For this plunder I have shamelessly gathered words from the myth of Beowulf (author unknown, one translation by Ernest J. B. Kirtlan), Dalton Trumbo, Rheta Louise Childe Dorr, and Stephen Crane. I had a good time doing so.
It is sometimes said that there is nothing new under the sun, that there is nothing left for the modern singer to sing about, and that the realm of possible musical production is fast vanishing out of view. Certainly this is not true of poetry.
And in the end of the poem it is said of Beowulf that he was ‘most gentle to his folk.’ The King was king only ‘for his folk.’ The interest of his folk, their physical and moral well-being, was his chief solicitude.
Man must hope. He must believe that his fight is a winning fight or he must give up in despair. This sight also filled him with wonder. The brigade was hurrying briskly to be gulped into the infernal mouths of the war god. What manner of men were they, anyhow? Ah, it was some wondrous breed! Or else they didn’t comprehend—the fools.
The youth went on, moderating his pace since he had left the place of noises, he awakens in a hospital bed after being caught in the blast of an exploding artillery shell. He gradually realizes that he has lost his arms, legs, and all of his face (including his eyes, ears, nose, teeth, and tongue), but that his mind functions perfectly, leaving him a prisoner in his own body.
Originally published in the Morning Star, July 25, 2021, pg. 10 ALBION HISTORICAL NOTEBOOK By Frank Passic
First, a moment of downtown, showing the water tower on the urban horizon:
One of Albion’s tallest structures is our 1961-erected water tower, located in Crowell Park. This Park dates back to Albion’s original 1836 plat map, when it was known as Washington Square, named after U.S. President George Washington. President Washington is featured on our U.S. quarter, you know. In 1912 there was a local effort to recognize “Albion’s Greatest Benefactor,” Jesse Crowell (1797-1872) who helped form the Albion Company which laid the plat for our village in the 1836, brought the Post Office here, gave land for Albion College and Riverside Cemetery, and other endeavors.
The Albion Recorder reported in its weekly edition dated August 1, 1912: “Washington Park is now Crowell Park. The Park on Baptist Hill surrounding the city water tower, which has been known as Washington Park for a number of years past, will in the future to be known as Crowell Park, the common council passing a resolution to that effect at their meeting last evening. This is only one of a number of things being consummated of late to perpetuate the name of Jesse Crowell, Albion’s revered pioneer and one-time leading citizen whose memory cannot be kept too fresh in the minds of Albion citizens on account of the great number of acts he performed for the public good, in this community, the performance of some of which caused him to die almost in poverty. He presented the land at present included in the park which will in the future bear his name.”
From our Historical Notebook this week we present a World War II-era postcard photo of Crowell Park. In the distance is the water standpipe which stood there from 1889 until it was dismantled on February 26, 1962 after our present water tower was erected and began operating. On the left is a circular flower bed which used to be much more elaborate. In the early 20th century this was a goldfish pond with flowing water, and surrounded by rocks. The “Albion Mills 1845” marker was in front of that pond. A drinking fountain was located in the center of the park.
Chaos and disorder * confusion, disorder, upset. Chaos and confusion * pandemonium. Robotic. Motorized. More items… Don’t keep it to yourself… Then she vanished altogether like a vision. In dependency, the essential aim of the group is to attain security through, and have its members protected by, one individual.
About leaving the earth; this becomes just part of the normal situation. They inflamed the passions of men, and caused them to commit the most unheard-of excesses. They laid their ban on those who enjoyed the most prosperous health, condemned them to peak and pine, wasted them into a melancholy atrophy, and finally consigned them to a premature grave. gale, hurricane, tempest, tornado, cyclone, squall, wind, blizzard. What is another word for storm?
In the beginning a man depended for his subsistence entirely upon his own efforts, or upon those of his immediate relations and friends. With the appearance, he also acquires the fierceness and howling of the wolf; roaming the woods, he tends to pieces everything that comes in his way. A storm lay behind those cold eyes. Then they went further on their way right across a deep dark valley.
“What are we to do?” he asked. “Come, come, be brave, be a man–speak out, there’s a good lad!” the corruption of taste is a portion or a pendant of the dollar-manufacture. A violent disturbance of the atmosphere with strong winds and usually rain, thunder, lightning, or snow.
Similar tempest squall gale hurricane tornado cyclone typhoon superstorm thunderstorm cloudburst downpour rainstorm hailstorm deluge monsoon tropical storm electrical storm snowstorm blizzard dust storm dust devil williwaw ice storm windstorm buran a heavy discharge of missiles or blows.
Synonyms * ‘the … They laid their ban on those who enjoyed the most prosperous health, condemned them to peak and pine, wasted them into a melancholy atrophy, and finally consigned them to a premature grave. They breathed a new and unblest life into beings in whom existence had long been extinct, and by their hateful and resistless power caused the sepulchres to give up their dead. Synonyms storm year’. Synonyms. Was this designed long before our birth was adopted by many scholars? Glory is sad, my mentor promised impossibilities and was not as reliable as other creatures.
When they were searched for the next day they could nowhere be found: only the boat drifting to the shore, unharmed and unstressed. When the deed was done the sheltie was brought back to its tether as mysteriously as it had been taken away. Storm noun . A violent disturbance of the atmosphere with strong winds and usually rain, thunder, lightning, or snow. Thus far then we see whole or partial disguise as animals used to secure food and clothing when acting as decoys to lure animals; and in dancing. And then it laughed a weird and terrible laughter that froze the blood.
The plane landed in a float, in the water near an anonymous desert.
“Come, come, be brave, be a man–speak out, there’s a good lad!”
The speed of a car traveling north on a major freeway and the speed a rocket launching into space can both be measured using velocity. The purring and humming increased, and the car seemed to leap forward. Revolutions, non governments, un-rest, non government, un-rests, mob rules, disregard, … Chaos. disarray, jumble, turmoil, tumult. Suddenly he awoke, and something cried. + words for ‘storm’ – reverse words for “storm” … As you’ve probably noticed, words for “storm” are listed above. According to the algorithm that drives this word similarity engine, the top … The speed of a car traveling north on a major freeway and the speed a rocket launching into space can both be measured using velocity. The purring and humming increased, and the car seemed to leap forward.
It was on the road now, and, once assured that the steering apparatus was working well, he suddenly turned at much more speed. A direct assault by troops on a fortified place. Similar assault attack onslaught offensive charge raid foray sortie rush descent incursion thrust push blitz blitzkrieg aggression onset verb . State of noisy and confused activity * to shout (something) angrily storm noun. They are not peculiar ones these, they are very many of them, they are a kind of them, they are natural ones for any one to be knowing, there are many kinds of this kind of them. There are very many of one kind of them and they are not all the same, certainly not all the same. “If i’m to be made a show off,” growled the cross old man, “i shall charge admission the same as any other show. Think it’s worth a quarter to see a man with a broken back?” and it is said and the quotation is reasoning. It gives the whole preceding.
Public Housing Conference: COVID 19 and Homelessness
The Public Housing Conference was virtual and online during the month of December 2020, tightly focused on Homelessness and COVID with five municipal case studies – Phoenix, Las Vegas, Portland, Los Angeles. The Conference in 2020 included four municipal case studies on COVID 19 and Homelessness within the Ninth Circuit Court. Municipalities studied were Phoenix, Las Vegas, Los Angeles, and Portland. Each city is within the Ninth Circuit Court’s ruling Martin v. Boise. The audience for the 2020 Oregon Housing Conference are national, knowledgeable, and keenly interested in what’s going right with COVID 19 – and what went wrong. We estimate the conference will be attended by 500 persons – clinicians and healthcare directors, housing developers and administrators, policy-makers, community leaders, law enforcement, and funders.
Mental Health Alliance
Organizations and individuals who represent the interests of people with mental illness and have long participated in efforts to reduce police use of force used against people with mental illness joined together as a friend of the court in US DOJ v. City of Portland. Organizational members of the Alliance include Portland Interfaith Clergy Resistance, Disability Rights Oregon, the Mental Health Association of Portland, and the Oregon Justice Resource Center. Supporters of the Mental Health Alliance meet regularly to hear from invited guests, discuss the organization’s advocacy and legal agenda, and prepare testimony for city, county, state, and Federal venues.
Alternative Mobile Services Association
Supporting Street-Level Alternatives to Police and Hospitalization
The Alternative Mobile Services Association is an emerging group of professionals and peers with the purpose of researching, assessing, and identifying best practice models of mobile response services that support or are alternatives to traditional 911 emergency response, police services, and unnecessary hospitalization. Additionally, the association seeks to promote networking and cooperation among providers, jurisdictions and allied stakeholders interested in alternatives to conventional policing.
The Alternative Mobile Services Association supports street-level alternatives to police.
What are Alternative Mobile Services?
Mobile services encompass a variety of responses to the immediate needs and crisis situations in the community. Mobile services can include street outreach vans that provide supplies and support to the homeless, mental health agencies that provide in-person mobile response to clients in suicidal crisis (either immediately or within 24 hours), police programs that pair a clinician with a police officer to respond to mental health related calls, and hospital-based outreach programs which provide services in their community. A mobile service is simply any service that works with high-needs populations and meets them where they’re at, in their own space, to get them the help they need in a moment of need or distress.
These stories are experiments in text buccaneering. The guilty editor claims to be innocently performing word puzzles using text furnished by the playmate “google” gathering vast quantities of alphabetical flotsam and jetsam, some deliberate and others more questionable in intention, creating a stew in a vessel the size of several large swimming pools, the Olympic kind, and then using a teaspoon to extract and arrange whimsy, mimsy and floppers, sniping and snapping, creating thus:
Why do certain images belong together as a collection?
Over the years I have been considering the dynamics of collections of images.
In 1980, with my partner LMT, we created a series of collections of images we called IMAGINATION DECKS.
This particular collection, depicted here, we called a Story Deck. I had an idea for making up stories using elements that can be arranged variously. This idea was further developed by LMT to create prompts for improvising narrative adventures. The basic concept is that these images can be assembled or sequenced in various ways, and can inspire different people in different ways. We also included them in some of our performance art, our ensemble was called The Theatre of Transformations and we were active from 1979 through 1984.
We tried to market the picture decks as “games” and proceeded to develop “rules” for playing these games. That turned out to be less productive.
Today I am still interested in collections of small images that naturally assemble themselves. The core idea is a love of pictures and considering what might draw them together into groups. Each image is a unique unit of meaning. What belongs together and what is an incidental or accidental juxtaposition? How does that combination create or alter the image’s meanings? These are the questions that interest me.
An unofficial soundtrack to the sci-fi novel RENDEZVOUS WITH RAMA by Arthur C. Clark, a musical homage by Johan Agebjörn and Mikael Ögren with Between Interval, Le Prix, and Martina Björk. Kilian Eng created all of the visual artwork used as the album cover illustrations.
It is dark in deep space, the feeling is ethereal and layered and there is just no need for words. Each song has special synthesizer qualities and all of them flow into a beautiful mix, there is a story here. This music is for the hidden colors, bespangled bright and brilliant, celestial, glittering, with soaring echoes, pulsing and beating patterns. You are headed into the future, there is no turning back. Moving forward is the best description of the nature of the electronic music made by Johan Agebjörn, who has an amazing career. In his own words, “I live in Lund, Sweden. I study psychology. I’m a father. I make music from time to time. I have two main projects. At times they cross over into each other, but OK, let’s be simple:
“My disco music, especially as part of the project Sally Shapiro. Sally Shapiro is mainly a ”neo-italo disco” project consisting of a female singer (whose real name remains a secret) with me as a composer and producer. We have released three albums Disco Romance (2007), My Guilty Pleasures (2009) and Somewhere Else (2013) as well as a few EPs and remix collections…”
Political statement: “I care about animals, global justice and the environment. I am a vegan and I try to purchase ecological and fair trade products as much as I can. I don’t like capitalism and I think the welfare state is worth defending.”
In 2017 Agebjörn and his friend/collaborator/neighbor Mikael Ögren released an ambient album on Spotted Peccary Music called We Never Came To The White Sea, a soundtrack to an unedited roadmovie through Russian Karelia, where Agebjörn’s grandfather was born, way back when it belonged to Finland.
A priest by profession, Mikael Ögren has been active as a musician mostly as a hobby. He is heavily influenced by electronic pioneers Kraftwerk and Jean Michel Jarre, as well as ’90s trance innovators such as Jam & Spoon. During the mid-2010s he began collaborating with his neighbor, Johan Agebjörn, when the two remixed “Aurora” by synthwave producer Tommy ’86 in 2015. Ögren’s remix of Agebjörn’s song “The Leftovers” (featuring Loney Dear) was released later in the year, and in 2016, Ögren and Agebjörn reworked Jam & Spoon’s 1992 remix of the genre-defining eponymous single by the Age of Love.
Agebjörn and Ögren have recently created their second collaborative release, Artefact, and it is also on the Spotted Peccary Music label. Employing vintage synthesizers (Gear: Access Virus Indigo II, Alesis Micron, Clavia Nord Lead 2, Kurzweil K2000, Novation Supernova, Propellerheads Reason 11 with Korg MonoPoly, Roland DJ-70, Roland JD-800, Roland JP-8000, Thoraiz AS-1, Waldorf Blofeld, Yamaha AN1x) which blend into the ethereal atmospherics and electronic sounds of a classic sci-fi soundtrack, enjoying styles ranging from ambient to trance. Artefact features collaborations with fellow electronic musicians Between Interval and Le Prix, as well as ethereal soprano vocals from Martina Björk. Kilian Eng created the otherworldly illustrations, and the exquisite graphic design is by Daniel Pipitone.
Should there ever be a New Thing Revival along the lines of the New Orleans Revival of the 1940s then saxophonist Bert Wilson could be prime candidate to be its Bunk Johnson.
Like the legendary trumpeter from New Iberia, La., Wilson has since 1980 lived far away from mainstream jazz centres in Olympia, Wash., and plays in a style as true to what was recorded on ESP-Disk as Johnson was to pre-Swing Era traditional jazz. At 64, the alto and tenor saxophonist is even a decade older than Johnson was when he was fitted with new dentures and rediscovered in 1940. As for historical connections, if Johnson played with Bolden in New Orleans before the First World War, Wilson fittingly jammed with John Coltrane’s expanded sextet in Los Angles in 1966.
That sojourn in L.A. unfortunately, limits these comparisons. Unlike Johnson, who never recorded and was out of music before he was found and displayed as the genuine jazz article to fight the bebop heresy, Wilson, who has used a wheelchair since a childhood bout with polio, has lived in New York as well as L.A. Wilson actually recorded on ESP-Disk, with percussionist James Zitro and saxist Sonny Simmons, has made other recordings and played at many jazz festivals.
Besides, Wilson, a self-aware, jocular type, doesn’t want to be displayed as anyone’s genuine jazzer. Being confined to a wheelchair was, in one sense, a blessing, he’s said, for it gave him all the time in the world to practice. Someone who can reach five to six octaves on the saxophone, he’d rather play than do anything else.
He certainly shows his stuff on this duo, which is doubly impressive since his pianist partner here is Spokane, Wash.-born Jeffrey Morgan. Peripatetic Morgan, who has lived in Cologne, Germany since 1991, is a saxman himself, whose most recent achievement is a fine duo disc, TERRA INCOGNITA, with British drummer Paul Lytton. However he played piano before the saxophone and TAKE NO PRISONERS is like those LPs that featured bassist Charles Mingus on piano — a rare opportunity to hear an accomplished stylist translate his skills to another medium.
Maybe there are still some parallels to Johnson’s unvarnished Classic Jazz, however. This 73¾-minute session isn’t for jazz dilettantes. It’s six shots of long form improvisation with each man pouring his all into and through his instrument. Even for the committed it may best be experienced in small doss rather than in one sitting.
Wilson, for example, spends many passages on the longest — nearly 15 minute — title track squealing away altissimo. Along the way he adds sideslipping obbligatos, flutter tonguing and spetrofluctuation. Still, for all his extended techniques, he never sounds as if he’s at a loss for ideas, nor, no matter how hard he blows, do the tones ever sound forced. Morgan too shines, playing perhaps with a more powerful touch than usual since his instrument is an old upright. Creating allegro fantasias, he pushes uneven note clusters against a small thematic grouping, or flashes octaves over the keys.
Meanwhile, boiling repetitive overtones, minute vibrations, yelps and cries characterize the reedist’s work, which at times reaches an Aylerian march tempo. Wilson’s more versatile than many would suspect, though. By the piece’s end, duck-like quacks give way to tones that would be balladic in a different context, and he ends with a sweeping legato slur that reference pre-modern tenor titans like Ben Webster.
The Aylerian cast is even more prominent on “Centari” with Wilson and Morgan dredging up memories of New Thing saxophonist Albert Ayler and his closest keyboard associate Call Cobbs. Here Morgan sound as if he’s turning out mutant boogie woogie, while Wilson’s initial foghorn shrills soon turn into dog whistle shrieks. True to his own tuning system, he has the tendency to propel unrelated melodies into the middle of his solos that somehow fit perfectly with the irregular vibrations. If he’s biting his reed while playing, it seems as if he will devour it in the middle of a solo.
Wilson’s most varied work comes on “Poltergeist Meditations”. Beginning with an extended nephritic roar, he then reaches higher and higher pitches, seemingly just to prove that he can do so. He can, as well, smoothly sound entire well-modulated legato passages and timbres that appear to arise from the bottom of his sax bow — so thick are they with undersea-like notes. Coda is made up of the reedist wheezing out staccato high notes then blowing air through the body tube and gooseneck without moving the keys.
Interestingly enough, while the two often appear to take off in different directions, they end up coming together at just the right note, courtesy of Wilson’s experience and the appropriate piano technique of Morgan. It ranges from punishing the lower-pitched keys with pedal pressure, rolling out speedy arpeggios and stroking the internal strings on the soundboard.
All in all, perhaps the disc is mis-titled. “Take No Prisoners” may be a bit too bellicose for what the two do. What they actually create, as the final tune says, is “Lightning, Thunder and Rain” merely using acoustic instruments and their combined talents.
— Ken Waxman
Track Listing: 1. Sky Dive 2. Take No Prisoners 3. Centari 4. Fast Break 5. Poltergeist Meditations 6. Celestial Spheres 7. Lightning, Thunder and Rain
Personnel: Bert Wilson (alto and tenor saxophones); Jeffrey Morgan (upright piano)