans mainly down to its politics; I think the Evil League is prone to overestimate the popular appeal of their particular positions here.
No, I judge that what is dessicating and poisoning the Rabbit version of SF is something distinct from left-wing political slant but co-morbid with it: colonization by English majors and the rise of literary status envy as a significant shaping force in the field.
This is a development that's easy to mistake for a political one because of the accidental fact that most university humanities departments have, over the last sixty years or so, become extreme-left political monocultures. But, in the language of epidemiology, I believe the politics is a marker for the actual disease rather than the pathogen itself. And it's no use to fight the marker organism rather than the actual pathogen.
Literary status envy is the condition of people who think that all genre fiction would be improved by adopting the devices and priorities of late 19th- and then 20th-century literary fiction. Such people prize the "novel of character" and stylistic sophistication above all else. They have almost no interest in ideas outside of esthetic theory and a very narrow range of socio-political criticism. They think competent characters and happy endings are jejune, unsophisticated, artistically uninteresting. They love them some angst.
People like this are toxic to SF, because the lit-fic agenda clashes badly with the deep norms of SF. Many honestly think they can fix science fiction by raising its standards of characterization and prose quality, but wind up doing tremendous iatrogenic damage because they don't realize that fixating on those things (rather than the goals of affirming rational knowability and inducing a sense of conceptual breakthrough) produces not better SF but a bad imitation of literary fiction that is much worse SF.
Eric S. Raymond, "SF and the damaging effects of literary status envy", Armed and Dangerous, 2014-07-30.
August 21, 2017
QotD: The (long-running) decline of written science fiction
August 17, 2017
QotD: Can you describe romance novels as "pretty people behaving stupidly"?
I've been learning about the romance genre recently. I have no intrinsic interest in it at all, but I have an intelligent friend who plows through romances the way I read SF, and we've been discussing the conventions and structural features of the genre. Along the way I've learned that romance fans use an acronym TSTL which expands to "Too Stupid To Live", describing a class of bad romance in which the plot turns on one or both leads exhibiting less claim to sophont status than the average bowl of clam dip.
My wife and I have parts in an upcoming live-action roleplaying game set in early 16th-century Venice. As preparation, she suggested we watch a movie called Dangerous Beauty set in the period. I couldn't stand more than about 20 minutes of it. "It's just," I commented later "pretty people behaving stupidly."
On reflection, I've discovered that PPBS describes a great deal of both the fiction and nonfiction I can't stand. It's a more general category that includes not just TSTL, but celebrity gossip magazines, almost every "romantic comedy" ever made, and a large percentage of the top-rated TV shows (especially, of course, the soap operas).
Eric S. Raymond, "Pretty People Behaving Stupidly", Armed and Dangerous, 2005-08-29.
August 9, 2017
Lois McMaster Bujold's latest novella is out in ebook format
Any book by Lois McMaster Bujold is an automatic buy for me, but with her current "Penric" series, I have to wait until it appears in hardcover (the first two were published by Subterranean Press, and I expect they'll eventually get this one into print as well).
Penric's Fox: a Penric & Desdemona novella in the World of the Five Gods. Book 3.
Some eight months after the events of Penric and the Shaman, Learned Penric, sorcerer and scholar, travels to Easthome, the capital of the Weald. There he again meets his friends Shaman Inglis and Locator Oswyl. When the body of a sorceress is found in the woods, Oswyl draws him into another investigation; they must all work together to uncover a mystery mixing magic, murder and the strange realities of Temple demons.
Penric and the Shaman was a 2017 Hugo Award nominee in the novella category.
For those of you who are all up-to-date and twenty-first-centurying like there's no tomorrow, you can get the Kindle version here.
August 6, 2017
QotD: Confessions of a book-hoarder
Well, tomorrow I'd bring up stuff from the basement. So the next day I go downstairs to the utility room. The floor's wet. The rug is sopping. I open the freezer, and discover that I'd locked the freezer door before closing it. The door had been open all night. Dead meat, droopy brats, sloshy ice cream — and water everywhere. The utility room was full of boxes from the storage room — we'd just had some shelves installed, and I'd moved out crates I've hauled around since my dorm room days. Books. Hundreds of books.
I felt the sides of the boxes to see if they'd wicked up the horrid slurry from the fridge — were they ruined? Would I have to throw out all these old, venerable friends? Everything I read and saved from 1976 to 1997 — were they lost to me forever?
They were dry.
You cannot imagine my disappointment.
This was the perfect opportunity to be rid of these mummified albatrosses forever. Friends, let's be honest: Books are a curse. We'd all love to have a library with shelves stretching up to heaven, a ladder on rollers that lets you access the 17th level, where you keep the minor Polish poets and the monographs on eighth-century Chinese mandarins. But you end up with boxes of books in the basement, and you cannot part with them. Simply throwing them away feels sinful — hey, why not build a time machine and go back to Nazi-land and burn them, dude? You could sell them, but there's something depressing about getting $7 for 70 pounds of paperbacks. It's like auctioning your kid's baby pictures on eBay and getting a high bid of a buck-fifty. The last time I divested my excess books I dumped them off on a Goodwill dock in the middle of the night, and I felt like someone pushing the family dog out of the car on a country road. The books will find a good home. I'm sure there's a farmer around here they can live with.
James Lileks, Star Tribune, 2004-07-11.
August 4, 2017
Harry Potter and the Economic Segregation of Muggles
Published on 3 Aug 2017
Harry Potter contains a ton of incredible lessons about society, authoritarianism, and the power of love and individualism in the face of people who would exclude others based on group identity. But something people don't think about as much are some of the economic lessons that we can draw from a world segregated into wizards and muggles.
On this episode of Out of Frame, we take a look at what the world might look like if magic and non-magic people were actually allowed to trade and interact with each other without the Ministry of Magic obliviating and arresting people for it.
For a transcript of this episode and more engaging content, visit:
QotD: Shakespeare's sonnets
The Sonnets were published late in Shakespeare's career (1609) — by a clever and unscrupulous man. His name was Thomas Thorpe. He ran what was for the times a unique publishing business, playing games with "copyright" that were often unconscionable but, usually, this side of the law. He owned neither a printing press, nor a bookstall — two things that defined contemporary booksellers — subcontracting everything in his slippery way. Indeed, I would go beyond other observers, and describe him as a blackguard; and I think Will Shakespeare would agree with me. Though Shakespeare would add, "A witty and diverting blackguard."
He collected these sonnets, quite certainly by Shakespeare, but written at much different times and for quite various occasions, from whatever well-oiled sources. Thorpe had a fine poetic ear, and knew what he was doing. He arranged the collection he'd amassed in the sequence we have inherited — 154 sonnets that seem to read consecutively, with "A Lover's Complaint" tacked on as their envoi — then sold them as if this had been the author's intention.
We have sonnets not later than 1591, interspersed with others 1607 or later. In one case (Sonnet 145), we have what I think is a love poem Shakespeare wrote about age eighteen, to a girl he was wooing: one Anne Hathaway. (She was twenty-seven.) It is crawling with puns, for instance on her name, and stylistically naïve, but has been placed within the "Dark Lady" sonnets (127 to 152) in a mildly plausible way. It hardly belongs there.
Indeed, once one sees this it becomes apparent, surveying the whole course, that there is rather more than one "Dark Lady" in the Sonnets, and that like most red-blooded men, our Will noticed quite a number of interesting women over his years. But Thorpe has folded them all into one for dramatic effect.
David Warren, "Dark gentleman of the Sonnets", Essays in Idleness, 2015-05-11.
July 30, 2017
"… sooner or later, and usually sooner, the British will be blamed"
In Pragati, Alex Tabarrok reviews Shashi Tharoor's 2016 book history of the British Raj, An Era Of Darkness:
At sophisticated dinner parties in Delhi, Calcutta, or Chennai, whenever the discussion turns to politics, one can be sure that sooner or later, and usually sooner, the British will be blamed. It's a fine parlor game, and clever players can usually find a way to cast blame for whichever side of the debate they favor. Is India's traditional family falling apart due to internet porn? Blame the British! Are the laws against homosexuality too strong? Blame the British! The British are an easy target because much of what they did was reprehensible. But blaming British imperialism for contemporary Indian problems is also an easy way to let India's political class off the hook.
An excellent case against the British comes from Shashi Tharoor, bestselling author, former Under-Secretary-General at the United Nations, and current member of the Indian parliament, in his 2016 book An Era of Darkness: The British Empire in India (also published this year under the title Inglorious Empire[UK title]).
Tharoor makes three claims:
- The British empire in India, from the seizure of Bengal by the East India Company in 1757 until the end of British government rule in 1947, was cruel, rapacious, and racist.
- India would be much better off today had it not been for British rule.
- Britain's success and the Industrial Revolution were due to British depredation of India.
The first claim is true, the second uncertain, the third false.
The first claim is the heart of Tharoor's book: the British empire in India was cruel, rapacious and racist. All true. But who would expect otherwise? Power corrupts and absolute power corrupts absolutely. The theft, the famines, the massacres, the formal and casual racism, the utter hypocrisy of suppressing independence while using hundreds of thousands of Indian soldiers to fight for democracy and freedom in two World Wars — on all this Tharoor stands on solid ground. The ground is solid in part because it has been well-trod. Tharoor brings the case against the East India Company and Britain, initiated by Edmund Burke (1774-1785) and continued by the likes of Indian nationalist Dadabhai Naoroji [PDF] (1901) and American historian Will Durant (1930), to its conclusion and climax with the Indian independence movement. In this, Tharoor is entirely successful and his work deserves to be widely read.
In his eagerness to blame Britain, however, Tharoor reaches for every possible argument in ways that are sometimes misleading and sometimes absurd.
July 24, 2017
QotD: Salvador Dali, in his own words
Here, then, are some of the episodes in Dali's life, from his earliest years onward. Which of them are true and which are imaginary hardly matters: the point is that this is the kind of thing that Dali would have liked to do.
When he is six years old there is some excitement over the appearance of Halley's comet:
Suddenly one of my father's office clerks appeared in the drawing-room doorway and announced that the comet could be seen from the terrace… While crossing the hall I caught sight of my little three-year-old sister crawling unobtrusively through a doorway. I stopped, hesitated a second, then gave her a terrible kick in the head as though it had been a ball, and continued running, carried away with a 'delirious joy' induced by this savage act. But my father, who was behind me, caught me and led me down in to his office, where I remained as a punishment till dinner-time.
A year earlier than this Dali had 'suddenly, as most of my ideas occur,' flung another little boy off a suspension bridge. Several other incidents of the same kind are recorded, including (this was when he was twenty-nine years old) knocking down and trampling on a girl 'until they had to tear her, bleeding, out of my reach.'
When he is about five he gets hold of a wounded bat which he puts into a tin pail. Next morning he finds that the bat is almost dead and is covered with ants which are devouring it. He puts it in his mouth, ants and all, and bites it almost in half.
When he is an adolescent a girl falls desperately in love with him. He kisses and caresses her so as to excite her as much as possible, but refuses to go further. He resolves to keep this up for five years (he calls it his 'five-year plan'), enjoying her humiliation and the sense of power it gives him. He frequently tells her that at the end of the five years he will desert her, and when the time comes he does so.
Till well into adult life he keeps up the practice of masturbation, and likes to do this, apparently, in front of a looking-glass. For ordinary purposes he is impotent, it appears, till the age of thirty or so. When he first meets his future wife, Gala, he is greatly tempted to push her off a precipice. He is aware that there is something that she wants him to do to her, and after their first kiss the confession is made:
I threw back Gala's head, pulling it by the hair, and trembling with complete hysteria, I commanded:
'Now tell me what you want me to do with you! But tell me slowly, looking me in the eye, with the crudest, the most ferociously erotic words that can make both of us feel the greatest shame!'
Then Gala, transforming the last glimmer of her expression of pleasure into the hard light of her own tyranny, answered:
'I want you to kill me!'
He is somewhat disappointed by this demand, since it is merely what he wanted to do already. He contemplates throwing her off the bell-tower of the Cathedral of Toledo, but refrains from doing so.
During the Spanish Civil War he astutely avoids taking sides, and makes a trip to Italy. He feels himself more and more drawn towards the aristocracy, frequents smart salons, finds himself wealthy patrons, and is photographed with the plump Vicomte de Noailles, whom he describes as his 'Maecenas.' When the European War approaches he has one preoccupation only: how to find a place which has good cookery and from which he can make a quick bolt if danger comes too near. He fixes on Bordeaux, and duly flees to Spain during the Battle of France. He stays in Spain long enough to pick up a few anti-red atrocity stories, then makes for America. The story ends in a blaze of respectability. Dali, at thirty-seven, has become a devoted husband, is cured of his aberrations, or some of them, and is completely reconciled to the Catholic Church. He is also, one gathers, making a good deal of money.
George Orwell, "Benefit of Clergy: Some Notes on Salvador Dali", Saturday Book for 1944, 1944.
July 21, 2017
QotD: Anachronistic "Regency" romances
Which brings us to a discussion about romances, yesterday. Like apparently most people who read Regencies I've become aware of a tendency for them to read more and more like modern romances than like something set in that time.
Someone nailed it for me by pointing out that female characters have been getting more modern. For instance, they will do things like not want to marry UNTIL they have sexual experience, so they'll be engaged and go out to find someone to sleep with them: in a time without either contraceptives or antibiotics and in a time when a unwed pregnancy would ruin not only the woman but all her relatives.
Or they rebel against being the one who was supposed to marry to make the family fortunes. I'm not saying a woman might not wish to marry someone else rather than make the family fortunes, but it would present in her own mind not as resentment to lifting the family out of debt, but as "I'm madly in love with the stable boy." or whatever. And if a woman was thoroughly opposed to [being] married, it often manifested (at least in Catholic countries, granted, not England) as a "vocation." What it didn't manifest as was "I want to pursue a career." Women married, or if they were unmarried stayed around the house helping with the nephews and the running of the house. If they had the means they might set up household with a companion. But only the poor worked, (even for men "having to" work was a downcheck on status.) If you were a governess or a nurse, it wasn't for a "career" but because you were desperate.
Oh, and please save me from all the women running philanthropic organizations. While there were of course a number of these run by women, it wasn't every other woman as seems to be in today's regency romances. And charities for unmarried mothers would be very heavy on the preaching and getting them to give the baby up for adoption. Not telling them they've done nothing wrong and "affirming" their choices. Again, no contraceptives, no antibiotics. Sex and its consequences were serious business PARTICULARLY for women who make more of an investment in reproduction.
Sarah A. Hoyt, "What Has Gone Before Us", According to Hoyt, 2015-08-03.
July 20, 2017
Deirdre McCloskey defines libertarianism as "Liberalism 1.0"
The introduction to her "Manifesto for a New American Liberalism, or How to Be a Humane Libertarian" [PDF] states:
I make the case for a new and humane American "libertarianism."
Outside the United States libertarianism is still called plain "liberalism," as in the usage of the president of France, Emmanuel Macron, with no "neo-" about it. That's the L-word I'll use here. The economist Daniel Klein calls it "Liberalism 1.0," or, channeling the old C. S. Lewis book Mere Christianity on the minimum commitments of faith (1942-44, 1952), "mere Liberalism." David Boaz of the Cato Institute wrote a lucid guide, Libertarianism — A Primer (1997), reshaped in 2015 as The Libertarian Mind. I wish David had called it The Liberal Mind.
In desperate summary for you Americans, Liberalism 1.0 is Democratic in social policy and Republican in economic policy and non-interventionist in foreign policy. It is in fact mainly against "policy," which has to be performed, if there is to be a policy at all, through the government's monopoly of violence. (To confirm this experimentally, try not paying your taxes; then try to escape from prison.) Liberals 1.0 believe that having little or no policy is a good policy.
That does not put the Liberals 1.0 anywhere along the conventional one-dimensional left-right line, stretching from a compelled right-conservative policy to a compelled left-"liberal" policy. The real liberals instead sit happily up on a second dimension, the non-policy apex of a triangle, so to speak, the base of which is the conventional axis of policy by violence. We Liberals 1.0 are neither conservatives nor socialists — both of whom believe, with the legal mind, as the liberal economist and political philosopher Friedrich Hayek put it in 1960, that "order [is] … the result of the continuous attention of authority." Both conservatives and socialists, in other words, "lack the faith in the spontaneous forces of adjustment which makes the liberal accept changes without apprehension, even though he does not know how the necessary adaptations will be brought about."
Liberals 1.0 don't like violence. They are friends of the voluntary market order, as against the policy-heavy feudal order or bureaucratic order or military-industrial order. They are, as Hayek declared, "the party of life, the party that favors free growth and spontaneous evolution," against the various parties of left and right which wish "to impose [by violence] upon the world a preconceived rational pattern."
At root, then, Liberals 1.0 believe that people should not push other people around. As Boaz says at the outset of The Libertarian Mind, "In a sense, there have always been but two political philosophies: liberty and power." Real, humane Liberals 1.0 […] believe that people should of course help and protect other people when we can. That is, humane liberals are very far from being against poor people. Nor are they ungenerous, or lacking in pity. Nor are they strictly pacifist, willing to surrender in the face of an invasion. But they believe that in achieving such goods as charity and security the polity should not turn carelessly to violence, at home or abroad, whether for leftish or rightish purposes, whether to help the poor or to police the world. We should depend chiefly on voluntary agreements, such as exchange-tested betterment, or treaties, or civil conversation, or the gift of grace, or a majority voting constrained by civil rights for the minority.
To use a surprising word, we liberals, whether plain 1.0 or humane, rely chiefly on a much-misunderstood "rhetoric," despised by the hard men of the seventeenth century such as Bacon and Hobbes and Spinoza, but a practice anciently fitted to a democratic society. Liberalism is deeply rhetorical, the exploration (as Aristotle said) of the available means of non-violent persuasion. For example, it's what I'm doing for you now. For you, understand, not to you. It's a gift, not an imposition. (You're welcome.)
July 17, 2017
QotD: Utopias
All efforts to describe permanent happiness […] have been failures. Utopias (incidentally the coined word Utopia doesn't mean 'a good place', it means merely a 'non-existent place') have been common in literature of the past three or four hundred years but the 'favourable' ones are invariably unappetising, and usually lacking in vitality as well.
By far the best known modern Utopias are those of H.G. Wells. Wells's vision of the future is almost fully expressed in two books written in the early Twenties, The Dream and Men Like Gods. Here you have a picture of the world as Wells would like to see it or thinks he would like to see it. It is a world whose keynotes are enlightened hedonism and scientific curiosity. All the evils and miseries we now suffer from have vanished. Ignorance, war, poverty, dirt, disease, frustration, hunger, fear, overwork, superstition all vanished. So expressed, it is impossible to deny that that is the kind of world we all hope for. We all want to abolish the things Wells wants to abolish. But is there anyone who actually wants to live in a Wellsian Utopia? On the contrary, not to live in a world like that, not to wake up in a hygenic garden suburb infested by naked schoolmarms, has actually become a conscious political motive. A book like Brave New World is an expression of the actual fear that modern man feels of the rationalised hedonistic society which it is within his power to create. A Catholic writer said recently that Utopias are now technically feasible and that in consequence how to avoid Utopia had become a serious problem. We cannot write this off as merely a silly remark. For one of the sources of the Fascist movement is the desire to avoid a too-rational and too-comfortable world.
All 'favourable' Utopias seem to be alike in postulating perfection while being unable to suggest happiness. News From Nowhere is a sort of goody-goody version of the Wellsian Utopia. Everyone is kindly and reasonable, all the upholstery comes from Liberty's, but the impression left behind is of a sort of watery melancholy. But it is more impressive that Jonathan Swift, one of the greatest imaginative writers who have ever lived, is no more successful in constructing a 'favourable' Utopia than the others.
The earlier parts of Gulliver's Travels are probably the most devastating attack on human society that has ever been written. Every word of them is relevant today; in places they contain quite detailed prophecies of the political horrors of our own time. Where Swift fails, however, is in trying to describe a race of beings whom he admires. In the last part, in contrast with disgusting Yahoos, we are shown the noble Houyhnhnms, intelligent horses who are free from human failings. Now these horses, for all their high character and unfailing common sense, are remarkably dreary creatures. Like the inhabitants of various other Utopias, they are chiefly concerned with avoiding fuss. They live uneventful, subdued, 'reasonable' lives, free not only from quarrels, disorder or insecurity of any kind, but also from 'passion', including physical love. They choose their mates on eugenic principles, avoid excesses of affection, and appear somewhat glad to die when their time comes. In the earlier parts of the book Swift has shown where man's folly and scoundrelism lead him: but take away the folly and scoundrelism, and all you are left with, apparently, is a tepid sort of existence, hardly worth leading.
George Orwell (writing as "John Freeman"), "Can Socialists Be Happy?", Tribune, 1943-12-20.
July 15, 2017
Another critique of Nancy MacLean's book smearing economist James M. Buchanan
In the Washington Post, a fellow Duke professor airs some concerns over MacLean's recent character assassination attempt, Democracy in Chains:
Professor Nancy MacLean's book Democracy in Chains has received considerable attention since its release a few weeks ago. A recent Inside Higher Ed article reports on the critical reviews and Professor MacLean's allegation that these critiques are part of a coordinated, "right-wing" attack on her work. The book's central thesis — summarized elegantly in the Inside Higher Ed piece – is that Nobel Prize-winning economist James M. Buchanan "was the architect of a long-term plan to take libertarianism mainstream, raze democratic institutions and keep power in the hands of the wealthy, white few." MacLean concludes that Buchanan's academic research program — known as public choice theory — is a (thinly) disguised attempt to achieve this purpose, motivated by racial and class animus.
As president of the Public Choice Society (the academic organization founded by Buchanan and his colleague Gordon Tullock), I am writing to respond to Professor MacLean's portrayal. Since she believes that critiques of the book are part of a coordinated attack funded by Koch money, let me begin with a disclosure. I have no relationship with the Kochs or the Koch organization. I have never received money from them or their organization, either personally or to support my research. I have not coordinated my response to the book with anyone. I do, however, have a personal connection to Buchanan. My father was a longtime colleague and co-author of Buchanan's. I am also very familiar with Buchanan's academic work, which relates directly to my own research interests. In short, I know Buchanan and his work well, but I am certainly not part of the "dark money" network Professor MacLean is concerned about.
There are many things to be said about Professor MacLean's book. For an intellectual historian, the documentary record constitutes the primary source of evidence that can be offered in support of arguments or interpretations. For this reason, intellectual historians generally apply great care in sifting through this record and presenting it in a way that accurately reflects sources. As numerous scholars have by now shown (see here, and links therein, for an example), Professor MacLean's book unfortunately falls short of these standards. In many instances, quotations are taken out of context or abbreviated in ways that suggest meanings radically at odds with the tenor of the passage or document from which they were taken. Critically, these misleading quotations are often central to establishing Professor MacLean's argument.
What then, of "chains on democracy"? It is true that Buchanan did not think much of unfettered, majoritarian politics and favored constitutional rules that restrict majority rule. But the foregoing discussion should already make clear that this conclusion was not based on an anti-democratic instinct or a desire to preserve the privilege of a few. Instead, Buchanan's careful analysis, originating in his seminal work with Gordon Tullock, The Calculus of Consent, led him to the conclusion that in choosing a political framework ("constitution"), all individuals will typically have good reasons to favor some restrictions on majority rule in order to protect against the "tyranny of the majority." As he argued, democracy understood simply as majority rule "may produce consequences desired by no one unless these procedures are limited by constitutional boundaries" (Buchanan 1997/2001: 226). In other words, what justifies "chains on democracy" for Buchanan are his commitment to individual autonomy and equality, and his emphasis on consent as a legitimating principle for political arrangements. To paint his endorsement of constitutional limits on the use of political power as motivated by an anti-democratic desire to institute oligarchical politics is to fundamentally misunderstand Buchanan's sophisticated, subtle approach to democratic theory, which was committed above all to the idea that political arrangements should redound to the benefit of all members of a community.
July 10, 2017
"Jane Jacobs was fatal to conventional wisdom"
In Reason, Sam Staley reviews Vital Little Plans: The Short Works of Jane Jacobs, edited by Samuel Zipp and Nathan Storring, calling it "Jane Jacobs in her own words":
In her books, articles, and activism, [Jacobs] destroyed the 20th century urban planning groupthink and laid out a radically different way of thinking about cities and society — one that rejected the prescriptive and centralized approach that dominated the planning profession, and one that instead highlighted how decentralized, market-driven decisions lay the foundation for vibrant and sustainable cities.
A journalist rather than an academic, Jacobs worked regular gigs at Iron Age and Architectural Forum and contributed to popular magazines such as Vogue and Harper's. By the time she took a leave of absence from Architectural Forum to write what remains her most iconic book, The Death and Life of Great American Cities (1961), Jacobs was already starting to acquire a reputation as a fierce critic of conventional top-down planning.
She was not opposed to planning per se. Indeed, she believed small-scale plans were vital to cities' sustenance. Neighborhood parks were essential to urban vitality, for example, and their location required planning to be successful. But to work, planning — and governance in general — needed to be devolved to the neighborhood level, moving away from large-scale systems that concentrate authority and power. Jacobs was thus an ardent critic of regional planning and regional government. Regionalizing, or "amalgamating," made city government too far removed from the governed.
During the 1950s and '60s, Jacobs used her position at Architectural Forum to examine urban development and redevelopment. Though the magazine championed modernist city planning, Jacobs emerged as one of modern planning's chief critics during her stint there. Her journey from urban observer to planning critic began, as Zipp and Storring point out, as she examined how buildings, and then cities, worked rather than how they looked or were designed to function.
In the process, she started to develop her critique. "Philadelphia's Redevelopment: A Progress Report" (July 1955) reviews the city's redevelopment plans for 10,000 blighted acres. The city avoided large-scale slum clearing — what economist Martin Anderson would call "the federal bulldozer" a few years later — but still targeted large swaths of land for redevelopment using "a busybody concern with what private developers will be up to next." (It wasn't all bad, though: She lauded the city for incorporating some neighborhood features that reinforce such institutions as churches, schools, and playgrounds.) Another Forum column discusses the difference between "pavement pounders" — planners who walk around cities and neighborhoods to get a feel for the urban fabric and dynamic — and "Olympians," those who plan based on maps and statistics. Her appreciation for small businesses as the glue that holds neighborhoods together comes out in "The Missing Link in City Redevelopment" (June 1956), where she laments the tendency to think of businesses merely as storefronts or spaces, not as enterprises that also serve as social centers and community anchors.
July 8, 2017
The past was not just like today in fancy dress
My QotD entry yesterday (The Marxist influence on modern "Regency" romances) gets an interesting echo in this article by Megan McArdle:
Open a historical novel, and you'll find characters who would, sexually speaking, not have much difficulty fitting into the 21st century dating scene. Authors usually pay lip service to the era's taboos, and sometimes use them as plot devices. But even there, the assumption is that what is being suppressed, or happening on the sly, is pretty much the same as what 21st century Americans enjoy, or wish they were enjoying. Humans have been having sex for millions of years. How different could it have been?
Quite, argues sociologist Gabriel Rossman. (The link is frank, but not prurient.) Ask an anthropologist, or a classicist, just how different it can be. Even things that look superficially similar — Greek tolerance toward homosexuality, for example — turn out upon closer examination to have been quite different. It wasn't what we call "homosexuality"; neither the social nor the physical activity resemble a modern gay couple all that closely.
Since this is a family column, I will leave the frank discussion to Professor Rossman. But a couple of less … er … colorful examples may suffice to illustrate just how culturally and time specific sex actually is.
Take kissing. Pretty basic, yes? We might imagine that the cultural rules for when people kiss would vary, as indeed they do in our own culture, where very orthodox religious groups proscribe it before marriage, and libertines kiss strangers on national television. But it's hard to imagine that the activity itself really varies all that much.
Except it does. For starters, a whole lot of cultures don't kiss, at least romantically. It isn't necessarily proscribed; they just don't do it. The idea that kissing is a foundation for further sexual activity is to us so natural that it rarely occurs to any of us to question it, and yet, this is apparently a learned behavior, not an instinctive one, because in large cultural areas it is seen as weird and doesn't happen.
(And so it is, if you think about it. If you enjoy kissing, I recommend not thinking about it very hard.)
Is sex the same, without the kiss? In some aspects, obviously. And yet try to imagine the West's romantic literature, its poetry, its art and film, without the kiss. The result feels different not just in degree, but in kind.
July 7, 2017
QotD: The Marxist influence on modern "Regency" romances
Which gets us to why these romances of people sashaying around in costumes while being 21st century moderns go against the wall: It is the perverse and self-aggrandizing view of history of the modern Marxist.
Because their religion is all pervasive, it projects itself into the past. Forget that there was no contraception, there was no modern medicine and the deaths in childbirth were shockingly high and that it was for women eventually a number game: have children often enough and you will die of something going wrong with the pregnancy and the birth. Women are just like men in their view and as "entitled" to consequence free sex. Everything else would be an injustice.
In the same way everyone is "entitled" to being supported while doing whatever they please, be it painting or rescuing unwed mothers. Anything else would be "unfair." And since they all froze in kindergarten when "unfair" was the battle cry that would bring the teacher down, they think that complaint trumps EVERYTHING.
So they know those people in the past were just pretending at being unenlightened, but really were doing wrong ON PURPOSE. Which is why they hate the past and keep trying to remake it into the current-day-Marxists shining idol image which is always of themselves.
Sarah A. Hoyt, "What Has Gone Before Us", According to Hoyt, 2015-08-03.


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5,000 Expected To Join Pride Glasgow Parade
Pride Glasgow, described by organisers as Scotland's largest LGBTI festival, is being held at Glasgow Green on Saturday and Sunday.
A man has been arrested over two indecent assaults in a town earlier this year.
In the first incident in Livingston, West Lothian, a 21-year-old woman was attacked in Scott Brae early on Tuesday April 8, then almost a month later a 27-year-old woman was assaulted in Orchard Place in the early hours of Wednesday May 7.
Police made a number of appeals in the wake of the attacks and a 26-year-old man was arrested and charged over them yesterday.
He is due to appear at Livingston Sheriff Court tomorrow.
Detective Chief Inspector Phil Gachagan said: "Incidents like these are very rare but have a serious impact on the fear of crime in the community. We were very aware of the tension and worry these crimes caused in the Livingston area.
"Our dedicated inquiry team carried out a thorough investigation involving a large number of individual inquires which has resulted in the arrest.
"I'd like to thank the public for their patience and support while we carried out inquiries, particularly those who contacted police and came forward with information that assisted the investigation.''
Pride Glasgow, described by organisers as Scotland's largest LGBTI festival, is being held at Glasgow Green on Saturday and Sunday.
Reform Scotland said only an outright ban on short sentences could bring about change in the justice system.
The SNP leader admitted the word "national" could be "hugely problematic".
A police watchdog probe was launched after the remains of the 52-year-old were found in a house in Dumfries in February last year.
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subset: commoncrawl


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And lastly for everybody who doubted I can't live without you, please continue to inspire the fire that is my re-dedication to greatness y'all
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Ossining, NY Singing Lessons
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About Dorothy S.Close
About Dorothy
I recently graduated with my second masters degree from Teachers College, Columbia University in Music Education. I also hold a Master of Music and Bachelor of Music both in Vocal Performance. I also recently sang for the second time at Carnegie Hall - 9 months pregnant!
Curriculum will vary student to student. We will initially speak about goals, long-term and short-term, and what you hope to achieve. Based on this, I will tailor lesson plans to the needs of each student.
· ·
She first lets the student warm up and asks for short-term and long-term goals. From there develops a plan for the student to follow, that she feels will show the best results. She is always asking how comfortable one is whether with certain exercises, ranges, or songs and if the student is fine with her current curriculum or what the student prefers to work on first. You can tell she has a passion for music as we all do that are looking for lessons, and her goal is to help us accomplish what we want to with our voice to the best of our and her abilities. She also knows music theory really well and provides information, and she has a beautiful voice!
Dorothy S.
Dorothy S.
About Tamara W.Close
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About Tamara
In 2009, I received my BA in Music from Southern Illinois University - Edwardsville, IL where I studied classical and jazz voice. After graduating in 2009, I received a full scholarship to pursue my Masters Degree in Jazz Studies at Michigan State University, one of the premiere jazz programs in the United States under the d
While studying at Michigan State University, I toured with the MSU Jazz Orchestra and performed at prestigious events such as the Detroit International Jazz Festival; the Midwest Clinic in Chicago, IL; the East Lansing Summer Solstice Jazz Festival; the Lansing Jazz Festival; and the 2011 Elmhurst Collegiate Jazz Festival in Elmhurst, IL, where I was honored with an "Outstanding Soloist" award for Jazz Vocal Performance.
In 2011, I was also featured in I AM ENTERTAINMENT magazine where my music was described as "...sheer and unexpected delight! Her music takes you to another place. That is what great music is supposed to do." In May of 2011, I was also featured on the cover of REVUE Mid-Michigan magazine.
After receiving my Masters Degree from MSU, I moved to New Jersey to pursue my teaching and performing career. I currently teach private lessons and am the Founder and Director of Music Beyond Measure, which creates music recovery programs for trauma survivors. Formerly, I was the Vocal Jazz Ensemble Director for Jazz House Kids in Montclair, NJ. In addition to teaching, I also perform with different bands in the NY metro area.
I have been fortunate to perform with an elite list of jazz musicians, such as Sean Jones, Tia Fuller, Rodney Whitaker, Sean Dobbins, Perry Hughes, Wes Anderson, Ron Blake, Jim Alfredson, Etienne Charles, Diego Rivera, Steve Ritchko, Paul Keller, and many more throughout my jazz career. I also had the honor of being chosen to perform for a master class with Grammy Award-winning artist, Esperanza Spalding.
Although I am mostly trained in jazz voice, I work with singers in various styles, such as pop, R&B, gospel, and musical theater. Whatever style you are interested in singing, I know that I can help you to approach singing in a way that will maximize your vocal potential.
*** Lesson Details ***
I believe that music is for everyone! Whether you are a beginner or a professional, I want to help develop your voice in the healthiest and the best way possible. Whatever your goals are for taking private singing lessons, I will be happy to customize a program according to what it is that you would like to accomplish.
It is extremely important for my students to be well-rounded musicians. Whether you are a country or Broadway singer, you will learn how to sing using classical technique. Aside from technique, you will learn everything from how songs are constructed to how to lead a band and everything in between. No matter what it is that you want to learn, I guarantee that you will have fun while doing it and you will learn how to fall in love with your voice!
*** Studio Equipment ***
I have an in-home studio with a keyboard, keyboard stand, digital recorder, microphone, professional amplifier, sheet music, binders, and pencils. Students don't have to bring anything.
*** Travel Equipment ***
When providing in-home lessons, I would prefer if the family provided a piano or a keyboard. However, if none of these are available, I will be happy to bring any equipment needed.
*** Specialties ***
Even though I am a jazz vocalist, I am happy to teach various styles, such as pop, R&B, gospel, musical theater, etc.
· Singing · In studio
· Singing · In home
· Singing · In studio
Tamara W.
Tamara W.
About Elliott A.Close
For students with a pop or r&b influence, I like to keep things simple; Building an understanding of legato line and freedom from tension through technical exercises that then translate directly into songs.
About Elliott
*** Lesson Details ***
My lessons are generally split between technical work/ warm-ups and repertoire. I like to adapt my concepts to a students individual personality and capability, in that
*** Studio Equipment ***
Programmable Digital Piano and Recording Equipment.
*** Specialties ***
The approach I take to the voice is based in the tradition of classical bel canto singing. It is always my goal to help students understand how to use their breath and body to produce sound that is free of tension and, therefore, beautiful.
· Singing · In studio
· Singing · In studio
· Singing · In studio
Elliott A.
Elliott A.
About Marni G.Close
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About Marni
I teach students of ALL AGES to sing with correct vocal technique including breath support, tone, pitch, posture and more! The "Bel Canto" style of singing is taught in all cases no matter what style of music. This means that the voice should be free from tension, stress and strain! Learn to sing Rock, Jazz, Classical,
Many, many of my students have gone on to place in the renowned Bergen County, North Jersey Regional, and All State Choruses and consistently receive leading roles in school, community, and regional theater productions! I also have current and past students who have gone on to have roles on Broadway including an upcoming production of Annie! I've also had students who have gone on to have their rock and heavy metal bands place in local and regional band competitions and be signed!
Whether you want to learn how to sing Karaoke better, audition for American Idol, prepare for auditions, or really seriously work on your vocal technique, i'm the teacher for you!
*** Lesson Details ***
Our lessons will be filled with music, support, encouragement and success! I teach to the whole student and we will get to know one another well so I can tailor your lesson specifically to your needs, goals and dreams! By taking lessons, you are taking an amazing step to improve not only your skills as a performer but also your self esteem! When you become better at an instrument or your voice improves so will your outlook! Its a natural fit!
Within 3-6 months, you'll have learned many standard warm-ups and vocalises that you can have in your back pocket for any opportunity that comes your way. If you are a singer, you will have learned how to breathe correctly for singing and implemented great technique into the style music of your choice. You will also have learned quite a few songs, starting from simple to more advanced as we go along!
For the beginner piano student, we will begin understanding basic Music Theory and scales. We will work on finger position and learn basic tunes starting with one hand at a time. soon you'll be learning how to play simple songs with both hands and accompany yourself as you sing along!
For singers, we'll learn about vocal techniques, breathing, relaxation and getting your best vocal sound and discovering how to perform a song with great diction and presence! We'll also learn performance techniques, how to work with a microphone, have a great stage presence in front of a live audience and begin learning how to read music and even get familiar with the piano keyboard!
All of my current students will say that they enjoy our lessons because each one is tailored to the individual and their goals. Its a wonderful and exciting journey that we embark upon together! I love seeing my students progress and learn over the course of our time together!
I encourage all of my students to get out and perform and i'm ALWAYS looking for opportunities for my students to do just that (unpaid AND paid!). Since music is a performing art I try to schedule two recitals a year with my students. These recitals are completely optional (but encouraged!) and take place in a local church hall or other performing space. They are done is a low stress and fun way ...and afterwards, i always provide some sweet treats for the parents and students that attend! Its a super fun way to display how hard my students have been working! Each student leaves the recital with their name and piece in a printed program and a certificate!
My studio is located in a safe, family home on a quiet street with ample street parking. The home is a smoke-free environment. We have a cute little Shih Tzu but not to worry if you have any allergies. He stays in his house downstairs and away from the studio and he never enters the studio room.
Let's make some music!
*** Studio Equipment ***
second floor up stairs, bathroom, desk, f/w keyboard seating for parents, method books, music stand
*** Travel Equipment ***
I will provide any necessary music books, pitch pipe, and possibly music stand. Student must have a keyboard or piano.
*** Specialties ***
I specialize in the Bel Canto style of voice teaching. This means an easy and fluid voice that can be applied to ANY STYLE of music! Whether you want to sing pop, rock, musical theater, classical/opera I will help you to perfect your style and technique!
· Singing · In home
· Piano · In studio
· Piano · In home
experience with many different kinds of teachers during school days, nursing school days and university days....
I recently decided to try to learn to play the piano.
Marnie is a patient, kind, skilled and wise teacher. she is always pleasant, knows her subject and is very positive while reminding me of the ins and outs of fingering and helps me learn to read music as well. I highly recommend her as a piano teacher and I am sure Marnie teachers all her subjects very well indeed.
I feel very fortunate to have this opportunity to learn how to play the piano now that I am retired. Marnie encourages me, doesn't let me get away with not
practicing enough, is kind , is pleasant and is a natural teacher who knows her
subject well. I am one lucky older woman to have encouragement from my husband, and to have a super teacher as well.
Marnie also teaches voice for those of you who need voice lessons
Thanks for asking!
Marni G.
Marni G.
About Gabriel W.Close
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My approach is best defined with one word: natural. Everything about you is unique, including your voice. Imitating denies this simple fact. So I'm all about stripping away all imitation, getting you in touch with your voice and then making that signature voice of yours strong and flexible. Your voice should be as unique as you are. I work with all levels and if you don't like my lessons - I will give you your money back.
About Gabriel
Gabriel doesn't just possess a formal college education, but more importantly an "informal" education based on his experiences on the stage and in the studio in the real world. Gabriel's approach is direct, simple and to the core, getting straight to the heart of the matter: developing the voice from the inside out by breaking things down to the essentials.
An expert at creating vocal warm-ups, vocal exercises, and vocal cool-downs and deeply passionate about psychology, this is your guy for learning to keep your voice in shape and having access to helpful insights and advice. Learn to cultivate a healthy attitude and how to crea
With a kind and compassionate, yet stern and strong tone, Gabriel will work with you to develop the focus and dedication necessary to get your voice beyond what you even knew was possible.
*** Lesson Details ***
Regardless of the genre you sing, developing your voice with Gabriel's help will improve your tone, range, power and overall ability. You can expect to become a much better singer without losing any of your personal and unique traits.
His approach isn't a technical or mysterious one. It's all about re-learning the facts about how the voice functions best.
You can expect to clear away a lot of confusions regarding how the voice works and to take away the guesswork from the vocal development process.
If you want to improve your voice quickly, being guided by someone who understands how it all works and by someone who was where you are today and is now closer to where you want to be in the future is the best way to go. And Gabriel is that guy!
Gabriel's approach is quite simple, yet very effective at developing the entire voice.
"There are two basic levels that every singer must address. The first one is addressing the condition of the body and voice and the second one is addressing the functioning of the voice and body."
I - Silent Foundation
The silent foundation refers to the condition of your instrument as it is silent. If we are looking at the body as an instrument that sings, we first have to make sure that our instrument is in good condition. How healthy is your instrument? Is it well rested, well hydrated and loose? Or is it tired, dehydrated and tense? As you could guess, the condition of your instrument will have a significant impact on the quality of the sounds you make. So the first thing to be addressed is how your instrument is before it starts making sound.
II - Conditioning of Singing Behaviors
This is when we get busy. Once we have a well rested, healthy, hydrated and relaxed instrument we can start working it out. The goal is to condition our singing behaviors to be reflexive, reliable and strong. The way to do this is through a series of vocal exercises that will condition your voice to respond to the desires of your heart. Whatever it is that you want to express will be possible once your instrument is conditioned to the point where there is no gap between what you want to express and your ability to do so. Learning to sing is all about learning how to express yourself without barriers. You should be able to develop enough range, power, control and skill so that you can express your heart without feeling like you're incapable of achieving what you pursue. To achieve these abilities training is often necessary.
*** Specialties ***
Confidence Building, Warming-Up, Releasing Tension and Strain, Eliminating Stage Fright, Expanding Range, Improving Tone, Developing Vocal Power and Presence, Eliminating Doubt, Simplifying Singing, Strengthening The Voice, Improving Pitch, Building Stamina, Increasing Creativity, Performance Tips, Artist Development, Acting and Songwriting.
Once we have a good foundation any contemporary genre or style can be improved.
· Broadway Singing · Online
· Singing · In studio
· Vocal Training · In home
Gabriel W.
Gabriel W.
About Stephen H.Close
Pop/Rock singing, Audition Prep, On Camera Craft, Songwriting Guidance.
About Stephen
Hi, I'm Stephen.
I'm a vocal trainer, acting coach, and songwriting teacher. My specialty is pop/rock, on camera, and helping songwriters find their voice, both lyrically and sonically.
Tap Into Your Artistry (TIYA) is the ultimate gym for singing, acting, and songwriting.
Discover the fastest and most efficient way to build, strengthen, and condition your voice. Simple, safe, systematic vocal exercises that embrace a Zen like approach with an athletic mentality.
I'm also an AEA and SAG-AFTRA actor and ASCAP songwriter and producer. If you want to learn more about acting in movies, performing on Broadway, writing your own songs, and developing show-biz career strategy, I help TIYA members every day achieve their artist
I have been singing since I was 3, anything and everything from Michael Jackson to Elvis Presley to Luciano Pavarotti. Originally from Colorado, I studied music/theatre, as well as vocal pedagogy at The University of Colorado at Boulder, where I graduated with highest honors. I made my Broadway debut in "The Phantom of the Opera" at age 24. I also performed in "Chess in concert" as a featured rock tenor soloist at the New Amsterdam Theatre on Broadway with Josh Groban. I have understudied and performed lead roles in the first AEA National Tour of Andrew Lloyd Webber's "Whistle Down the Wind." Regionally, I have played many lead roles all over the United States in productions including "Les Miserables," "Miss Saigon," "The Wild Party," and "She Loves Me."
As an ASCAP recording artist, currently I am working in the studio with a full production team on my first pop/rock album. I also often sing on demos for producers and write songs for other artists in many different genres.
As a TV/Film actor, most recently I was on set with Marvel's TIARA 2 on Netflix. I have booked lead roles in 4 SAG-AFTRA short films, as well as the comedic lead in a SAG-AFTRA Web-series. I was called back for producers as a Series Regular for "The Knick," an episodic series produced and directed by Steven Soderbergh on Cinemax.
My audition prep will help you master your sides for any playing space; Broadway plays/musicals and especially on camera.
TIYA clients include (aspiring) Broadway performers, Film and TV actors, singer-songwriters, news anchors, dancers, comedians, CEO's all over the world, as well as karaoke enthusiasts, and songwriting hobbyists.
My TIYA members have performed on television in Smash, Glee, and venues around NYC ranging from The Underground, Le Poisson Rouge, Drom, Cornelia Street Cafe, Arlene's Grocery, to the Broadway productions of Ghost, Sister Act, Evita, Wicked, West Side Story, South Pacific, The Phantom of the Opera, and Rent to name a few.
*** Lesson Details ***
We will always work on whatever you want.
For Singing, as a vocal technician/trainer I am like going to the gym for your voice. My exercises are safe, simple, and most importantly, I teach you how to practice correctly.
For ACTing, we can explore both the foundation itself with monologues and scenes, as well as the tricks of the trade mastering the camera frame and how to create memorable auditions for TV/Film.
For Songwriting, we can explore the fundamentals of both lyrics and music, as well as catchy hooks, production, and song structure.
You may use my time however you wish (Voice, Acting, Songwriting, or Artistic/Career guidance).
Most vocal sessions will usually be a combination of strengthening/ conditioning exercises, and then exploring/performing a song.
Most ACTing sessions will be theatre monologues, TV/Film sides and/or On camera auditioning craft.
Career consultations usually include how to get an agent, headshots, branding, and marketing to align your artistic dreams with a strategy for success.
*** Studio Equipment ***
Yamaha PSR 950 61-key arranger keyboard
Sony Handycam DCR-SR 100
Fovitec Studio PRO - 5' x 6.5' Gray/Blue screen
MacBook Pro 13-inch: 2.4GHz
with Retina display
Yamaha FG700S Acoustic Guitar
Bose Wave Music System
iPhone 6S plus
*** Specialties ***
The TIYA vocal training method is uniquely my own as it combines both Bel Canto and Speech Level Singing. Emphasis is on developing a relaxed, released, authentic vocal timbre to sing in any style. Concepts explored include: Coordination, Registration, and Intonation. Chest, Head, Edge, and Pharyngel registration, 2 instruments in 1, posture, breath management, vocal cord adduction, trigger phrases, ring, consistency, and more.
· Acting · Online
· Singing · Online
· Broadway Singing · Online
Stephen H.
Stephen H.
About Jonathan E.Close
Ready to try something new or build on your skills? My lessons are fun, engaging and productive! We will work on:
*breathing for singers
*vocal range
*jaw, neck, shoulder and/or tongue tension
*dynamic range
*musicality...and so much more!
Working with you on all aspects of musical preparation and performance skills in song and any number of styles. It is all about getting you comfortable, breathing correctly and supporting a full, healthy and unique sound.
About Jonathan
*breathing for singers
*vocal range
*jaw, neck, shoulder and/or tongue tension
*dynamic range
*musicality...and so much more!
As a graduate of the Juilliard School and having performed worldwide, I want to share how fun, healthy and effective sing is possible with consistence and informed work! No matter your goals, lets build on the skills you already poses and confidence in your own abilities. Let's sing!
The key to great singing is enthusiasm, focus and some hard work. I have worked with students of all ages and my goal is to get you singing the right way and take you from shower diva to confident performer.
As a professional singer and graduate of The Juilliard Sch
With performances at Carnegie Hall and with major orchestras such as the Toronto, Vancouver and Seattle Symphonies and around the world, I feel this gives me a unique perspective on the challenges and successes that are possible with a fun, yet focused and healthy technique based approach. Whether a beginners, intermediate or advanced singers looking to hone your skills in musical theatre classical, jazz and even pop voice.
My goal is a well rounded, relaxed yet supported vocal tone with a focus on breath, and feeling rather than by ear. This ensures that no matter what the repertoire, the situation, or the acoustics of the room, you are always focused on healthy, articulate and projected singing.
· Singing · In studio
He's a great singing teacher! Thank you so much!
· Singing · In studio
· Opera Voice · Online
Jonathan E.
Jonathan E.
About Cândida L. B.Close
In English, Español ou Português! This is the time to practice jazz, pop, Brazilian tunes, as well as African and Latin ones. The training includes related technique to the style, pronunciation and melodic interpretation. We use the ipad/tablet to plan a special program of practice for you. Music and fun!
* Classes in studio in NYC too. Please ask for it by message!
PROGRAM: Using vocal exercises from Natural Technique (Linklater Method), you will work on connecting your voice, breath and body movements. Practicing rhythms, melodies, harmonies, chords, you will develop your musicality and apply everything in your chosen repertoire. (Special call for Brazilian methods used to develop rhythm and musicality!) Using apps, videos, tracks, you will have amazing material to follow along, read lyrics, watch references and read your special instructions. Choose to add music theory and harmony, reading scores to your program if you wish. Special projects in seasons cycle will happen to ...
About Cândida L.
I'm a Brazilian musician around 30 years old, MASTER in Piano Performance, Professor at a University in BRAZIL and in the US, also Bachelor in Singing and Composition. I love interacting with classes of piano and Jazz singing, for kids and adults. I have a big repertoire of classical music, pop, musical theater and all the Brazilian songs. Also, the practice can include harmony studies, ear training, improvisation and composition. The concept of my methodology is using creativity, technology and good music to make the students play all the songs they want and develop skills. I can teach in English, Portuguese or Spanish.
PLAY Music - LEARN Music - CREATE Music
Use the piano or voice to play a great varie
Add to your training elements of Music Theory, Harmony, Music History and Ear Training with interactive material online and books.
Creativity!!! Jam every class, learn to songwrite, to create your melodies, change chords, write lyrics and produce your songs! Acoustic and digital support, many tools to express your ideas, kids to adults!
FOR ONLINE CLASSES, I developed a great structure working with your ipad/ tablet, Skype and more, to work everywhere in the world. Ask me more about it!
See you soon!
I recommend starting with an online or in studio classes of 30 minutes. Ask me how and I help you setting everything for an amazing, affordable and comfortable class!
In home classes, minimum legth of 45min.
Want a longer class, double or mixed subjects like piano and singing? Let me know!
I can also work in groups, so invite your friends and family!
Any doubt or special case? Write me a message! I'll be happy to consider your request!
Las clases también pueden ser en ESPAÑOL y con el repertorio latino!
Ou se preferir, com a alegria de se falar PORTUGUÊS em aula!
Professor Cândida L. Borges is an inspiring world class musician, classically trained and rooted in Brazilian culture. Her artistic work mixes folkloric music, bossa nova, pop, latin and african music, jazz, and all styles of world music. After 15 years teaching in a University in Brazil and in the United States, now she created a program in which she offers her experience as a music educator for all ages music students and from all over the world. Master in Piano Performance, Bachelor also in singing, composition, studies in music production and electronic music, sound therapy, special needs and coaching, Professor Borges is a true educator and artist.
Her methodology consists of modern approach to music education and music therapy, that connects creativity, repertoire, technology and skill development. Choose your subject: piano, keyboard, jazz voice and singing, music theory, ear training, harmony, songwriting.
Also, engage in a warm community that shares music, shows, meetings and encouragement!
You choose to learn in Portuguese, Spanish or English. Practice music and a new language at the same time.
Huge possibilities, many styles. Expertise on classical, Brazilian and Latin jazz, pop. Do what you like!
Ms. Borges combines her formal academic studies in University as an artist and educator with studies and certifications in Dalcroze, Linklater, improvisation, circle singing, music production, technology and specially her experience in studios and playing with musicians all over America. Special call to "O Passo" – a Brazilian methodology on rhythm and pitch, connecting body and voice to learn music, performance and reading. Fantastic!
You can connect by Skype or you can also choose to use FaceTime or Google Hangout. There are easy instructions that you receive to make sure you are all set to start. You have the chance to record your class and you will receive a link with all the material we use in class. In tour or local, classes must go on!
If you are in New York Area, come for class in one of the studios. We are at midtown west, in great locations and professional studios.
Prices starts at $30 for 30 minutes online lessons. You can choose between 30, 45, 60 and 90 minutes lessons. Combo choices of more than 1 subject – you can combine piano and singing, or singing and songwriting for example.
You will start making part of our special projects, that include shows, concerts, events, CDs, month challenges, gifts, and other surprises. Touring different cities, you will make part of a community that gets together to watch shows, to perform and to travel – our performances happen in different cities, including New York and Rio de Janeiro! If you are looking to explore the world, might be a good opportunity!
Once you sign up, you will be connected to our links.
Check my reviews and join us today!
· Singing · In home
· Piano · Online
· Singing · Online
I highly recommend Candida, and I'm looking forward to continuing my music education with her.
Cândida L. B.
Cândida L. B.
About Elena D.Close
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I Havel
found throughout my 25+ years of teaching that learning to sing is much deeper than just singing. It is also learning confidence, how to become an artist how to develop and how to break through emotional blocks that we have all put on ourselves. It is a great way for children, teens, and adults to become stronger, happier, and more confident individuals not only in singing, but in their life. I have seen this confidence blossom over and over especially with my students.
About Elena
· Singing · In studio
· Acting · In home
· Singing · In studio
Elena D.
Elena D.
About Priyanka M.Close
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Music acts as a medium of expression and communication and it acts as a great tool to foster positive changes in people.
Voice is the most unique instrument and I take great pleasure in cultivating and harnessing its full potential through scientific vocal techniques and aesthetics.
A student's overall vocal and musical development is utmost interest.
About Priyanka
I am a masters in music :Conservatoire de Rayonnment Regional de Reims(France),specialized in operatic singing.Performed in opera productions of Orfeo, La Boheme,The little sweep,La poupée etc and sung works of Mozart , Handel,Schumann and Schubert in various concerts around Europe and Asia.
Voice students can expect to improve week to week in their vocal technique.Voice is the most unique instrument and to cultivate and harness its full potential through scientific methods and aesthetical blending is immensely pleasurable to me.I also teach Solfegio and reading of music as they form the backbone to a thorough music study.
I teach students o
As a professional artist I travel around US and sometimes make trips to Asia as well.I am currently working with one of the assistant conductors of the Metropolitan Opera.
I look forward to meeting you and working together to make some great musical development.
Priyanka M.
Priyanka M.
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My 10 year old daughter Spencer has been wanting to take a lesson for so long she's always singing Disney so
When I first met Adam his smile was infectious, and I could already tell he knew what he was doing, and this was the right choice.
He sat down at the piano we have at home, and began doing scale work, within minutes time, I could already see that Emily was already enjoying the lesson.
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I couldn't recommend him enough!"
She is a teacher first and foremost and doesn't sing during lessons, but on occasion when I didn't understand an exercise or progression and asked her to sing it- my god. She has a voice that makes the air in the room change.
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I've been taking classes with Rachel for about six months now with no prior singing experience and she's done a great job! Workin
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Which Products and Throat Remedies for Singers Actually Work?
Feeling a sore throat coming on, or just want to keep your voice in the best shape possible? Here's a rundown of the products and throat remedies to keep on hand, as recommended by Hayward, CA teacher Molly R... When you have a performance coming up, staying healthy should be a priority -- but sometimes, your immune system has other plans for you! Other voice teachers have shared their tips on the blog for whether or not you should sing if you're sick, but if you're feeling OK, you ma … Read More


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MCW Design & MFG, LLC - 1601 N.W. 93rd Ave. MIAMI, FL 33172
MCW Design & MFG, LLC protects your privacy and security
© 2005 Fortte, supplier of high quality Italian leather pda cases, handheld cases, and pda accessories.
MCW Design & MFG, LLC is not responsible for any typographical errors
Monday, May 8,2006


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There are many meanings that you could give to this symbol. The details in the dream are just as important as the bridge itself. The first consideration should be given to how much you travel. The bridge can be interpreted literally if it is a part of your daily commute. On a more theoretical level, […]
Search Results for: dream crossin a high bridge
Here's what we've found for you
Bridge of the Day of Judgement
(arb. Sirat) This is the bridge people have to walk on after the Day of Resurrection to meet their Lord on the Day of Judgement. The ease of crossing it depends on the weight of deeds one is carrying. Some cross like lightening, while others have to carry their burdens and move at varying paste. […]
(See Arched bridge; Bridge)
A Bridge
A bridge has the same interpretation as a nial.
You see a broken bridge: your path to success is blocked by authorities
The evaluation of one's responsibilities and achievements prior to any promotion; see "bridge"
The symbol of a bridge signifies the emotional connection between us and other people or aspects of our lives.
(China, interpretation of dreams) You see a broken bridge: your path to success is blocked by authorities
In waking life there are two times in the year when there are very high tides – the spring and the autumn. Thus, in dreams, an exceptionally high tide might signify those times or that our emotions are running at a particularly high level. A moon over a moving tide would, at a certain stage […]
To see the water of a canal muddy and stagnant-looking, portends sickness and disorders of the stomach and dark designs of enemies. But if its waters are clear a placid life and the devotion of friends is before you. For a young woman to glide in a canoe across a canal, denotes a chaste life […]


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"Self love is the foundation of your worth, health and success. It enhances every area of your life including attracting the right partner."
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Please Select Your Car Model
TopsOnline offers Mitsubishi Eclipse Convertible Tops for sale. If you need to replace your Eclipse Spyder Soft Top, simply click the appropriate link above to shop the many Eclipse Spyder Convertible Tops that we have available. We offer original colors and materials, so shop for your Spyder Convertible Replacement Top today.
The Mitsubishi Eclipse convertible top has proven to be one of the company's most popular models. The Eclipse was originally conceived through the company's relationship with Chrysler. In the early years, it was also sold as the Plymouth Laser and the Eagle Talon. Later model years moved farther away from the Chrysler vehicles.
Offering the Mitsubishi Eclipse top as a convertible also boosted the sales of the Eclipse Spyder convertible top option. The Eclipse Spyder is the sport option of the Eclipse line, which (depending on the model year) included a more robust engine, and a more luxurious set of interior and trim options.
For general convertible top care and cleaning tips, please click here. For helpful convertible top diagrams, please click here.
Cars that are recommended to give a lot of boost to your image with a little bomb to your bank account.Read More
Learn more about the history of the Mitsubishi Eclipse convertible and what made it so popular.Read More
An explanation of EZ ON's window bonding systems, and why they include a lifetime window bond warranty.Read More


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Question about Whirlpool GGW9250PL Gas Dryer
Looking for the initial gas line hookup behind the back plate, it's been stored for two years and the line was disconnected.
Posted by Angela on
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Aug 01, 2013 | Kenmore 62602 Electric Dryer
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it was largest tree again almost this year, a lot of crowd but it is always memorableFebruary 12, 2017 at 5:35 am
Here I come this year to NYC guys, see ya.June 27, 2017 at 9:07 am
Crowd by Rockefeller plaza is always special and everyone are so friendly. Love this atmosphere and every year we visit, my entire family. We have two big children and we love to be there together. Hope you will make more videos about plaza it is a great place for families. BTW your 'concept' is something refreshing keep it up guys.July 24, 2017 at 1:51 pm


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MSI X48 Platinum Motherboard
MSI's BIOS of choice is AMI Megatends' AMI BIOS interface which has been used by them for quite some time. AMI BIOS has managed to really pull out all the stops in recent times to create a BIOS interface that is easy to use as well as giving a familiar feel; after all, Award has been around for ages and is the most used BIOS out there. For the overclocking features you need to go to the Cell Menu section.
Adjust CPU FSB Frequency: 200 - 800 in 1MHz Increments
Adjust PCIE Frequency: 100 - 200 in 1MHz Increments
Adjust PCI Frequcney: 33.3MHz, 33.6MHz, 37.2MHz, 42MHz
CPU Voltage: 1.3250v to 2.1v in 0.0125v increments
Memory Voltage: 1.5v to 2.75v in 0.05v Increments
FSB Termination Voltage: 1.2v to 1.44v in various increments
NB Voltage: 1.25v to 1.83v in various increments
SB Voltage: 1.5v to 1.83v in various increments
Well, all we could say was "Wow!" when it came to overclocking this board. So far we have only tested the X48 DDR2 variant, and with the extra headroom that DDR3 offers we hoped to get a better bus speed. Here we managed to get 558MHz out of the board, and while it still hasn't matched the 580MHz we have hit with the P35 and DDR3, it's a great start for X48 and DDR3. Even X38 and DDR3 hasn't managed to get this far. Intel's hand picking seems to be helping here.
Important Editor Note:Our maximum overclocking result is the best result we managed in our limited time of testing the motherboard. Due to time constraints we weren't able to tweak the motherboard to the absolute maximum and find the highest possible FSB, as this could take days to find properly. We do however spend at least a few hours overclocking every motherboard to try and find the highest possible overclock in that time frame. You may or may not be able to overclock higher if you spend more time tweaking, or as new BIOS updates are released. "Burn-in" time might also come into play if you believe in that.
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- Page 1 [Introduction]
- Page 2 [Specifications]
- Page 3 [The Box and What's Inside]
- Page 4 [The Motherboard]
- Page 5 [BIOS and Overclocking]
- Page 6 [Test System Setup and Memory Performance]
- Page 7 [Benchmarks - PCMark05]
- Page 8 [Benchmarks - Adobe Premiere Elements 3.0]
- Page 9 [Benchmarks - HDD Performance]
- Page 10 [Benchmarks - 3DMark06]
- Page 11 [Benchmarks - Prey]
- Page 12 [Benchmarks - Battlefield 2142]
- Page 13 [Benchmarks - Far Cry]
- Page 14 [Power Consumption Tests]
- Page 15 [Final Thoughts]
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