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Music (American History Through Literature)
Music composition, publication, and performance in the United States during the antebellum period developed and expanded from localized practices to a recognized and influential national culture, aided by the rise of new technologies in printing, manufacturing, and commercial distribution. Following the wars for independence from Britain, individual states retained their strongly differentiated ethnic and religious populations, but by the end of the Civil Warespite the divide between North and Southecognizably "American" forms of music not only spanned geographic expanses but also had even begun to represent the United States abroad.
Music was always heard live, and was thus ephemeral. Other than the barrel organ and music box, no sound machines existed until late in the century (Thomas Edison patented his "talking machine" in 1877). For most Americans music was ubiquitous and casual, performed or encountered in the homes of their family and friends, at school, and in public venues and commercial establishments. Musicians and patrons employed music for different reasons in those spheresor entertainment, moral training, and solace within the home, or as an essential component of the curricula of female seminaries intended to mold middle-class mothers, for example. Vocal and piano skills were highly prized and families brought music teachers into their homes to train their daughters. Music was more than household entertainment. It was a medium for instilling social and ethical values.
In all its genres, music reflected the issues to which American writers were also responding and musicians drew on literature as a source of text and merged the two arts to create public and private performances. At the same time, writersspecially poets and journalistsesponded to the sounds around them. Walt Whitman (1819892) most famously echoed the rough voices of everyday life in "I Hear America Singing" (1860), and no other American poet's works have been set to music more often by later songwriters who are attracted by his American imagery as well as his "rhythmic elasticity" (Sullivan, p. 97). Whitman was opera critic for the Brooklyn Daily Eagle in the 1840s and 1850s and his poems abound with musical references. His Drum-Taps (1865) "bridges the gap between written and aural modes of representation" (Picker, p. 2). Edgar Allan Poe (1809849) employed musical sounds, not only in his poems but also as evocative imagery in his stories. His 1846 essay "The Philosophy of Composition," was a manifesto for authors and contemporary American composers.
Only since the 1970s have scholars turned their attention to the music of this era, in contrast to the relatively abundant scholarship on novels, poetry, short stories, and other forms of literature. Whereas the writings of Poe and of Harriet Beecher Stowe (1811896), for example, have prompted symposia, monographs, and articles from all perspectives, very few studies exist for comparable figures in music. One reason is that until the 1990s few libraries catalogued their collections of antebellum music and fewer still have assembled accessible archival collections.
From the beginning of European settlement in North America, music was a useful art, and the first book published in the English-speaking colonies was the Bay Psalm Book (1640) for singing sacred texts. In 1789 the new constitution established the legal concept of copyright that included music as a form of literature, and music publications were an important if small sector of the nation's early publications. When Congress reestablished its library after the War of 1812 by purchasing Thomas Jefferson's collection in 1815, it acquired not only his books but also his music, undoubtedly the largest private library of music scores in the country.
As Alexis de Tocqueville famously noted in Democracy in America, America lacked institutions. In 1820 there were few ongoing groups dedicated to presenting music to the public. But there was no shortage of musicians, and America presented a new market, especially for Europe's concert and theatrical composers and performers. Music traveled quickly with the touring musicians, and its styles and texts came to unify the nation to some extent. Some of those touring musicians adopted American ideals into their repertories and carried them abroad, representing America in other parts of the world, particularly the port cities of Europe and Asia frequented by travelers. In the 1840s minstrel performers began taking their shows to London and Glasgow and sheet-music imprints show that the songs caught on quickly there. Popular songs, especially those by Stephen Foster (1826864), were carried abroad where they were heard as something new, familiar inasmuch as they retained elements from Old World practices, but original and distinctly American.
Oral literature in the unwritten traditions of immigrant cultures was known to all ethnic and economic classes of Americans, but because of its ad hoc nature it went largely unremarked and left almost no documented descriptions. Published music, however, constitutes the largest genre of printed literature extant from the period. Twenty-four percent of all copyright deposits in the nineteenth century (more than 400,000 items) were music.
Vocal music was practiced in both the sacred and secular realms of American society. Protestant hymnody, which had dominated eighteenth-century American composers' output, flourished anew, fed on the one hand by the rural camp-meeting revivalist movement that simplified and intensified the redemptory imagery of Isaac Watts's hymns, and on the other by reform impulses in the established urban churches. American hymnody in the 1820s through the 1850s, like the theological and public education movements to which it was tied, vividly reflects the grassroots passions and the top-down strictures that had become apparent in political and social discourse.
Lowell Mason (1792872), a bank clerk turned hymnist, joined with the foremost purveyor of European classical artistic standards in America in 1822 to publish the Boston Handel and Haydn Society Collection of Church Music, launching a new era of sacred-music enterprise. The book and its successors made both Mason and the Society wealthy and became the prototype for countless other songbooks both sacred and pedagogical.
If Mason helped shape a taste for high-church hymnody modeled on British hymnists and German oratorio, the blind poet Fanny Crosby (1820915) more than any other author fused the spirit of camp-meeting hymnody and revivalism with popular melody. As a girl she sang popular songs, accompanying herself on guitar; as an adult she was credited with writing more than nine thousand hymns, spurring publishers to issue inexpensive hymnbooks for Sunday schools and revivalist meetings and providing a model for gospel hymnody, most notably that of Dwight Moody (1837899) and Ira David Sankey (1840908) after the Civil War.
The lyrics of popular secular songs constitute a significant printed literature. By 1870 the number of songs registered for copyright each year approached the number of books. The songs' musical styles throughout the century contrast classical (often Italianate and opera-influenced) style with ethnic or national elements but the textual influences are far wider. The musicologist Jon Finson distinguishes among several strains: early songs of romance, still bearing British genteel traits; the plethora of lyrics on loss and death in mid-century; and the growing fascination with transportation and communications after the Civil War. Throughout the century songs articulated varying views of ethnicity (representations of American Indians and Western European immigrants) and race (stereotypes became more hard-edged during Reconstruction). Dale Cockrell has shown that the origins of the racial characterizations lie in the antebellum urban literature (both printed and performed) about social class struggles, popularized particularly through the rise of blackface minstrelsy.
One songwriter who stood at the juncture of these themesomance, loss, technology, ethnic representation, and classas Stephen Foster, who was the first American songwriter to rely on public sales of his songs for his livelihood. His first published song (at the age of eighteen) was "Open Thy Lattice Love" (1844) on a poem by the American poet and journalist George Pope Morris (1802864), a quintessential idealization of the distant object of desire, unapproachable except through music. Foster's first hit, "Oh! Susanna" (1847), with his own lyrics, contrasts the dangerously destructive power of electricity (the telegraph) and steam (riverboats and railroad engines) with white Americans' preoccupations with love, entertainment, and travel. Foster sharpened the irony by putting a banjo on his singer's knee and setting his words to a polka, the latest social-dance fashion just arrived from Europe.
Foster grew up in Scots-Irish genteel society in Pittsburgh, the urban industrial north. His representation of the South and southerners was entirely imagined, distilled from stories in nationally distributed domestic magazines to which his mother subscribed. Foster also drew on the first-person accounts of the bonded African American servants and laborers around the Foster household, of his mother, who grew up on a plantation in Maryland, and his father and next-older brother, both of whom participated in commercial trade along the Mississippi River to New Orleans. Foster wrote only two dozen songs about the South, all for minstrel performers, and it is largely those songs that sustained him financially, even though he wrote more than 280 songs, hymns, piano pieces, dances, and arrangements before his death in 1864.
His lyrics and music of love and loss, such as "Jeanie with the Light Brown Hair," "Gentle Annie," and "Beautiful Dreamer," which continue to epitomize antebellum sentimentality for the general public in the twenty-first century, were relative financial failures during Foster's lifetime. Public sales depended on mass media, yet Foster declined to promote himself or his music. Radio and television revived his sentimental songs in the twentieth century, but during his lifetime it was the theaternd in particular the minstrel stagehat brought his songs before the public.
As popular culture developed in the United States, the theater held a central role as the forum through which ideas, phrases, iconic characters, and music were introduced. Nearly all theater involved music, from the single violin in traveling tent shows to the pit orchestras that offered preshow selections, entr'acte music, and scene music underscoring action, songs, and ballets during productions at the largest urban theaters.
Following the practice in productions of Shakespeare, many of the plays presented on American stages included songs, usually interpolated to suit the mood, but sometimes freshly composed for the occasion by the theater musicians. The newly written songs often distilled the essence of a character, as for example the "Hot Corn Girl" from the play of the same name (1853), a tearfully emotional depiction of the starving urchin that became iconic for the urban social welfare movement.
Even the strictly dramatic theaters had musical directors. Wallack's Theatre in New York, for example, engaged the city's foremost theater conductors, who hired the musicians, led the pit orchestra during performances, and chose or wrote the music for each production.
Americans created theatrical works across a full range of genres from plays with inserted incidental music and songs to grand operaith completely original libretti and music. The plays were easier to create and cheaper to produce; they were thus the most ubiquitous. Among composers, John Hill Hewitt (1801890) perhaps best represents the full array in his eight works for the stage written between 1838 and 1879, ranging from plays to operettas. The editors of his collected works note that "he considered himself an artistic littérateur as well as composer [and] wrote his own lyrics and dialogue"(p. xviii).
The musical practices of underscoring dramatic scenesn essential part of film and television in the twentieth centuryere well established by the 1820s. Romance dramas adapted from novels were popular throughout the period. Many were staged as melodramas, plays in which music served both aesthetic and psychological functions in telling the story. Melodramas of Alexandre Dumas's novel The Count of Monte Cristo (1844845) appeared in New York as early as 1848 and became central to the careers of such notable actors as Charles Fechter (during the 1860s and 1870s) and James O'Neill (1880s on). Besides the usual theatrical overtures and entr'actes, the music for melodramas consisted of "melos," brief formulaic pieces timed to accompany the action of the script: sudden entrances, duels, poignant and untexted moments, and such cues as "hurry music" that accompanied chase scenes.
Theater and music helped shape public notions of ethnic difference. Melodramas on Indian themes appeared even before 1820. The musicologist Michael Pisani has identified at least thirty-five "Indian" plays with music that were performed between 1830 and 1850nd that was before the vogue generated by Henry Wadsworth Longfellow's The Song of Hiawatha (1855). Through these dramatic representations, American culture formed a sort of musical portraiture of Indians and developed notions of nationalism and exoticism.
Antebellum minstrelsy was arguably the most widespread genre of musical theater. It began as performed discourse over class issues, employing ethnic difference to heighten the contrasts. As the music historians Jon Finson and Dale Cockrell describe it, minstrelsy arose from both European and African carnival and "misrule" ritual that involved masking. George Washington Dixon (c. 1801861) used the blackface urban dandy character "Zip Coon" with silk hat, watch fob, and effete prose, to comment on social injustice in Boston and New York. Thomas Dartmouth "Daddy" Rice (1808860) portrayed the broken-down laborer in tatters, "Jim Crow." Through the 1840s minstrel performers such as George Christy (1827868) increasingly were known as "Ethiopian delineators" of stereotyped African American caricatures, and newspapers and magazines carried on a debate over the authenticity of their representations. The minstrel music and lyrics contained nothing from African American culture, beyond the instruments themselves. Not until Foster merged the sentimental parlor song with plantation themes in such songs as "Nelly Was a Lady" (1849), "Old Folks at Home" (1851), and "My Old Kentucky Home" (1852) did a new sympathetic and compassionate portrayal of slaves evolve, usually as the last segment of the minstrel show. These were the songs taken up by abolitionists, and they became mainstays of sympathetic black characters in the theater. As Frederick Douglass (1818895) told an abolitionist gathering in 1855,
It would seem almost absurd to say it, considering the use that has been made of them, that we have allies in the Ethiopian songs . . . "Old Kentucky Home," and "Uncle Ned," can make the heart sad as well as merry, and can call forth a tear as well as a smile. They awaken the sympathies for the slave, in which anti-slavery principles take root, grow and flourish. (P. 329)
It was not until after the war that audiences reinterpreted such antebellum songs as representing a mythical, rural past, a nostalgic utopia.
The literary work by far the most influential on American musical theater of the time was Harriet Beecher Stowe's novel Uncle Tom's Cabin. Within months of its publication in book form (1852) stage versions were produced in New England and soon thereafter in towns and by touring companies throughout the northern states. Many composers wrote songs for the "Tom shows," ranging from minstrel-inspired stereotypes in the wild Topsy dances to angelic evocations of Little Eva. As in melodrama, music was deemed essential to the pathos of the stage productions.
Opera, the most complex combination of music and theater, developed from the ballad operas popular in the British colonies. Immigrant composers and playwrights from England and Ireland supplied the earliest works. One of the first by an American-born author and composer was The Saw Mill (first staged in New York City, 1824) by Micah Hawkins (1777825), on a theme of the American frontier (then upstate New York).
Italian operaometimes in English versionsas in vogue from Boston to Philadelphia from the 1820s onward. Classic European myths found in opera entered American literature and were reinforced in the public imagination. For instance, the Englishman Rophino Lacy (1795867) in 1830 adapted the music, libretto, and significant details of Gioacchino Rossini's opera La Cenerentola (1817) for London audiences. His version, Cinderella, was imported to the United States in 1831. The music (not all by Rossini) and such elements as a glass slipper in place of the magic bracelet remained staples of the opera stage into the 1870s.
The vogue for opera prompted American authors to try their hand. William Henry Fry (1813864), who covered the arts for his father's Philadelphia National Gazette, wrote what is acknowledged to be America's first grand opera, Leonora (Philadelphia, 1845). The libretto was by his brother, Joseph Reese Fry (1811865), who had cut his teeth on arranging English versions of Italian opera. Both words and music were considered by critics to be noble attempts at high American art, but in the end the Frys produced unsatisfying imitations of their European models.
The selection of American literary sources by immigrant composers changed the native composers' viewpoint. Luigi Arditi's (1822903) La Spia (premiered New York, 1856), based on James Fenimore Cooper's novel The Spy (1821), was the most successful. American composers eventually caught the idea. At least three operas from this period were based on the writings of Washington Irving (1783859). Two composers found appeal in the way Irving combined European literary style with subjects from the American rural frontier: the libretto of James Gaspard Maeder's The Peri; or, The Enchanted Fountain (1852) adapts Irving's A History of Columbus; and George Bristow's Rip Van Winkle (1855) elaborates the short story of the same title. Charles Edward Horne was alone in looking to Irving as a source for an exotic, rather than an American, theme: his Ahmed al Kamel (1846) is based on Irving's Tales of the Alhambra.
Bristow's opera, the first "grand opera" based on an American literary source, was received by even the harshest critics as a breakthrough. John Sullivan Dwight (1813893) of Boston, allied with the transcendentalists and spokesman for the highest standards of Germanic art, responded approvingly, "If we are ever to have any national operas, they must be based upon our own language; the unison of intelligible, vigorous and attractive plays with kindred music" (quoted in Kirk, p. 93).
The wide performance of European opera and the nascent American efforts in this genre inspired parody. Francis James Child (1825896), the Harvard graduate who documented the traditional oral ballads of the British isles ("the Child ballads"), revealed his equal familiarity with grand opera in his 1862 spoof Il Pesceballo, a pasticcio of opera airs to a libretto (in Italian) telling the old comic ballad of "one fishball."
The theatrical genre of burlesque, in which the nuances of intricate wordplay depended upon the audience's familiarity with popular literary and theatrical works and conventions, capitalized with particular glee on the minstrel and Indian themes. John Brougham's (1814880) Po-Ca-Hon-Tas; or, The Gentle Savage (1855), with music adapted in burlesque fashion by Maeder, is a prominent example. It burlesques and freely pirates contemporary works in all forms of popular theater from opera to minstrelsy.
Music from the full range of theatrical genres was also performed in the home. Sheet-music publications of opera arias and piano arrangements of operatic melodies were legion. Playwrights also turned out amateur or "parlor" dramas as popular entertainment for middle-class Americans from the time of the Civil War. The most prolific pen belonged to Alfred B. Sedgwick, whose "musical dualities" (two roles), "sketches," and "parlor operas" entail witty wordplay and story ideas and music clearly borrowed from European operettas and operas popular in the United States.
The antebellum period saw American art-music practices grow to become established on a wide scale, fueled by literary, social, and theological movements. The historian Richard Hooker has identified literary aesthetic rules that underlay musical practices in the eastern seaboard cities after 1820, noting that writers for nationally distributed music journals created a sort of "musical anxiety" about the absence of an authentically American music.
Among the first composers of symphonic works in America was Anthony Philip Heinrich (1781861),
The Indian theme remained a source of distinctly American character for symphonic composers well into the twentieth century. The theme was given new breath by Henry Wadsworth Longfellow's epic poem The Song of Hiawatha when it appeared in 1855. The theater composer Robert Stoepel, who also wrote evocative music for the concert hall, composed his "Hiawatha: An Indian Symphony" in 1859.
American audiences approached the performances of even the most abstract concert music through a context shaped largely by their experience of America's authors. Notions of social class and dress, family and gender roles, ethnicity and identity, and national culture that were articulated and debated in American literature were also the frameworks through which even purely instrumental music was understood and reviewed in public discourse. Music and literature were intimately bound up with one another throughout this formative period for American culture.
See also Satire, Burlesque, and Parody; The Song of Hiawatha; Theater
Primary Works
Cockrell, Dale, ed. Pasticcio and Temperance Plays in America: Il Pesceballo (1862) and Ten Nights in a Bar-Room (1890). Vol. 8 of Nineteenth-Century American Musical Theater. New York: Garland, 1994.
Douglass, Frederick. "The Anti-Slavery Movement, Lecture Delivered before the Rochester [New York] Ladies' Anti-Slavery Society, March 19, 1855." In Frederick Douglass: Selected Speeches and Writings, edited by Philip S. Foner and Yuval Taylor, pp. 31131. Chicago: Lawrence Hill Books, 1999.
Fechter, Charles. Later Melodrama in America: Monte Cristo. Edited by Anne Dhu McLucas. Vol. 4 of Nineteenth-Century American Musical Theater. New York: Garland, 1994.
Hewitt, John Hill. The Collected Works of John Hill Hewitt. Edited by N. Lee Orr and Lynn Wood Bertrand. Vol. 6 of Nineteenth-Century American Musical Theater. New York: Garland, 1994.
Rossini, Gioacchino. Italian Opera in English: Cinderella (1831): Adapted by M. Rophino Lacy from Gioacchino Rossini's "La Cenerentola." Edited by John Graziano. Vol. 3 of Nineteenth-Century American Musical Theater. New York: Garland, 1994.
Sedgwick, Alfred B. The Collected Works of Alfred B. Sedgwick. Edited by Michael Meckna. Vol. 7 of Nineteenth-Century American Musical Theater. New York: Garland, 1994.
Secondary Works
Atkinson, Colin B. "Changing Attitudes to Death: Nineteenth-Century Parlour Songs as Consolation Literature." Canadian Review of American Studies 23, no. 2 (1993): 7900.
Austin, William W. "Susanna," "Jeanie," and "The Old Folks at Home": The Songs of Stephen C. Foster from His Time to Ours. 2nd ed. Urbana: University of Illinois Press, 1987.
Brooks, William. "Pocahontas: Her Life and Times." American Music 2, no. 4 (1984): 198.
Cockrell, Dale. Demons of Disorder: Early Blackface Musicians and Their World. Cambridge, U.K.: Cambridge University Press, 1997.
Finson, Jon W. The Voices That Are Gone: Themes in Nineteenth-Century American Popular Song. New York: Oxford University Press, 1994.
Hamm, Charles. Yesterdays: Popular Song in America. New York: Norton, 1979.
Hooker, Richard. "The Invention of American Musical Culture: Meaning, Criticism, and Musical Acculturation in Antebellum America." In Keeping Score: Music, Disciplinarity, Culture, edited by David Schwarz et al., pp. 10726. Charlottesville: University Press of Virginia, 1997.
Kirk, Elise K. American Opera. Urbana: University of Illinois Press, 2001.
Maust, Wilbur R. "The American Indian in the Orchestral Music of Anthony Philip Heinrich." In Music East and West: Essays in Honor of Walter Kaufmann, edited by Thomas Noblitt, pp. 30925. New York: Pendragon, 1981.
Picker, John M. "'Red War Is My Song': Whitman, Higginson, and Civil War Music." In Walt Whitman and Modern Music: War, Desire, and the Trials of Nationhood, edited by Lawrence Kramer, pp. 13. New York: Garland, 2000.
Pisani, Michael V. "'I'm an Indian Too': Creating Native American Identities in Nineteenth- and Early-Twentieth-Century Music." In The Exotic in Western Music, edited by Jonathan Bellman, pp. 21857. Boston: Northeastern University Press, 1998.
Root, Deane L. American Popular Stage Music 1860880. Ann Arbor, Mich.: UMI Research Press, 1981.
Sullivan, Jack. New World Symphonies: How American Culture Changed European Music. New Haven, Conn.: Yale University Press, 1999.
Thomas, Jean Waters. "Music of the Great Sanitary Fairs: Culture and Charity in the American Civil War." Ph.D. diss., University of Pittsburgh, 1989.
Deane L. Root
Source: American History Through Literature, ©2006 Gale Cengage. All Rights Reserved. Full copyright.

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Mincemeat and Apple Crumble Flan with AlmondsIf you've got leftover mincemeat this will cheer up a January Sunday lunch beautifully. A ready-made pastry flan case will also save you time, which we have discovered works really well when frozen first. |
Serves 6 This recipe is taken from Delia's Happy Christmas |
MethodFirst, make the crumble. All you do is place the butter, flour, sugar and cinnamon in a processor and give things a whiz until the mixture resembles crumbs. Then add teh almonds and process again - not too fast - until they are fairly finely chopped but with a few chunky bits left. If you don't have a processor, in a large bowl rub the butter into the sifted flour until it resembles crumbs, then stir in the sugar, cinnamon and almonds (which you can chop by hand). |
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On a cool Thursday evening in January, several women gather around folding tables in a Central Phoenix warehouse to sort thousands of books, pausing only to pull out a greeting card used as a bookmark or to show off a rare find. This ritual takes all year — and every year, the work of putting together what's billed as one of the largest used book sales in the country is the same. Only... More >>>
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Event Calendar
Throughout the year, Ojai Valley Inn & Spa creates many exclusive and fun events for our guests to enjoy. The town of Ojai also hosts a steady stream of cultural events, culinary delights, concerts, and festivals. Check out what's happening in Ojai California, and at Ojai Valley Inn & Spa!
Bike Rentals | The Mob Shop Kiosk
When: From 01/02/2014 to 12/31/2014


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Periwinkles Baby's 1st Chair coordinates to match the crib bedding from the Cotton Tale line, 100% cotton in periwinkle with green dot. These little chairs are great fun for baby and a special addition for the nursery, measuring 16 x 18 x 17. Cotton cover has a zipper and is machine washable in cold water, delicate cycle. Hang to dry. Perfect for your nursery.
Open Box: Opened box. Unused, returned item.
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Readers are clearly in 'end-of-the-year' mode, with posts about holidays and Christmas shopping proving to be the most popular in November.
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Daniel Chamowitz
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How aware are plants? This is the central question behind a fascinating new book, "What a Plant Knows," by Daniel Chamovitz, director of the Manna Center for Plant Biosciences at Tel Aviv University. A plant, he argues, can see, smell and feel. It can mount a defense when under siege, and warn its neighbors of trouble on the way. A plant can even be said to have a memory. But does this mean that plants think — or that one can speak of a "neuroscience" of the flower? Chamovitz answered questions from Mind Matters editor Gareth Cook.
1. How did you first get interested in this topic?
My interest in the parallels between plant and human senses got their start when I was a young postdoctoral fellow in the laboratory of Xing-Wang Deng at Yale University in the mid 1990s. I was interested in studying a biological process that would be specific to plants, and would not be connected to human biology (probably as a response to the six other "doctors" in my family, all of whom are physicians). So I was drawn to the question of how plants sense light to regulate their development.
It had been known for decades that plants use light not only for photosynthesis, but also as a signal that changes the way plants grow. In my research I discovered a unique group of genes necessary for a plant to determine if it's in the light or in the dark. When we reported our findings, it appeared these genes were unique to the plant kingdom, which fit well with my desire to avoid any thing touching on human biology. But much to my surprise and against all of my plans, I later discovered that this same group of genes is also part of the human DNA.
This led to the obvious question as to what these seemingly "plant-specific" genes do in people. Many years later, we now know that these same genes are important in animals for the timing of cell division, the axonal growth of neurons, and the proper functioning of the immune system.
But most amazingly, these genes also regulate responses to light in animals! While we don't change our form in response to light as plants do, we are affected by lab at the level of our internal clock. Our internal circadian clocks keep us on a 24 hour rhythm, which is why when we travel half way around the world we experience jet lag. But this clock can be reset by light. A few years ago I showed, in collaboration with Justin Blau at NYU, that mutant fruit flies that were missing some of these genes lost the ability to respond to light. In other words, if we changed their clocks, they remained in jetlag.
This led me to realize that the genetic difference between plants and animals is not as significant as I had once naively believed. So while not actively researching this field, I began to question the parallels between plant and human biology even as my own research evolved from studying plant responses to light to leukemia in fruit flies.
2. How do think people should change how they think about plants?
People have to realize that plants are complex organisms that live rich, sensual lives. You know many of us relate to plants as inanimate objects, not much different from stones. Even the fact that many people substitute silk flowers for real ones, or artificial Christmas trees for a live one, is exemplary at some level of how we relate to plants. You know, I don't know anyone who keeps a stuffed dog in place of a real one!
But if we realize that all of plant biology arises from the evolutionary constriction of the "rootedness" that keep plants immobile, then we can start to appreciate the very sophisticated biology going on in leaves and flowers. If you think about it, rootedness is a huge evolutionary constraint. It means that plants can't escape a bad environment, can't migrate in the search of food or a mate. So plants had to develop incredibly sensitive and complex sensory mechanisms that would let them survive in ever changing environments. I mean if you're hungry or thirsty, you can walk to the nearest watering hole (or bar). If you're hot, you can move north, if you're looking for a mate, you can go out to a party. But plants are immobile. They need to see where their food is. They need to feel the weather, and they need to smell danger. And then they need to be able to integrate all of this very dynamic and changing information. Just because we don't see plants moving doesn't mean that there's not a very rich and dynamic world going on inside the plant.


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Posted 28 April 2012 - 09:58 AM
Posted 28 April 2012 - 10:08 AM
Posted 28 April 2012 - 10:28 AM
For those folks that missed the reference:
Edited by Tyr Gunn, 28 April 2012 - 12:35 PM.
Posted 28 April 2012 - 12:06 PM
InnerSphereNews, on 07 December 2011 - 04:00 PM, said:
Faction Players
As a Faction Player, loyalty points are earned by playing and winning matches. As the player accumulates loyalty points, they will gain a military faction rank at pre-determined loyalty point totals. If a player loses LPs by decay or negative actions, they will be demoted.
Gaining ranks earns special privileges and items, including membership to special units, unit skins, and bonuses to C-Bills and XP. These are all non-permanent and subject to the player maintaining a certain rank level. At the highest possible levels, players can begin to influence their faction by controlling which planets are targeted in territory conquest.
Mercenary Corp Players
As a Mercenary Corporation, all members' earned loyalty points go to the Merc Corp. The Merc Corp must have a minimum amount of loyalty points with a faction before they are able to engage in planetary combat on behalf of that faction. Loyalty points also determine the type and level of contract a Merc Corp is permitted to bid on. These loyalty point restrictions mean that a Merc Corp's membership, must remain active in order to maintain the required level of LPs.
Ranks are created within a Merc Corp by the Merc Corp leader. The naming of the ranks is entirely up to the Merc Corp leader who can assign Merc Corp level permissions to each rank.
This brief statement in the 1st dev blog describes a basic mechanic for claiming unit names... I can imagine that as your loyalty points increase and you unlock new ranks, part of the reward would be the ability to join or register a specific unit. Am I missing something here?
Edited by cardinal vice, 28 April 2012 - 12:09 PM.
Posted 28 April 2012 - 12:10 PM
Posted 28 April 2012 - 04:21 PM
Posted 28 April 2012 - 08:53 PM
Posted 29 April 2012 - 12:32 AM
Lots of us want to play for the houses instead of mercs, but I suspect the game mechanics are going to discourage that to a great extent since a player not belonging to a merc corp is likely to be constantly working with a completely random group of strangers who have never before worked together.
Posted 29 April 2012 - 01:19 AM
Turbo Corvair, on 29 April 2012 - 12:32 AM, said:
Oh, I'm pretty sure you will be able to drop in lance-size (or even bigger) formations with your friends, no matter if you're Merc, House soldier or Lone Wolf.
Posted 29 April 2012 - 04:08 AM
Thorn Hallis, on 29 April 2012 - 01:19 AM, said:
Oh, I'm pretty sure you will be able to drop in lance-size (or even bigger) formations with your friends, no matter if you're Merc, House soldier or Lone Wolf.
Agreed. And I'm sure they've taken into account player run House units as well. The only players who really aren't going to get their fix at launch will be the Clanners, but I have a hunch they will get their day in the spotlight soon enough.
Posted 29 April 2012 - 04:20 AM
wwiiogre, on 23 April 2012 - 12:58 PM, said:
My opinion is based on everything I just typed and it is my opinion. Not fact, not truth, just an opinion based on the reasons I stated. The nice thing is anyone can have their very own opinion.
Opinions are like Battlemech's we all have one and they can be shot full of holes!
I'm going to be creating a company hopefully with a few friends but like the Shield Wall I will be making a completely original organization - if I can even get to a level 1/3 as cool as them I will be very pleased.
Edited by Gun Bear, 29 April 2012 - 04:21 AM.
Posted 29 April 2012 - 05:42 AM
Gun Bear, on 29 April 2012 - 04:20 AM, said:
I'm going to be creating a company hopefully with a few friends but like the Shield Wall I will be making a completely original organization - if I can even get to a level 1/3 as cool as them I will be very pleased.
Aww! No love for Northwind? I know we're not custom, but still. Being cannon or not being cannon doesn't make you any better. I hope that we're not giving that impression. We encourage unique and interesting custom units. I think no less of anyone in or owning a custom group. Nor should anyone think less of someone in or "claiming" a cannon unit. Fair being fair.
Edited by Tyr Gunn, 29 April 2012 - 05:45 AM.
Posted 29 April 2012 - 05:47 AM
Gun Bear, on 29 April 2012 - 04:20 AM, said:
If you can somehow work the terms "Pirate" "Orange" "Rhesus Macaque" and "Pegleg" into your Merc Company's title and mission statement, bonus points.
Seriously though, good luck with your group.
Posted 29 April 2012 - 06:11 AM
Devil Man, on 29 April 2012 - 04:08 AM, said:
Agreed. And I'm sure they've taken into account player run House units as well. The only players who really aren't going to get their fix at launch will be the Clanners, but I have a hunch they will get their day in the spotlight soon enough.
We hope.
Posted 29 April 2012 - 06:17 AM
Kylarus, on 29 April 2012 - 05:47 AM, said:
Seriously though, good luck with your group.
That's easy. The company would be named "Pegleg the Pirates Orange Rhesus Macaques" . I am actually going for Gun Special Squadrons.
Posted 29 April 2012 - 07:31 AM
As for the 'Clansuchandsuch' being put together as Merc Corps, I would regard them something more akin to what the Wolfs Dragoon's Actually were, Clanner's sent out on their own to scope out the Inner sphere ahead of time, who formed their own independent Merc Company. They act in support of Clan goals but with a certain degree of Autonomy. There has been some distinction between Clans and clans mentioned, and I think anything started as a merc corp by players is officially going to be of the lower case variety.
When it comes to Merc units, I have to say, I really liked the way MW4 Mercs campaign handled the idea, Cannon major Merc companies 'Sponsored' smaller independent but associated Merc Corps. I'd like to see something similar, where when a player sets up a Merc Corp they can choose to link themselves with a larger Cannon group becoming 'Sponsored' by that group and earning access to the symbols and camo associated with them. Thus players could naturally present themselves as members of the Cannon Merc corp working in an associated satellite company with some degree of autonomy from the larger division.
I darn well hope we are able to form Lances to join games as from our friends lists, perhaps not if they are in the opposing faction being attacked, but otherwise I don't see why you couldn't have say a joint Davion, Steiner, Merc, lone wolf premade Lance attack a Draconis Combine held world... of course they would all have had to agreed to be attacking it on behalf of whoever the Lance Commander's faction is...
Edited by Kreisel, 29 April 2012 - 07:34 AM.
Posted 29 April 2012 - 07:52 AM
StaggerCheck, on 27 April 2012 - 06:20 AM, said:
That is all well and good, Mason, but I think the major concern I have here would be... who else would want to be in the Gray Death Legion? Was it hard to get into the Legion? Was there a test or a form to fill out? Is it exclusive to a group of people and/or a popularity contest? What if Joe Blowhard, the most annoying Gray Death Legion fanboy on the planet, wants into your group... do you accept him or turn him away? If you turn him away, what gave you the right to be part of the Grey Death Legion in the first place, thus being able to exclude Mr. Blowhard?
Not trying to be a jerk, just pointing out the obvious.
Two things. First the right "we" had to form and exclude people is based on the fact that we are forming a group to play a game. Even if we did lock in the name as the canon GDL, then well it sucks to be Mr. Blowhard for two reasons A: You came late to the party and missed the chance to lock the name (unlikely to happen but needed to be said) and B: Stop being an ***** and people might like you and let you play games with them. Keep acting like a jerk, and you will be forced to PUG your whole life.
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Albuquerque is a city of diversity, with geographic and historic circumstances that brought Native American, Hispanic and Anglo cultures together to create a unique multicultural community. The land awes and inspires with the Sandia and Manzano Mountains to the east, the river valley cutting through the city and the West Mesa escarpment with its ghosts of volcanic activity. In spite of the size of the city and all of the amenities that go along with big city life, Albuquerque manages to retain a small town charm.
Old Town
Whether you stroll through this historic district on your own, or take a tour with the Albuquerque Museum , Old Town is the perfect place to begin exploring The Duke City. At the heart of this district is the original central plaza that is lined with over 100 quaint little shops. Like everything else in Albuquerque, a visit to Old Town is a delightful mix of old and new, with sights that range from Civil War cannons to the Church of San Felipe de Neri. Stop in at The Candy Lady for a delectable chocolate. Go further back in time with a trip through the New Mexico Museum of Natural History , or satisfy your childlike curiosity in the Explora! Science Center . You can stay in the area in the modern luxury of the Sheraton Old Town, or in the elegance of a bed and breakfast like the Bottger-Koch Mansion .
The hub of business and government activity in the city is the bustling downtown area. The Civic Plaza also plays host to a myriad of other activities and during summer months, Summerfest is held. This is a celebration of New Mexico's many cultures that showcases the food, music and dance of a different ethnic group every Saturday. While the Civic Plaza is downtown's outdoor venue, the KiMo Theater , renovated in 1999-2000, is the city's crown jewel of indoor venues for the performing arts. The Hyatt Regency , one of the city's newest luxury hotels dominates the downtown skyline. With two lounges and a restaurant that offers fine dining, this is the ultimate hotel for the business traveler.
This region of Albuquerque boomed following the Second World War when Route 66 became an artery for interstate travel and migration to the west. The residential neighborhoods are quaint, tree-lined streets with sprawling, 1950s ranch-style homes and a sprinkling of well-groomed parks. The uptown district is the retail center of the city, home to the Coronado Center . Restaurateurs have taken advantage of the traffic generated by these centers. The Japanese Kitchen sushi bar caters to local businessmen and shoppers alike. The Sheraton Albuquerque Uptown offers a range of rates for all levels of business travelers.
Nob Hill and University
This eccentric area is a mix of art deco, Spanish colonial, Pueblo and modern architectural styles. It has undergone a recent facelift and the Nob Hill Merchants Association has revitalized and reclaimed this formerly run-down neighborhood. Once-bland strip malls now house a mix of retailers, galleries and coffee houses that cater to students from the nearby University of New Mexico as well as the locals who drop in for a little gossip. Closer to the university are a variety of restaurants, delis and sidewalk cafes that offer fare from the far reaches of the world. The award-winning Olympia Cafe has served authentic Greek cuisine from the same location since 1972. Just east of the Nob Hill area lie the New Mexico State Fair grounds, home of the sixth largest state fair in the US.
Northeast Heights
The sheer, pink granite Sandia Mountains provide a picturesque backdrop for this sprawling area, which contains some of the newest developments within the city limits. One of Albuquerque's landmark features is the Sandia Peak Aerial Tramway . For an unforgettable evening, punctuated by one of the most awe-inspiring views in the western United States, catch a ride on the tram to the top of the mountains where you can enjoy a sunset meal at the High Finance Restaurant . A drive past the opulent mansions that perch on the boulder-strewn foothills of the mountains will take you to the hikers' Mecca of Albuquerque. Elena Gallegos Park offers miles of trails through the sage and juniper hills. On the north end of the mountains, La Luz Trail winds to the soaring heights of Sandia Crest, where hang gliders ride the warm air currents that rise from the valley floor.
West Mesa
The silicon age drives the economy of one of the fastest growing regions in the country. The Intel Corporation has sparked a massive boom on the city's west side. As new neighborhoods sprawl across the mesa, their growth is steered by the basalt escarpment of Petroglyph National Monument . A hike down the trails of this unique treasure offers visitors a glimpse into New Mexico's prehistoric past. Shopping abounds at the new Cottonwood Mall , the state's largest indoor mall. The Hilton Garden Inn, across the street from the Intel complex, offers a central location for the visitor with business on the west side. A drive down Coors Boulevard after dark offers a remarkable vista. The city becomes a sea of light that stretches from the distant mountains to the cottonwood Bosque of the Rio Grande.
North Valley/South Valley
The Rio Grande Valley offers the visitor a glimpse of what the Spanish explorers saw in the 15th century when they rode north along the Rio Grande del Norte. The economic diversity of the city unravels as you follow Rio Grande Boulevard from north to south. Some of the homes in the South Valley have withstood the test of time for hundreds of years. Nestled among these ancient dwellings are the Albuquerque Country Club. A new addition to the South Valley is the Rio Grande Botanic Gardens , where you can dine with the sharks in their exclusive restaurant.
The North Valley is home to some of the city's more prominent families. The world famous racing family, the Unsers, have an estate here. Set in the adobe walls that surround the estate are wheels from cars that actually ran at the Indianapolis 500. Giant, ancient cottonwoods shade bridle paths and walking trails. A nice way to end the day is a visit to the Anderson Vineyards, where you can taste one of New Mexico's premier wines.
East Mountains
Surrounded by majestic Ponderosa Pines and expansive vistas, this area is growing faster than some people like. Populated with a mix of income brackets, age groups, and ethnic backgrounds, the east mountain area is seen as a retreat from the hustle and bustle of the big city. You can ski Sandia Peak Ski Area in the morning and golf at Paa-Ko Ridge Golf Club in the afternoon. Lodging in the East Mountains is limited to bed and breakfasts. The frenetic pace of the city is forgotten as visitors can enjoy a hot drink by the fire or sit on the porch watching the hummingbirds chase each other among the pines.
The rich cultural diversity of New Mexico has created a culinary melting pot. Finding something to eat is easy, but choosing from all of the options may take awhile. There are a variety of ethnic restaurants, and for every one of these, there are at least three restaurants offering New Mexican cuisine.
Old Town
Offering the finest New Mexico beef, wild game and poultry, the High Noon Restaurant and Saloon serves gourmet meals in a casual atmosphere. No trip to this area of town would be complete without a stop at one of the restaurants on the plaza. Casa de Fiesta Mexican Grill offers fine New Mexican dining with a full view of the plaza. Old Town's bars and pubs reflect the quiet atmosphere of this historical district and rowdier nightlife needs to be sought in another part of town.
After the sun goes down in Old Town, the lights go on Downtown. Loosen your collar and lose the tie at Burt's Tiki Lounge , where tropical drinks are the specialty of the house and the kitchen remains open until 2a. For something a little more upscale, the Downtown Distillery offers live music, billiards and a restaurant that serves a wide variety of sandwiches. A popular hangout for the downtown lunch crowd is the Artichoke Cafe , a French bistro located on historic Route 66 , which offers gourmet meals in a casual atmosphere.
There is a bustling energy to this fast-paced region of the city. On-the-go business people, salesmen and executives in search of a quality meal have inspired a wide variety of coffee houses, fine restaurants and nightclubs.
A recent addition to this part of town and an instant favorite is Vic's Daily Cafe . Owned by the son of a long-time coffee house operator, the Greek heritage of the family is apparent in the three-page menu that offers huge hamburgers, meatloaf with mushroom gravy and Greek-style roasted chicken on a bed of rice pilaf.
For local food in Midtown, try Los Cuates , which specializes in New Mexican cuisine. The portions are large and the prices small, but that is not the only reason to stop in. It is the best authentic New Mexican food in the neighborhood.
Northeast Heights and Foothills
Family-owned restaurants, local taverns and hole-in-the-wall eateries are sprinkled across this section of town that slopes upward toward the Sandia Mountains. Garduno's of Mexico is a local favorite. For a four-course gourmet meal with a twist, try the Mystery Cafe , a murder mystery dinner theater. If this doesn't provide enough entertainment, head up the street to Laff's Comedy Caffe where locals go to find themselves or their friends taking the brunt of a good joke.
Nob Hill and University
In this part of town, the dining experience ranges from great, cheap fast food to the most expensive in town. In the University area, the coffee shops, cafes and diners may cater to the student's budget but everyone in town enjoys the fare. For some of the best Italian food in town, sample some of the offerings at Scalo .
The area around the airport is alive twenty-four hours a day. A taste of New Mexico awaits you even before you have to worry about finding a rental car or a shuttle to get away from the Sunport. Garduno's of Mexico , a local favorite with several locations throughout the city, has staked out a spot in the airport itself. This restaurant will definitely acclimate visitors to chili, New-Mexico-style. Down the street near the motels, you will find Quarters Barbecue . You will also find the Rio Grande Yacht Club, one of Albuquerque's most respected seafood establishments.
North Valley and South Valley
Along the Rio Grande, old haciendas hint of the history at the heart of Albuquerque. A number of these distinguished old homes have been converted into restaurants. El Pinto , located in the far North Valley, is such a place. Dinner on the patio while watching the setting sun illuminate the Sandia Mountains can only be topped by the accompanying mariachi music.
For a close encounter with recent celebrities, visit one of the most revered Mexican restaurants in the city, Sadie's . Johnny Carson and other visiting celebrities make this a must on their to-do list in Albuquerque and it could be because of the margaritas. Another option is a combination plate and an imported beer on the patio at Geezamboni's BBQ, the North Valley's most popular barbecue spot.
This quaint village wedged between Rio Rancho and north Albuquerque has maintained its atmosphere despite the burgeoning metropolis on its fringes. For true four-star dining, try Jim White's Casa Vieja , where there is no established menu, just an inventive chef with open-minded customers. Enjoy dinner and cocktails in this 300-year-old Spanish land grant home.
West Mesa
Exponential growth is the hallmark of this part of the metro area. And no fast-growing town worth its salt would go up without Texas barbecue. Rudy's Country Store and Barbecue offers pit-roasted meat cut and served right before your eyes. For authentic Italian food washed down with micro brew, the Turtle Mountain Brewing Company has just the thing. Famous among the locals for its impressive breakfast spread is Weck's. If you're really hungry, try Twister's for a burrito so big it is sold as whole, 1/2, 1/4, or 1/8 size.
Standing at Sandia Peak, above Albuquerque, the splendor of New Mexico spreads before you in green, beige and magenta. This point above the city lets you see the area in much the same way as the people of the past saw the region. Mt. Taylor, a dormant volcano, dominates the western horizon 70 miles/115 kilometers distant. To the north, Santa Fe nestles in the foothills of the Sangre de Cristo Mountains. To the south you can almost see the eco-zone change as the climate becomes visibly more arid.
Old Town Few American cities have been able to preserve their history the way Albuquerque has. The original town center, Old Town Plaza is surrounded by structures built in the early 18th Century. One of the best ways to experience this area is through a guided walking tour, and the Albuquerque Museum offers an excellent one. Many visitors prefer seeing this historic district at their own pace. If you choose the self-guided tour, do not leave out a stop at the New Mexico Museum of Natural History , then have lunch in an Old Town cafe, such as Chef du Jour , and visit any of the more than 100 shops and galleries. Tiguex Park , on the west side of Old Town, offers a place to rest after a stroll through the Albuquerque Museum Sculpture Garden.
Downtown At the heart of this vibrant business district is Civic Plaza . In the shadows of the high-rise buildings, this gathering area is lined with little shops and cafes. In the summer months, the city of Albuquerque hosts Summerfest , the place to go for entertainment with international flare. South of the nearby Convention Center is the Albuquerque Convention & Visitor's Bureau . Downstairs, in the basement of the Visitor's Bureau, you'll discover the First Plaza Galeria , an assortment of specialty shops and boutiques. No visit to downtown would be complete without a stop at the KiMo Theater . This Pueblo-Deco picture palace was the epitome of entertainment when it was built, and was restored to its original condition during 1999 and 2000.
Rio Grande Nature Center The Rio Grande Nature Center is one of the most visited parks in the state of New Mexico. Located at the west end of Candelaria just past Rio Grande Boulevard, this 270-acre/110-hectare park is a back-to-nature retreat right in the heart of the city. Outside, you can hike the trails and enjoy the river, woods and wildlife. At the other end of town is La Luz Trail . The trailhead is located off Tramway on Forest Service Road 333A. It rises 3700 feet/1120 meters and is difficult to traverse, but it is well worth the climb. You can hike one way and make arrangements to be picked up at Sandia Crest, or you can ride the Sandia Peak Aerial Tramway back down. The Sandia Peak Ski Area is also nearby, if you would like to hit the slopes. Drive past the ski area and continue up 6 miles/9.5 kilometers of switchbacks to the summit. On the west side of town, beyond the tree-lined river valley, a black escarpment juts from the sagebrush-covered mesa. This is Petroglyph National Monument , where thousands of prehistoric examples of rock art have been preserved through the centuries for all to see.
Rio Grande Zoological Park Rio Grande Zoological Park has hundreds of exotic animal species and offers the chance to feed the sea lions. The 23 different kinds of rides at Cliff's Amusement Park , just a short drive away, make it a popular spot for kids and the young at heart. The Downtown Growers Market & Festival takes place in Robinson Park, just a few blocks away from the Zoo. Here you can explore the stalls and grab something to eat. The Harwood Art Center has displays of all kinds open to the public. You will also walk past the Sunshine Building on Central Southwest.
St. Augustine Mission Church St. Augustine Mission Church is almost 400 years old, one of the oldest Spanish mission churches in the country. A great place to eat near here is Vic's Daily Cafe , where the prices are reasonable and the food is fantastic. The popular Zoo Music Concert Series is held in nearby Barelas each year, as is the music festival iGlobalquerque! . Many locals choose to go to the Journal Pavilion with a picnic lunch and relax.
There are many ways to navigate the neighborhoods and sights in Albuquerque, from guided all-day tours to self-paced, self-guided hikes and walks
Walking Tours Destinations Southwest ( +1 505 766 9068 / http://www.destinationsouthwest.com/ ) Enchantment Tours ( +1 505 299 0344 ) Tour New Mexico ( +1 505 883 9178 )
Museum Tours Albuquerque Museum Old Town Tour ( +1 505-243-7255/ http://www.cabq.gov/museum/oldtowntour/)
Bus Tours Grayline Tours ( +1 800 256 8991 )
Nature Tours Rio Grande Nature Center Walks ( +1 505 344 7240 )
Air Tours Above It All Tours ( +1 800 955 3715 )
Jeep Tours Above It All Tours ( +1 800 955 3715 )
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text:
Little annoyances shouldn't bother us
By GARY ANDREWS
Editor and Publisher
Are you one of those people who gets frustrated if things aren't just so? Do you look at the little things in your life and say, "if I could only get past these bothersome problems?"
Little things or annoyances in our lives can really be special. It is all how we decide to look at them and solve them.
We need to remember the saying, "Sometimes we are so busy adding up our troubles that we forget to count our blessings."
Remember the terrorist attacks of 9-11 in 2001? Think about the little things that hindered some of the employees from getting to work on time.
One woman was late because her alarm clock didn't go off. Another missed the attack by being stuck in a traffic jam. One missed his bus and another couldn't get a taxi. One man bought a new pair of shoes and stopped before he got to work, because he developed a blister on his foot, at a drug store to buy a band-aid.
Like the man whose turn it was to bring doughnuts for the office staff and the father who took his son to kindergarten that day, life goes on because of small things that were part of their lives.
All of us need to remember that God is in control and puts us exactly where He wants us to be, even though we get frustrated and don't understand why life has all of these minor inconveniences.
The next time something bothers you or you can't find your car keys, or you miss an elevator, or maybe stuck in traffic, God has you there for a reason. Who knows? He may be saving you from a fiery destruction and allowing you to live a few more days or years on this earth.
God is good, and we need to give Him praise and thanks for His daily blessings and guidance.
Prayer: Father thank you for being with me even when I am frustrated and don't understand my situation. I pray for your guidance and I thank you for your love and forgiveness. Amen.
(Suggested daily Bible readings) Sunday - Psalm 77:1-15; Monday - Genesis 41:28-32; Tuesday - James 1:16-17; Wednesday - Romans 11:11-12; Thursday - Nehemiah 9:25; Friday - Matthew 5:11-12; Saturday - Acts 1:6-7.)A109-10