text:
Here is your opportunity to experience, online, select content from Perimeter Institute's highly successful two-week International Summer School for Young Physicists (ISSYP). While we could reach up to 100 "young physicists" per year with our onsite ISSYP camps, our Virtual ISSYP opens up this fantastic learning experience for all to enjoy. The Virtual ISSYP is intended for students, teachers and anyone interested in learning more about the wonders of modern physics and the excitement of research and discovery at the frontiers of knowledge.
A "derivation" of the Schrodinger wave equation based on simple calculus.
Learning Outcomes:
• How to express the de Broglie wave of a free particle, i.e. a complex traveling wave, in terms of the particle's energy and momentum, and how to differentiate this wave with respect to its space and time variables (x and t).
• How to combine the above mathematical results with the Newtonian expression for the total energy of a particle to get Schrodinger's wave equation.
The de Broglie waves we have been using thus far were assumed to be real functions; we discuss why this is wrong and how to fix the problem.
Learning Outcomes:
• Understanding why there is a serious flaw with using real de Broglie waves, and how using a complex wave (one with both a real and an imaginary part) solves the problem.
• Understanding how the de Broglie wave corresponding to a free particle is like a moving corkscrew, with a magnitude that is uniform across space and constant in time.
Learning Outcomes:
• How the complex standing wave states of an electron in a one-dimensional box are "stationary states" in that the electron probability pattern is static (not changing with time).
• However, if the electron is put in a superposition of two such stationary states (with different energies), its probability pattern is not static, but rather oscillates back and forth; understanding how this oscillation is connected with photon emission and absorption.
A discussion of how the zero point energy of atoms is what makes possible their existence in our universe – atoms are purely quantum mechanical objects.
Learning Outcomes:
• Continuation of QM-9: A calculus-based derivation of the zero point energy of the quantum harmonic oscillator.
• How our previous understanding of energy quantization and zero point energy can be applied also to the hydrogen atom.
Understanding the zero point energy of the quantum harmonic oscillator as a consequence of the Heisenberg Uncertainty Principle.
Learning Outcomes:
• Understanding why the minimum energy of a ball in a bowl must be greater than zero based on the Heisenberg Uncertainty Principle.
• How the Heisenberg Uncertainty Principle adds a purely quantum mechanical kinetic energy to the ball, in addition to its classical potential energy.
A discussion of the space and time axes of a moving observer and an introduction to length contraction.
Learning Outcomes:
• Understanding why and by how much a moving observer's position axis is "tilted in time."
• Understanding how a moving platform appears to a stationary observer.
• Beginning to understand the cause of length contraction.
A continuation of the SR-10 discussion on length contraction. Resolving Principle 2*.
Learning Outcomes:
• Relativity of simultaneity revisited – gaining a deeper understanding of what it means.
• A full understanding of the nature of length contraction based on relativity of simultaneity.
• Resolving a key paradox in special relativity: Principle 2*, introduced in SR-4. How it is possible to measure the same speed for the light whether you are running toward or away from a flashlight.
Taking our intuitive understanding of the quantum world gained by studying a particle in a one-dimensional box, we generalize to understand a quantum harmonic oscillator.
Learning Outcomes:
• Introduction to the classical physics of a ball rolling back and forth in a bowl, a simple example of a very important type of bounded motion called a "harmonic oscillator."
• The quantization of allowed energies of a harmonic oscillator: even spacing between energy levels, and zero point energy.
By applying our understanding of the quantum harmonic oscillator to the electromagnetic field we learn what a photon is, and are introduced to "quantum field theory" and the amazing "Casimir effect."
Learning Outcomes:
• Understanding that classical electromagnetic waves bouncing around inside a mirrored box will exist as standing waves with only certain allowed frequencies.
Space obeys the rules of Euclidean geometry. Spacetime obeys the rules of a new kind of geometry called Minkowskian geometry.
Learning Outcomes:
• Triangles in spacetime obey a Pythagoras-like theorem, but with an unusual minus sign.
• The true nature of time as geometrical distance in spacetime.
• How to analyse and resolve the Twins' Paradox using spacetime diagrams in combination with Minkowskian geometry.


text:
Actor and activist Ben Affleck appeared before Congress on Wednesday to testify about the ongoing violence in the war-torn Democratic Republic of Congo.
The Argo star has long been working to raise awareness about the situation in the Central African nation, and he headed to Washington, D.C. to callon the House Armed Services Committee to use its influence in global politics and with the United Nations to do what it can to help the troubled country.
He branded the battle for control of the Congo "the deadliest conflict since World War II" and told the politicians, "I am not here to ask for precious American tax dollars, I am here today to respectfully request you use the most important power you have, your collective voice as representatives of the United States of America…
"It is clear to me that the pursuit of durable peace in Congo is not hopeless, quite the contrary, in fact. The solutions are not new, or particularly complex. But without persistent, high-level leadership by the United States, the key players will not come to the table and do their part…
"For 15 years, the United Nations has run a peacekeeping mission in Congo. The time has come to fundamentally reconsider the scope of its mandate."
Affleck went on to express his hopes for a peaceful future for the nation, stating, "Every day, I am inspired by the resilience and determination of the Congolese, who desperately want to live their lives in peace, earn a decent living, and raise their families just like the rest of us."
During the testimony, Affleck also revealed he was planning to visit to the embattled country once again in February, according to the Los Angeles Times.
The actor/director has made multiple research trips there and established his own charitable foundation, the Eastern Congo Initiative, in 2010 to help women and children affected by rape and sexual violence.
Actor and activist Ben Affleck appeared before Congress on Wednesday to testify about the ongoing violence in the war-torn Democratic Republic of Congo.

subset: commoncrawl


text:
Paul Freund's diesel fuel supplier had begun to feel like the long-suffering and constantly idle Maytag repairman: He just didn't hear much from the Needville, Texas, farmer anymore.
"The first year I switched to stale seedbed planting, my fuel dealer called me in April and wondered why I had not ordered any diesel. I save a lot of fuel with a stale seedbed," Freund said.
Buck Braswell, Harlingen, Texas, allows as how conservation tillage is "the easiest farming I've ever done in my life. I need less equipment and less upkeep on the machinery I have. I don't pull a wrench anymore."
And Derwood Cobb, Cameron, Texas, says if bad judgment results in experience, he's had 50 years worth. Conservation tillage is one of his latest endeavors and after 10 years of valuable experience admits he's "still learning how to do it right."
All three shared what they've learned about conservation tillage recently at a Monsanto-sponsored "warm-up" session before the sixth annual Cotton and Rice Conservation Tillage Conference in Houston.
Braswell says if he can make conservation tillage work in the Lower Rio Grande Valley, it will work anywhere in the United States.
He'll make his 38th crop this year.
"I worked with no-till for the first time in 1963. I was in the 10th grade in Mississippi and helped my brother make a soybean crop. We planted soybeans behind wheat, no till with a Burch four-row planter. We got a good stand and it worked. That was the best crop he'd ever made."
He recalls that his brother gave him far less credit than he deserved for making that crop, but he remembered the lesson when he started farming cotton and grain in South Texas in 1987.
So when a partner decided he wanted to expand a custom farming operation they were working they needed to figure out a way to expand from 5,000 acres to 20,000 acres with no more labor or equipment. No-till was the only way to do it.
"We went up to 17,000 the first year," he said. "We made it work; it was my job to make it work."
"We got a stand with no-till that first year; other farms nearby had trouble getting a stand. We had a little more moisture because of no-till."
Braswell, who was named Monsanto's Conservation Champion of the Year, starts with a grain crop and rotates cotton and grain annually.
"I can get grass out of grain sorghum with atrazine, applied with Roundup just before emergence. I cultivate one time. That gives me a row for the next cotton crop."
He doesn't shred stalks. "I spray the grain before harvest and by the time I'm ready to plant cotton, the residue has crumbled up. I can run PrepMaster and clean it up if I still have residue."
He doesn't shred cotton stalks either. "I got rid of my stalk pullers and leave the root systems intact so the next season's plants can follow the old roots."
He kills cotton behind the stripper, spraying 2,4-D. "I'll spray again if we get rain to make certain I get volunteer cotton. By February I can plant right through the stubble."
Braswell said farmers should get their planters ready before they go to the field. "Keep it adjusted properly and it will go. But it has to be calibrated or it will not work right."
He sprays with Roundup before planting to clean fields up. "I plant Roundup Ready varieties so I spray again before the five-leaf stage. Then I use a hooded sprayer.
Braswell said trepidations about reduced tillage systems have not come about. "I thought we might have cutworm problems because we left root systems in the soil. That has not happened."
He also worried about grades. "Our cotton has graded as good as conventional. We tested it, but farmers have to test like varieties. They often compare yield and grades with varieties other than those with the herbicide and insect resistant genes."
He said testing the transgenics against the parents gives a more accurate comparison of grade and yield.
Braswell said reduced-tillage systems have overcome much of the bias that accompanied early trials. "No one makes fun of us any longer," he said. "Although it's sometimes hard for a young farmer to persuade his father to try conservation tillage. Landlords are beginning to see how well these systems work."
That's especially true when they realize the savings potential, he said.
"We save bout $50 per acre with cotton versus conventional planting. The yield is as good or sometimes better. At one time we put 2000 hours a year on a tractor. Now we put 400 on two or three, sometimes even less than that. We use one tractor for 1500 acres versus one for 800 before."
He's also using a smaller tractor, a two-wheel-drive 160 horsepower machine.
"We need the hydraulics to run 12-row equipment."
Other savings include: 2.47 gallons of diesel fuel per acre for no-till versus 15.92 gallons per acre for conventional. He used to employ 10 men, now he's down to five sometimes and usually just three.
Braswell recommends that farmers getting started in conservational tillage should start with a good spray rig, and a bedder. "A hooded sprayer is essential. Invest in a good planter and maybe one cultivator."
"I don't use a lot of attachments on my planter; it's just a standard John Deere unit. I use spikes instead of closing wheels on the planter."
He uses a three-bar cultivator for grain sorghum. "I need coulters on it to cut through the trash."
Braswell always plants at least half his acreage to no-till. "Some years I'll plant everything no-till," he said, "but occasionally the crops need a bed and I have to make a crop."
He says success with reduced tillage systems rests with the farmer. "It all depends on how dedicated a farmer wants to be."
Freund grows 800 acres of cotton and 500 of corn and guar, on a farm a little more than a Sunday drive from downtown Houston. He has farmed since 1975 and started tinkering with a stale seedbed in 1993, trying to make certain he got his corn crop planted on time in heavy land.
That first experiment convinced him the practice had promise. "The following year I planted everything in a stale seedbed."
He starts after harvest, shredding and pulling stalks. "I spread phosphorus and potassium dry, hip the beds, and loosen up the soil so the rain moves down into the ground."
He plants on top of the bed.
"I usually make two trips, one to hip or list the bed to reshape it and spread the residual herbicides. The residual helps with weeds such as evening primrose and thistle. Between the time I reshape the bed and planting, I may use some 2,4-D or Roundup.
"Then I burn down and plant."
When he first started with the stale seedbed, he applied nitrogen with his base fertilizer, just before or just after he planted. "I've tried pulling a tank, applying ammonia, and placing it far enough away from the seed to prevent injury."
He uses Roundup Ready varieties and sprays Roundup over the top and cultivates once for in-season weed control.
"Cultivation keeps plants out of water and reshapes the beds," he said. "I sidedress at the same time."
He may use a hooded sprayer once or twice to keep weeds out of the crop.
"With just one cultivation, everything seems to run smoother," Freund said.
He said his father was a bit skeptical of the practice at first. "Now, he's changing his mind about it."
He also deals with "a lot of tough landlords. "I lease 23 separate farms. The smallest unit is 8.8 acres."
Freund would like to see no-till work on his operation. "I've tried it, but it is not as successful as the stale seedbed has been."
He said grain works well on a bed and when fields get dry in spring, he can use a disk to knock off the top of the bed to find moisture to plant cotton. "I just brush it a little."
He prefers not to till anything after Nov. 1. "If I need to I can top off the rows just before planting."
Meanwhile, his fuel dealer is wondering if he's been forgotten.
Cobb started out with strip-till and now does "a little with several systems." He says he's found no one technique that fits every situation.
"Each farmer has to adapt a system to his particular operation," Cobb said. "Every farm has different soil types. I still use some strip-till and some no-till as well."
He has modified equipment as climate and necessity dictated. One year planting season was extremely wet.
"It rained for two months," he recalled. "Fields were muddy and sticky. I took the anhydrous knife off and got into the field, moved trash off the rows to allow the soil to dry out enough to plant.
"I try to move trash away from the center of the row to allow the soil to warm quicker, but I maintain the residue on the ground to reduce erosion and add insulation."
He likes to throw up a small bed to keep plants out of the water.
Cobb likes to get started early in the fall to get phosphate fertilizer in the ground. He says he puts far fewer hours on his tractors than he did with conventional tillage. "I use less time, less fuel and less labor. For 4,000 acres, I use two planters, one sprayer.
"I can cover 100 acres per hour with the sprayer. I do use a lot of herbicides."
He's concerned about traffic and hard pans. "It's hard to control traffic patterns at harvest. I've found no good answer yet to prevent combines from running over the rows."
"I've made a lot of mistakes in 50 years," Cobb said. "I've tried a lot of expensive things, but I have gotten rid of my cultivator."


text:
Topcon's System 210 incorporates land-leveling, surveying and field design capability in a package driven by the X20 multifunction touch-screen controller. The system allows field surveys to be conducted directly with the X20 controller, or with a laptop computer with its AGForm-3D field design and survey software installed.
The System 210 GPS and GLONASS-capable real-time kinematic (RTK) package can be configured to drive single or dual scrapers. Currently, it is not set up for ditching or tiling. The system is used mostly in California, Arizona and the Mississippi Delta, where interest in land leveling has been especially strong in recent years, says Ron Cox, regional manager for Topcon.
"In the heart of the Corn Belt, we haven't seen much interest," he says. "But we see a big opportunity for land leveling in the Midwest," either alone or in conjunction with tiling. "A lot of times drainage problems can be solved by just moving a little dirt," he adds. "This could make tiling systems more efficient, or in some cases eliminate the need completely."
A complete System 210 water-management package, including an X20 controller, RTK receiver and antenna and tractor-scraper interface retails for $20,500. AGForm-3D retails for $3,000 and a base station, $8,950. For more information, go to the System 210 page at www.topconpa.com.


text:
juslovemusic wrote:samardzicnba wrote:zones. wrote:juslovemusic wrote:Finished! Let me know if you encounter any issues.
hey, many thanks for the new slider values, i hadnt touched CE after the first update as i thought they would change with every update and it would be a waste of time. one thing iv been hoping someone could find though, as i havnt figured out how to find this specific value myself... the current quarter and/or time left in quarter. i had the value before the first update, but have had absolutely no luck since. would you be able to figure it out for me?
i don't know how to find that value and values for vitals...
Sorry guys, I'm not very good with CE either. Static values and sliders are easy enough but anything beyond that is outside of my meager abilities.
samardzicnba wrote:Can you please stop asking for online cheating?
PS Reported
Users browsing this forum: No registered users and 2 guests


text:
The Doctor's Orders present
9th Wonder
plus 'The Wonder Year' UK Premier & Q&A
7pm – 2am Wedneday 30th May 2012
@ Plan B, 418 Brixton Road, London SW9
Premier & Party - £12 in advance (limited seating)
Party Only - £8
9th Wonder
Rapsody & Kid Daytona live PA
Spin Doctor
& Chris P Cuts
Having first broken through as the producer for the group Little Brother,
alongside school friends Phonte & Big Pooh, this North Carolina native has cut his own path through the world of Hip-Hop. In the tradition of producers like DJ Premier, Just Blaze and Kanye West 9th Wonder has managed to build a bridge spanning both the commercial and underground scenes. Those that have come in search of his soul drenched sounds include Jay-Z, De La Soul, Destiny's Chid, Erykah Badu, Mary J Blige, MOP & Murs. A list that exemplifies the huge cross appeal of this hugely talented producer.
To kick proceedings off we are screening the UK premier of the 'The Wonder Year' a documentary following a year in the life of super producer 9th Wonder: CEO, NAACP ambassador, Duke University professor,and Grammy Award winning producer from his childhood home to late nights in the studio and everywhere in between and features a who's who of Hip-Hop including: Drake, DJ Premier, DJ Green Lantern, J. Cole, Murs, Phonte, The Alchemist & more.
The screening will be followed by a Q&A with 9th Wonder himself and the film's director, Kenneth Price, and then the fun really starts with a 2 hour DJ set from the man of the hour himself featuring a live PAs by Rhapsody & Kid Daytona both of whom perform in the UK for the very first time.
© 2010 - 2019 WonDit
Terms and Conditions | Contact Us


text:
im 14 just having a practice in the nets aiming for the top of middle and bingo hit it first time springing the stump back fully. bowling at 75% pace i can bowl quicker but was aiming for middle stump so took more time on accuraccy.
i know my action aint the best and has a few flaws to it i will improve that side, give me some tips if you can.
also what speed do you reckon its at?


text:
Review: Pattern Making Co. Radius
Company: Pattern Making Co.
Website: www.Patternmakingco.com
Title: Radius
Players: One
Price: $4/$1
Compatible: iPod touch, iPhone, iPhone 3G
On August 5, 2008, iLounge published iPhone Gems: Games to Show Off Apple's Devices, a feature article looking at six games that interestingly showed off the iPhone OS. Today, we are rating these games in separate reviews. This review focuses on Pattern Making Co.'s Radius ($4/$1); you can read the full article, with screenshots of all of the games together, through the link above.
When we previously reviewed the puzzle game Trism, we noted that it was very good, but missing a little something that could conceivably transform it into the next Tetris. Radius may be a hint or two short of Trism's addictiveness, but it's presented with a slick interface and style that makes you really want to see it do more and better. Here, you're controlling a rotating ball that is repeatedly being filled with dots that start small, but quickly expand with growing isobar-style lines to become threats to the entire globe. You need to rotate the ball, tap the dots to neutralize them, and then deal with the consequences.
The consequences are in some cases more dots—click on a yellow dot and it will spawn three more that dance across the ball's surface. At other points, power-ups will appear to double your points, slow the action down, or clear the board with a shower of nuclear explosions. Spinning the ball sometimes yields obvious enemies; at other times, you'll keep looking and find nothing, despite the presence of dots someplace on the globe. Fail to disarm a number of the dots and the ball blows up, ending your game.
In terms of visual presentation, Radius is an impressive work of minimalism. The sphere is in the center of the screen, surrounded by your life bar, surrounded by a curved score and timer. Activated icons appear off to the side of the sphere, and everything is handled in a clean, sophisticated interface with nice fonts and little clutter. While there's no music, there are simple sound effects to indicate when you've deactivated one of the dots, and to let you know when new ones are appearing. We'd prefer a soundtrack and even more audio accompaniment, but given the sub-$5 price, their absence isn't a huge problem. Overall, what's here is simple, but it's also pretty cool.
When playing Radius, three things struck us as "off." First, the ball doesn't appear to be fully representative of the playing field as you're spinning it—it's as if you're seeing what appears on screen to be half or a third of the globe, yet moving it around suggests that the ball is actually several times larger than you'd imagined. Threats to be disarmed aren't easy to find, and the game could really use some scale differentiation, perhaps automatic zooming-in and -out, to make the action more fun. Additionally, the game feels stingy on touch responsiveness when you're trying to neutralize threats; sometimes a tap doesn't seem to register. And finally, the game doesn't offer the sort of smooth ramp-up in scope and difficulty that the best puzzle titles out there have offered. By comparison with similar titles such as the Nintendo DS Elite Beat Agents series, Radius feels like it could use a little tweaking.
Judged solely on what it is today, Radius strikes us as a slightly incomplete game that is fun to play a few times but could really benefit from structure, pacing, responsiveness, and presentation tweaks. But we picture this title as laying the groundwork for a bigger-deal game, and if seen in that light, Radius is not just a very good start, but potentially the basis for a massive hit. [Editor's Note: The price of Radius has continued to be at $4 for most of the time we have been watching it, but flipped to $1 immediately before we published our review. As it's unclear as to how the pricing will shake out, we are rating it at the $4 price point it was purchased at. Consider it a better buy if the price remains at $1.]
Editors' Note: iLounge only reviews products in "final" form, but many companies now change their offerings - sometimes several times - after our reviews have been published. This iLounge article provides more information on this practice, known as revving.


text:
Maryland Made Easy hosts information about the FastTrack process, as well as the application. The site also features a GIS interactive map that helps users determine eligibility to apply for FastTrack. All projects in FastTrack are monitored to ensure timeliness and adherence to timelines. A yearly report is presented to the Governor on the system's progress.
707 North Calvert Street
Baltimore, Maryland 21202-3601
Main Business Line – 410-545-0300
Safety Campaigns – 1-800-323-6742
For emergencies, call MDOT SHA's Statewide Operations Center at 410-582-5650.
Privacy Policy
About SHA
Frequently Asked Questions
Press Releases
Public Information Act


text:
Re: Set/Theme Wishlist
Posted: Thu Apr 18, 2013 5:41 pm
stubby wrote:Colette wrote:Why does a school set have to be "girly"- what does that imply about studying? Stupid lego enforcing anti-intellectualism in our children.
So if I understand you right, you're saying that showing girls as intellectuals is the same as promoting anti-intellectualism. What were you saying the other day about not being a misogynist?
I think I was more irritated that the only lego school in modern times couldn't have been gender-neutral. I was saying that having it be a "girly" set would encourage male children to associate studying as "girly" and so hence dissuade them (sad but true, the immaturity of American children). In a sense showing girls as intellectuals is the same as promoting anti-intellectualism if it is done at the exclusion (and likely discouragement) of men.


text:
April 5, 2007
Danica Wright Booth/The Tennessean - Dust flew up into the hot March sun as Nathan Harless spun his tires across the grass on the Lipscomb University campus.
The act, which normally would have received reprimand, was cheered by a crowd of advisers, professors and students who have spent the past year creating the Lipscomb University Mini Baja dune buggy from scratch.
"Can you see the tears in my eyes?" asked T.J. Tennent, an engineer with Bridgestone Firestone who served as an adviser to the students.
Tennent assisted the racing team, led by a group of nine senior students who constructed the all-terrain vehicle, which will be the school's first entry in the Baja SAE Series, a 25-year-old contest in Ocala, Fla., on April 12-15.
Lipscomb engineering students raised the necessary $20,000 to build the vehicle, designed it from scratch and collected all the materials.
At competition, the buggy will have to complete a variety of tasks, including running for four to six hours to test endurance, navigating an obstacle course and surviving a water obstacle.
"We still haven't done the water testing yet," Tennent said. "It is actually going to have to float."
The vehicle represents the final project for eight engineering students, including Amy Gilfilen of Marietta, Ga.
"We started on the frame a week after Christmas break," Gilfilen said.
For Gilfilen, who has interned at NASA and traveled to Guatemala to build a bridge on a mission trip during her career at Lipscomb, the hardest part of the whole process was simply finding time to complete the project.
"I'm glad we got it all together," she said, watching Harless fly the vehicle off a short brick stairway.
Unlike many teams that have competed in previous years and that are allowed to use their old vehicles, this is Lipscomb's first year in the competition, so students had to start from scratch.
"I think we have a good chance," said Rob Smithson of Franklin. "We'd like to get first, but we'd at least like to get Best New Car."
The team divvied up the pieces of the vehicle, each of them focusing on a different portion of the mechanics, and Smithson designed the front suspension.
"This is the first time I've got to see it go," Smithson said. "It's awesome, seeing all our work out here, moving."
Though none of the seniors will return to the team, Tennent plans on coming back next year, a seasoned veteran of Mini Baja Dune Buggy Racing.
"Tennessee Tech was trying to steal me away," he said, "but they've won for the past three years. I don't think they really need my help, and Lipscomb has been fun.
"It's fresh. It's all brand new," he said, "and they're thinking outside the box."
Original Link: http://www.tennessean.com/apps/pbcs.dll/article?AID=2007704040399


text:
Current Publication:
The American Journal of Esthetic Dentistry
Fall 2012
2 , Issue
Influence of Thermocycling and Mechanical Loading on the Fracture Strength of In-Ceram Zirconia Anterior Cantilever Resin-Based Fixed Dental Prostheses
Samah Saker, BDS, MSc, PhD/Manal Abo-Madina, BDS, MSc, PhD/Abeer El-Fallal, BDS, MSc, PhD/Mohamed Ghazy, BDS, MSc, PhD
First time users activate
your account.
Subscribers receive full access to the
online version of The American Journal of Esthetic Dentistry.
Single back issues of The American Journal of Esthetic Dentistry are
available at a price of $52.00 per issue. You will need
to know the volume, issue number, and year of the journal
you wish to purchase.
Nonsubscribers can purchse single articles
from The American Journal of Esthetic Dentistry for $25.00 per article.
Home | Subscription
Services | Books
| Journals
| Multimedia
| Events
| Blog
Terms of Use | Privacy Policy | About
Us | Contact
Us | Advertising | Help | Sitemap | Catalog


text:
Download the authoritative guide: Cloud Computing 2019: Using the Cloud for Competitive Advantage
As enterprises deploy VoIP, vendors are being challenged to provide toll-quality voice and predictable data delivery using shared WLAN infrastructure. While prioritization helps, WLAN architecture and AP engineering can also make a huge difference.
According to Paul Curto, Senior Technical Marketing Engineer at Meru Networks, For customers who are deciding amongst enterprise WLAN vendors, the best test is one that incorporates real-world clients, making independent over-the-air decisions.
To facilitate this, Meru developed tests enabling objective measurement and subjective assessment of voice quality, airtime fairness, and aggregate throughput for simultaneous voice and data streams run through a single AP.
Our customers are making choices between competing vendors. We wanted to show that we have the best solution for converged enterprise voice and data, said Curto. We looked to The Tolly Group to provide third party validation and to create a test recipe that customers can run for themselves to see how our solution scales.
Testing voice quality
According to a new report published this week by Tolly, engineers put Meru and Cisco WLAN solutions through a pair of benchmark tests in an RF-controlled testbed.
One test measured VoIP quality and aggregate throughput for an offered load consisting of 6 live VoIP calls, 22 simulated VoIP sessions, and 8 data sessions. Simulated VoIP streams were generated by IxChariot, using a 30 ms payload and G.711 codec to consume roughly 192 Kbps each. Data sessions were also generated by IxChariot, using 1416 byte buffers to send traffic as quickly as the WLAN allowed.
Running through a Meru dual-radio 802.11g AP 208 and MC 3000 controller, these streams produced a combined throughput of 4 Mbps. As measured by IxChariot, voice quality averaged 4.07 MOS (Mean Opinion Score) anything above 4 is considered toll quality. Voice packets also averaged 17 ms of latency and 2.7 ms of jitter well under the 150 ms acceptable delay threshold defined by G.114.
To complement these quantitative numbers, engineers also placed live calls, using half a dozen Ascom i75 Wi-Fi phones. In their subjective opinion, Meru calls resulted in good sound quality at six phones and did not experience noticeable degradation at eight phones.
Vying for air time
In a WLAN without prioritization, data traffic can significantly degrade voice quality. Conversely, even one voice call can have an impact on aggregate AP throughput, since VoIP keeps a shared channel busy by sending a large number of short packets. Wi-Fi Multi Media (WMM) attempts to address these problems through prioritization.
Because was voice was given higher priority and testers sent data packets as fast as the WLAN would accept them, the data clients essentially shared the available capacity not consumed by voice. Total throughput inched from 4.0 to 4.1 Mbps during a second test that increased the number of data clients from 20 to 30.
However, WMM doesnt do as good a job of managing traffic in the upstream direction, said Curto. Meru supports WMM, but we dont think WMM solves the whole problem. Our Air Traffic Control technology manages both upstream and downstream traffic.
Specifically, in both tests, the number of upstream (client-to-AP) and downstream (AP-to-client) data transactions were identical. Every single flow had an equal and fair distribution in both directions, said Curto. This airtime fairness is something thats very important to our customers, not only for traditional data applications, but for other mission critical applications like video.
According to Curto, by taking QoS guarantees a step further, Meru can offer a more scalable solution for converged voice and data networks, as well as stronger quality of service guarantees for voice. The single AP test in this report is a good representation of our capabilities at scale, but we have also conducted a pervasive all-wireless office demonstration [that] extends the same principles to the all wireless Enterprise, said Curto. Those results will be published in an upcoming Farpoint Group technical note.
Checking out the competition
The Tolly report compares Meru results to those generated by running the same traffic through a Cisco AP1242AG and 4402 WLAN controller. According to the report, Cisco delivered half of Merus aggregate throughput, relatively poor 1.6 MOS call quality, an unacceptable 813 ms one-way latency, and 40 percent fewer upstream transactions than Meru. Cisco did not respond to Tollys invitation to actively participate in the test plan or review/comment on test results.
This test illustrates that Merus over-the-air Quality of Service can manage VoIP and data traffic in such a way as to deliver toll-quality voice in a multi-user high density enterprise environment while Ciscos solution fails to deliver acceptable quality for any of the VoIP users, said The Tolly Groups founder Kevin Tolly.
As with all benchmarks, numbers generated in a clean lab environment are no substitute for in-situ testing with representative traffic and real-world scenarios. For example, one important voice variable is the codec. Here we used a G.711 codec, said Curto. If you were to use a lower quality codec, youd have lower bandwidth consumption.
Meru designed these tests to reflect traffic they have seen used in the field, with key metrics demonstrated through both subjective quality assessment and quantitative measurement. However, by documenting test methodology and set-up, Curto hopes that customers will run bakeoffs themselves, inviting other vendors to come in and run the same tests. The full report is freely available for download here.
This article was first published on WiFiPlanet.com.
Submit a Comment
Loading Comments...
Submit a Comment


text:
From inside the book
71 pages matching phospholipid in this book
Where's the rest of this book?
Results 1-3 of 71
What people are saying - Write a review
We haven't found any reviews in the usual places.
Thinlayer adsorption chromatography of lipids
Quantitative aspects of thinlayer chromatography applied to the lipids of biological
Bile salt metabolism in the
47 other sections not shown
Other editions - View all
Common terms and phrases
absorbed Acta adipose tissue amount animals arachidonate ATPase bile acids bile salts Biochem Biol Biophys Birmingham blind loop blood Britain brush border Chem cholest�rol est�rifi� cholesterol esters cholest�rol libre cholic acid chromatography chyle chylomicrons compounds concentration containing contenu intestinal cytochrome diet dietary electron emulsion endogenous enzyme esterified experiments extracted faecal fat absorption fatty acid composition fraction free fatty acids glucose glycerides glycerol hydrolysis incorporation increase incubation injection intestinal mucosa L-leucine labelled lecithin linoleic acid lipemia lipids lipoprotein liver lumen lymph metabolism methyl micelle microsomal microvilli mitochondria mixture monoglyceride normal observed obtained oleic acid olive oil palmitic acid particles phosphate phosphatidic acid phospholipid phosphorylcholine Physiol plasma membrane present Proc protein radioactivit� sp�cifique radioactivity ratio rats reaction red cells samples serum shown Silica Gel small intestine solution solvent specific activity stearic acid sterol structural studies synthesis Table triglyceride unsaturated


text:
I should start by saying that I am biased. I grew up in the days of an idealized image of the physician –where doctors were still held in relatively high esteem by our society. I had to think this way for I was joining the system. Back then, like now for the younger doctors, medicine was a still considered a calling, not just a job. The unspoken code was that it was the patient above all else: screw the establishment, screw hospital loyalty, screw the drug company – if they couldn't help your patient, you'd take them elsewhere. So hospitals courted doctors. Drug companies courted doctors. Insurance companies courted doctors. But the truth be known, doctors weren't the apple in everyone's eye, patients were. And doctors enjoyed the limelight – so much so, that a few in our ranks succumbed to the greed, too. After all, like now, patients paid everyone's bills.
The First Steps
Our New "Reform"
And then there's the overall quality of care. I can't say I really see a difference from five years ago. Sure, I see things being done faster by fewer. I see computers moving information around like never before. But is the care to our patients really better? I see reams and reams of documentation made not for the patient's benefit, but for bureaucrats and bean-counters more interested in our use of computers than our patients. I see better communication between doctors improved with the EMR, but has this translated to better care delivery? Not always. And when it comes to quality, the New York Times editors cited the example that health care in
In the end, health care reform is still about the money for the system rather than the real needs of most patients. We are cutting costs to corporations by inflating our Health Care Hindenburg with cheaper hydrogen. We have spun a narrative of providing more care for more people with less cost while ignoring the shear forces and telltale weather patterns of cost concerns that blow our way and threaten our ship's buoyancy.
Health care reform is here, alright, doing what it's always done: spinning reform without real reform for three years (so far) and counting.


text:
Woody Guthrie
|Woody Guthrie
Woody Guthrie with guitar labeled "This Machine Kills Fascists" (1943)
|Background information
|Birth name
|Woodrow Wilson Guthrie
July 14, 1912
Okemah, Oklahoma, United States
October 3, 1967
(aged 55)
New York City, New York, United States
|Folk, protest music
|Vocals, guitar, harmonica, mandolin, fiddle
|Years active
|Associated acts
|Almanac Singers
|Notable instruments
|Martin 000-18, Gibson Southern Jumbo, Gibson J-45
Woodrow Wilson "Woody" Guthrie (July 14, 1912 – October 3, 1967) was an American singer-songwriter and folk musician whose musical legacy includes hundreds of political, traditional and children's songs, ballads and improvised works. He frequently performed with the slogan This Machine Kills Fascists displayed on his guitar. His best-known song is "This Land Is Your Land." Many of his recorded songs are archived in the Library of Congress.[1] Such songwriters as Bob Dylan, Phil Ochs, Bruce Springsteen, Robert Hunter, Harry Chapin, John Mellencamp, Pete Seeger, Andy Irvine, Joe Strummer, Billy Bragg, Jerry Garcia, Jay Farrar, Bob Weir, Jeff Tweedy, Bob Childers and Tom Paxton have acknowledged Guthrie as a major influence.
Many of his songs are about his experiences in the Dust Bowl era during the Great Depression when Guthrie traveled with displaced farmers from Oklahoma to California and learned their traditional folk and blues songs, earning him the nickname the "Dust Bowl Troubadour."[2] Throughout his life Guthrie was associated with United States Communist groups, though he was seemingly not a member of any.[3]
Guthrie was married three times and fathered eight children, including American folk musician Arlo Guthrie. Guthrie died from complications of Huntington's disease, a progressive genetic neurological disorder. During his later years, in spite of his illness, Guthrie served as a figurehead in the folk movement, providing inspiration to a generation of new folk musicians, including mentor relationships with Ramblin' Jack Elliott and Bob Dylan.
Biography 1
- Early life: 1912–30 1.1
1930s: Traveling 1.2
- California 1.2.1
1940s: Building a Legacy 1.3
- New York City 1.3.1
- Pacific Northwest 1.3.2
- Almanac Singers 1.3.3
- Bound for Glory 1.3.4
- The Asch recordings 1.3.5
- World War II years 1.3.6
- Mermaid Avenue 1.3.7
1950s and 1960s 1.4
- Deteriorating health 1.4.1
- Folk revival and Guthrie's death 1.4.2
- Family 1.4.3
Musical legacy 2
- Foundation, Center and Archives 2.1
- Folk Festival 2.2
- Jewish songs 2.3
- Tributes 2.4
- Copyright controversy 2.5
Posthumous honors and published works 3
- Novel 3.1
- Selected discography 4
- See also 5
Citations 6
- Printed sources 6.1
- Further reading/listening 7
- External links 8
Early life: 1912–30
Guthrie was born in Okemah, a small town in Okfuskee County, Oklahoma, the son of Nora Belle (née Sherman) and Charles Edward Guthrie.[4] His parents named him after Woodrow Wilson, then Governor of New Jersey and the Democratic candidate soon to be elected President of the United States.
Charles Guthrie was an industrious businessman, owning at one time up to 30 plots of land in Okfuskee County. He was actively involved in Oklahoma politics and was a Democratic candidate for office in the county. When Charles was making stump speeches, he would often be accompanied by his son.[5] Charles Guthrie was involved in the 1911 lynching of Laura and Lawrence Nelson. His son wrote three songs about the event and said that his father was later a member of the revived Ku Klux Klan.[6]
Guthrie's early family life was affected by several fires, including one that caused the loss of his family's home in Okemah. His sister Clara later died in a coal-oil (used for heating) fire when Guthrie was seven, and Guthrie's father was severely burned in a subsequent coal-oil fire.[7] The circumstances of these fires, especially that in which Charley was injured, remain unclear. It is unknown whether they were accidents or the result of actions by Guthrie's mother Nora, who was afflicted with Huntington's disease,[8] although the family did not know this at the time. It leads to dementia as well as muscular effects.[9]
Nora Guthrie was eventually committed to the Oklahoma Hospital for the Insane, where she died in 1930 from Huntington's disease. Judging from the circumstances of her father's death by drowning, researchers suspect that George Sherman suffered from the same hereditary disease.[10]
When Nora Guthrie was institutionalized, Woody Guthrie was 14. His father Charley was living and working in [11]
He seemed to have a natural affinity for music and easily learned to "play by ear." He began to use his musical skills around town, playing a song for a sandwich or coins.[12] Guthrie easily learned old ballads and traditional English & Scots songs from the parents of friends. Although he did not excel as a student (he dropped out of high school in his fourth year and did not graduate), his teachers described him as bright. He was an avid reader on a wide range of topics. Friends recall his reading constantly.[13]
In 1929, Guthrie's father sent for his son to come to Texas,[14] but little changed for the aspiring musician. Guthrie, then 18, was reluctant to attend high school classes in Pampa and spent much time learning songs by
- Articles with hCards
- Articles with hAudio microformats
- All articles with unsourced statements
- Articles with unsourced statements from August 2009
- All articles with dead external links
- Articles with dead external links from July 2012
- Articles with DMOZ links
- WorldHeritage articles with VIAF identifiers
- WorldHeritage articles with LCCN identifiers
- WorldHeritage articles with ISNI identifiers
- WorldHeritage articles with GND identifiers
- WorldHeritage articles with BNF identifiers
- WorldHeritage articles with MusicBrainz identifiers
- Woody Guthrie
- 1912 births
- 1967 deaths
- American anti-fascists
- American autobiographers
- American buskers
- American folk guitarists
- American folk singers
- American folk-song collectors
- American harmonica players
- American male singer-songwriters
- American mandolinists
- American people of Scottish descent
- American sailors
- American socialists
- American violinists
- Cub Records artists
- Deaths from neurodegenerative disease
- Folk musicians from Oklahoma
- Grammy Lifetime Achievement Award winners
- Guthrie family
- Huntington's disease
- Industrial Workers of the World members
- People from Echo Park, Los Angeles
- People from Okemah, Oklahoma
- Rock and Roll Hall of Fame inductees
- Rounder Records artists
- Shack dwellers
- Songster musicians
- Songwriters from Oklahoma
- Songwriters Hall of Fame inductees
- Squatters
- Vanguard Records artists
- Political music
- Woody Guthrie at DMOZ
- The Woody Guthrie Center
- The Woody Guthrie Foundation and Archives
- Woody Guthrie and the Archive of American Folk Song: Correspondence, 1940–1950, Library of Congress, American Folklife Center. American Memory presentation of archival correspondence written by Woody Guthrie to the staff of the Archive of American Folk Song. Retrieved August 31, 2009
- Woody Guthrie in NYC, 1943 – slideshow by Life magazine
- Woody Guthrie's Discography on Smithsonian Folkways
- Songfacts interview with Anna Canoni (Guthrie's granddaughter)
- Works by or about Woody Guthrie in libraries (WorldCat catalog)
- Encyclopedia of Oklahoma History and Culture – Guthrie, Woody
- Woody Guthrie at Find a Grave
- Woody Guthrie discography at Discogs
- Voices of Oklahoma interview with Nora Guthrie. First person interview conducted with Nora Guthrie speaking about her father, Woody Guthrie, on October 7, 2010. Original audio and transcript archived with Voices of Oklahoma oral history project.
- The short film "The Fight for Life (1940)" is available for free download at the Internet Archive []
- The short film "The Columbia (1949)" is available for free download at the Internet Archive []
- Woody at 100: The Woody Guthrie Centennial Collection by Smithsonian Folkways Recordings
External links
- Hogeland, William (March 14, 2004), "Emulating the Real and Vital Guthrie, Not St. Woody", New York Times.
- Down Home Radio Show. LeadBelly & Woody Guthrie live on WNYC Radio, Dec. 1940. Audio re-broadcast of a 1940 radio show. Retrieved on January 29, 2008.
- Earle, Steve. Woody Guthrie. The Nation, July 21, 2003. Retrieved on January 29, 2008.
- Electronic Frontier Foundation. Scanned images of some of Woody Guthrie's original works. Retrieved on January 29, 2008.
- Guthrie, Mary Jo. Woody's Road: Woody Guthrie's Letters Home, Drawings, Photos, and Other Unburied Treasures Paradigm Publishers, 2012. ISBN 978-1-61205-219-9
- Jackson, Mark Allen. Prophet Singer: The Voice and Vision of Woody Guthrie. University Press of Mississippi, January, 2007. ISBN 978-1-60473-102-6
- La Chapelle, Peter. Is Country Music Inherently Conservative? History News Network. Nov. 12, 2007. Retrieved on January 29, 2008.
- Kaufman, Will (2011). Woody Guthrie, American Radical University of Illinois Press. ISBN 978-0-252-03602-6
- La Chapelle, Peter. Proud to Be an Okie: Cultural Politics, Country Music, and Migration to Southern California. University of California Press, 2007. ISBN 978-0-520-24888-5 (hb); ISBN 978-0-520-24889-2 (pb)
- Library of Congress. Timeline of Woody Guthrie (1912–1967). Retrieved on January 29, 2008.
- Library of Congress. Woody Guthrie and the Archive of American Folk Song: Correspondence, 1940–1950. Retrieved on January 29, 2008.
- Marroquin, Danny. Walking the Long Road. PopMatters.com. Aug. 4, 2006. Retrieved on January 29, 2008.
- Pascal, Rich. "Celebrating the Real America," http://www.canberratimes.com.au/entertainment/music/celebrating-a-real-voice-of-america-20120713-21zdt.html.
- Public Broadcasting Service. Woody Guthrie: Ain't Got No Home. Documentary from PBS' American Masters series, July 2006. Retrieved on January 29, 2008.
- University of Oregon. Roll On Columbia: Woody Guthrie and the Bonneville Power Administration. Video documentary. Retrieved on January 29, 2008.
- University of Virginia. Guthrie singing "This Land Is Your Land". MP3 recording. Retrieved on January 29, 2008.
- Symphony Silicon Valley Concert Recordings. Symphonic Variations on a Song by Woody GuthrieDavid Amram's Recorded September 30, 2007. Audio recording. Retrieved on January 11, 2008.
- WoodyGuthrie.de. Woody Guthrie Related Audio. Miscellaneous Real Audio files featuring Pete Seeger, Arlo Guthrie, Alan Lomax and others. Retrieved on January 29, 2008.
Further reading/listening
- Cray, Ed (2004). Ramblin Man: The Life and Times of Woody Guthrie.
- Kaufman, Will (2011). Woody, Guthrie: American Radical.
Printed sources
- ^ Library of Congress. Related Material – Woody Guthrie Sound Recordings at the American Folklife Center. Retrieved on November 27, 2007.
- ^ Alarik, Scott. Robert Burns unplugged. The Boston Globe, August 7, 2005. Retrieved on December 5, 2007.
- ^ a b Christine A. Spivey. "This Land is Your land, This Land is My Land: Folk Music, Communism, and the Red Scare as a Part of the American Landscape". Student Historical Journal 1996–1997, Loyola University New Orleans, 1996. Archived from the original on 2008-06-25. Retrieved July 12, 2012.
- ^ Reitwiesner, William Addams. Ancestry of Arlo Guthrie. Retrieved on November 7, 2007.
- ^ Cray, Ramblin Man, p. 11.
^ Jackson, Mark Allan. Prophet Singer: The Voice and Vision of Woody Guthrie. University Press of Mississippi, 2008, p. 136, 157ff.
- See Guthrie, Woody. Don't Kill My Baby and My Son. 1966, accessed August 25, 2010
- ^ Cray, Ramblin Man, p. 30.
- ^ a b "Happy 100th Birthday Woody Guthrie!". Celebrity Diagnosis. 2012-07-14. Retrieved 2012-12-18.
- ^ Klein, Woody Guthrie, pp. 26, 32, 39
- ^ Klein, Woody Guthrie, pp. 1, 4
- ^ Guthrie's interview with Alan Lomax at the Library of Congress Recording Sessions, as recorded in Cray, Ramblin Man, p. 28. But in another interview 14 years later, Guthrie claimed he learned how to play harmonica from a boyhood friend, John Woods, and that his earlier story was false. ibid, p. 410.
- ^ Cray, Ramblin Man, p. 28.
- ^ a b Cray, Ramblin Man, p. 44.
- ^ "CAS – Central Authentication Service". Oxfordmusiconline.com.ezproxy2.library.arizona.edu. Retrieved 2014-04-18.
- ^ Klein, Woody Guthrie, p. 62.
- ^ Guthrie Family tree
- ^ a b Curtis, Gene. Only in Oklahoma: This man was our man. Tulsa World, March 17, 2007. Retrieved on November 6, 2007.
- ^ Klein, Woody Guthrie, pp. 90–92, 103–12
- ^ Cray, Ramblin Man, p. 139.
- ^ Kaufman, William (2011). Woody Guthrie: American Radical. Urbana: University of Illinois Press.
- ^ Woody Guthrie Archives. "My Constitution and Me" Woody Guthrie Archives Collection. Manuscripts Box 7 Folder 23.1, Unavailable online, link to Woody Guthrie Archives website for contact information.
- ^ Cray, Ramblin Man, p. 151.
- ^ Cray, Ramblin Man, p. 153.
- ^ Corn, David. Jerusalem Calling, The Nation, October 17, 2002. Retrieved on November 7, 2007.
- ^ Cray, Ramblin Man, p. 161.
- ^ Cray, Ramblin Man, p. 174.
- ^ Klein, Woody Guthrie, p. 144.
- ^ Cray, Ramblin Man, p. 165.
- ^ Klein, Woody Guthrie, p. 287.
- ^ Joe Klein, Woody Guthrie, p. 375.
- ^ Cray, Ramblin Man, p. 168.
- ^ Cray, Ramblin Man p. 188.
- ^ Cray, Ramblin Man, pp. 194, 195.
- ^ Ed Cray (17 March 2006). Ramblin' Man: The Life and Times of Woody Guthrie. W. W. Norton & Company. p. 241.
- ^ a b Cray, Ramblin Man p. 197.
- ^ Cray, Ramblin Man p. 200.
- ^ Cray, Ramblin Man p. 199.
- ^ Cray, Ramblin Man, p. 209.
- ^ Klein, Woody Guthrie, pp. 195, 196, 202, 205, 212
- ^ Cray, Ramblin Man, p. 213.
- ^ Cray, Ramblin Man, p. 266.
- ^ Klein, Woody Guthrie, p.192-93,195–231
- ^ Cray, Ramblin Man, p. 220.
- ^ Cray, Ramblin Man, p. 216.
- ^ Cray, Ramblin Man, p. 231.
- ^ People's Songs Inc. People's Songs Newsletter, Vol 1. No 1.. 1945. Old Town School of Folk Music resource center collection.
- ^ Cray, Ramblin Man, p. 200, 201.
- ^ Cray, Ramblin Man, p. 200.
- ^ Amazon.com. (Unknown Binding).Bound for Glory Retrieved November 27, 2007.
- ^ a b LaBorie, Tim. Woody Guthrie biography. MusicianGuide.com. Retrieved on January 8, 2008.
- ^ Internet Movie Database. Bound for Glory. Retrieved on November 26, 2007.
- ^ Klein, Woody Guthrie, p. 417.
- ^ Klein, Woody Guthrie, pp. 277–80, 287–91.
- ^ Robert Cressman, The Official Chronology of the U.S. Navy in World War II, Naval Institute Press (1999), p. 180.
- ^ U-Boat NetSea Porpoise
- ^ Ronald D. Cohen, Woody Guthrie: Writing America's Songs ,pp. 28-29.
- ^
- ^ Klein, Woody Guthrie, pp. 302–03.
- ^ Klein, Woody Guthrie, p. 312.
- ^ Klein, Woody Guthrie, p. 344–351.
- ^ Klein, Woody Guthrie, p. 364–65.
- ^ Video: The Columbia (1949).
- ^ Carriker, Robert C. (Spring 2001). "Ten Dollars a Song: Woody Guthrie Sells His Talent to the Bonneville Power Administration". Columbia Magazine 15 (1).
- ^ WoodyGuthrie.org. "Woody Guthrie Archives". Retrieved 2007-04-10.
- ^ Mazor, Barry. "'"Wall Street Journal Interview: 'A Cultural Conversation With Ramblin' Jack. Retrieved 2007-07-17.
- ^ Klein, Woody Guthrie, p. 388–94, 399.
- ^ Klein, Woody Guthrie, p. 418–19.
- ^ Klein, Woody Guthrie, p. 433–39
- ^ Klein, Woody Guthrie, p. 460.
- ^ Arévalo J, Wojcieszek J, Conneally PM (June 2001). "Tracing Woody Guthrie and Huntington's disease". Semin Neurol 21 (2): 209–23.
- ^ Cray, pg 394.
- ^ Cray, Ramblin Man, p. 394.
- ^ Dylan, Chronicles, Volume One, p. 98.
- ^ Dylan, Chronicles, Volume One, p. 244.
- ^ "Let Us Now Praise Little Men". Time Magazine. May 31, 1983. Retrieved 2007-04-10.
- ^ Cray, Ramblin Man, p. 285.
- ^ BMI News. 3rd Annual Woody Guthrie Fellowship Program Opens. September 21, 2007. Retrieved on November 13, 2007.
- ^ New York Times, December 28, 2011. Retrieved on April 22, 2013.
- ^ Tulsa World. [1]. April 21, 2013. Retrieved on April 22, 2013.
- ^ "Archives". Woody Guthrie Center. Retrieved 2014-04-18.
- ^ DVD Talk. Nora Guthrie Interview. Retrieved on January 28, 2008.
- ^ CD Baby. CD Release Announcement. Retrieved on June 15, 2009.
- ^ "The Works". Jonatha Brooke. Retrieved 2012-01-13.
- ^ WoodyGuthrie.com. Woody Guthrie Coalition Board of Directors. Retrieved on September 27, 2007.
- ^ Eshleman, Annette C. Concert Review – Woody Guthrie Folk Festival. Dirty Linen, #103, December 2002/January 2003. Retrieved on September 21, 2007.
- ^ Dunbar-Ortiz, Roxanne. FindArticles.com. Bound for Glory – Indeed! Review of Ramblin' Man: The Life and Times of Woody Guthrie by Ed Cray. March 2005. Retrieved on September 17, 2007.
- ^ 3rd Annual Woody Guthrie Free Folk Festival. July 12–16, 2000 (Program booklet).
- ^ WoodyGuthrie.org. Happy Joyous Hanukkah & Wonder Wheel. Retrieved October 13, 2008.
- ^ a b "CD Baby: THE KLEZMATICS: Wonder Wheel — lyrics by Woody Guthrie". CD Baby. Retrieved 2008-12-26.
- ^ WoodyGuthrie.org. Harold Leventhal: The Fifth Weaver. Retrieved on November 14, 2007.
- ^ The Band's website. Various Artists: A Tribute to Woody Guthrie, Part 1. Retrieved on November 14, 2007.
- ^ "Official Bob Dylan Site | The Official Bob Dylan Site". Bobdylan.com. 2012-01-23. Retrieved 2012-03-23.
- ^ Fretbase, Play Woody Guthrie's This Land is Your Land
- ^ Rock and Roll Hall of Fame. American Music Masters Series. Retrieved February 12, 2008.
- ^ Barden, Tom. The Rock and Roll Hall of Fame and Museum's American Masters Series: Woody Guthrie, 1996-Jimmie Rodgers, 1997-Robert Johnson, 1998.Journal of American Folklore, Vol. 112, No. 446, (Autumn 1999), p.551-4. Retrieved February 12, 2008.
- ^ Robicheau, Paul. Ellis Paul's got Woody Guthrie under his skin. Boston Globe, September 20, 1996.
- ^ Santelli, Robert. Hard Travelin': The Life and Legacy of Woody Guthrie, Wesleyan University Press, 1999. ISBN 0-8195-6391-9
- ^ Righteous Babe Website. track listing.Till we Outnumber 'Em Retrieved on April 9, 2007.
- ^ Smithsonian Institution Traveling Exhibition Service. Archive: Past Exhibitions. Retrieved on November 13, 2007.
- ^ Propaganda Media Group, Inc. Ribbon of Highway – Endless Skyway: Concert in the Spirit of Woody Guthrie. Retrieved on February 6, 2007.
- ^ RibbonofHighway.com. Ribbon of Highway, Endless Skyway website. Retrieved on January 25, 2007.
- ^ Martinez, Rebekah. "Tribute to Woody Guthrie Tour makes a stop in Conroe Feb. 16", The Courier (Conroe, TX.), February 7, 2003. Retrieved on February 7, 2007.
- ^ "15th Annual Folk Alliance Conference: Nashville Sings Woody". Fairleigh Dickinson University. Archived from the original on 2006-05-22. Retrieved July 12, 2012.
- ^ BrooklynVegan.com.Woody Guthrie Benefit @ Webster Hall. Retrieved on November 8, 2007.
- ^ "Woody Guthrie free culture". Creative Commons. 2004-04-05. Retrieved 2012-12-18.
- ^ "Woody Guthrie Songs Publisher Contact". Woodyguthrie.org. Retrieved 2011-03-27.
- ^ "This Land | Funny Video Animation by JibJab". Sendables.jibjab.com. 2004-07-09. Retrieved 2011-03-27.
- ^ "This Song Belongs to You and Me | Electronic Frontier Foundation". Eff.org. 2004-08-24. Retrieved 2011-03-27.
- ^ "Arlo Guthrie on "This Land" parody". Boing Boing. 2004-08-04. Retrieved 2011-03-27.
- ^ "This Song Belongs to You and Me | Electronic Frontier Foundation". Eff.org. 2004-08-24. Retrieved 2011-06-28.
- ^ The Carter Family: 1927-1934, April 30, 2002, Jsp Records; ASIN: B00005TPB7.
- ^ Beacon Sloop Club Retrieved August 28, 2008.
- ^ Rock and Roll Hall of Fame website. Woody Guthrie biography Retrieved on November 3, 2007.
- ^ Grammy Foundation website. Grammy Lifetime Achievement Awards – Past Recipients. Retrieved on November 3, 2007.
- ^ Netstate.com. The Washington State Folk Song. Retrieved on November 27, 2007.
- ^ The Peace Abbey. The Courage of Conscience Award. Retrieved April 15, 2008.
- ^ United States Postal Service. Legends of American Music. June 26, 1998. Retrieved on January 7, 2008.
- ^ Woody Guthrie Birthday Bash website
- ^ I'm Shipping Up To Boston" by Woody Guthrie""". Woodyguthrie.org. Retrieved 2011-03-27.
- ^ "Oklahoma Hall of Fame". Retrieved November 16, 2012.
- ^ Elliott, Matt. Hometown honor for Guthrie, 3 others. Tulsa World, April 11, 2007, p. A2. Retrieved on January 9, 2007.
- ^ Himes, Geoffrey. "Dead 40 Years, Woody Guthrie Stays Busy", The New York Times, September 2, 2007. Retrieved February 8, 2008.
- ^ Wilk, Tom. Woody: Wired in Newark. New Jersey Monthly, March 10, 2008. Retrieved December 11, 2009.
- ^ Tackett, Travis. Rounder Recording Artists garner 6 Grammy Nominations. Bluegrass Journal.com. December 3, 2009. Retrieved December 11, 2009.
- ^ a b Phil Gallo (March 9, 2012). "'"Jay Farrar Tackles Woody Guthrie in 'New Multitudes. Billboard. Retrieved March 14, 2012.
- ^ Joe Heim (2012-07-09). "Woody Guthrie at 100: American struggles and dreams". The Washington Post. Retrieved December 18, 2012.
- ^ "12th Annual Independent Music Awards Winners Announced!" Independent Music Awards, June 11, 2013. Retrieved September 4, 2013.
- ^ Neary, Lynn (February 5, 2013). "Woody Guthrie's 'House Of Earth' Calls 'This Land' Home".
- ^ WoodyGuthrie.org. Selected Discography. Retrieved on November 14, 2007.
- List of songs by Woody Guthrie
- List of albums by Woody Guthrie
- List of peace activists
- Pete Seeger
- Arlo Guthrie
- Lynching of Laura and Lawrence Nelson
See also
Many Guthrie tracks have been repeatedly repackaged and reordered. Items here are listed in order of the most recent published date, not original recording date.[129]
Selected discography
House of Earth, a long-lost novel written by Guthrie in 1947, was published on February 5, 2013, by Harper under actor Johnny Depp's publishing imprint, Infinitum Nihil - Edited by Douglas Brinkley with an introduction by Johnny Depp. Guthrie apparently was unable to have the novel published during his lifetime. House of Earth is about a couple who build a house made of clay and earth to withstand the dust bowl's brutal weather. The book contains explicit sexual material, which may have contributed to his inability to get it published.[128]
On April 27, 2013, The Woody Guthrie Center opened in Tulsa, Oklahoma's Brady District.
On July 10, 2012, Smithsonian Folkways released the Woody at 100: The Woody Guthrie Centennial Collection, a 150-page large-format book with three CDs containing 57 tracks. The set also contains 21 previously unreleased performances and six never before released original songs, including Woody's first known—and recently discovered—recordings from 1937.[126] The box set received two nominations for the 55th Annual Grammy Awards, including Best Historical Album and Best Boxed Or Special Limited Edition Package. It also won an Independent Music Award for Best Compilation Album in 2013.[127]
The Grammy Museum was to have a tribute week in April 2012 and the Songwriters Hall of Fame a tribute in June. A four-disc box Mermaid Avenue: The Complete Sessions by Billy Bragg and Wilco, with 17 unreleased songs and a documentary, was planned for April release.[125]
In the centennial year of Guthrie's birth another album of newly composed songs on his lyrics has been released: New Multitudes. On March 10, 2012, there was a tribute concert at the Brady Theater in Tulsa, Oklahoma. John Mellencamp, Arlo Guthrie, Sarah Lee Guthrie & Johnny Irion, the Del McCoury Band and the Flaming Lips performed.[125]
On February 10, 2008, The Live Wire: Woody Guthrie in Performance 1949, a rare live recording released in cooperation with the Woody Guthrie Foundation,[122] was the recipient of a Grammy Award in the category Best Historical Album.[123] Less than two years later, Guthrie was again nominated for a Grammy in the same category with the 2009 release of My Dusty Road on Rounder Records.[124]
On April 27, 2007, Guthrie was one of four Okemah natives inducted into Okemah's Hall of Fame during the town's Pioneer Day weekend of festivities.[121]
Also in 2006, Guthrie was inducted into the Oklahoma Hall of Fame.[120]
In 2006, The Klezmatics set Jewish lyrics written by Guthrie to music. The resulting album, Wonder Wheel, won the Grammy award for best contemporary world music album.[89]
In 2005, the Boston-based punk band Dropkick Murphys recorded "I'm Shipping Up to Boston". The song's lyrics are from a poem written by Guthrie,[119] and the music was composed by the band. The song was released in 2005 on the album The Warrior's Code and gained fame when it was used as part of the soundtrack for the 2006 movie The Departed.
In July 2001, CB's Gallery in New York City began hosting an annual Woody Guthrie Birthday Bash concert featuring multiple performers. This event moved to the Bowery Poetry Club in 2007 after CB's Gallery and CBGB, its parent club, closed. The final concert in the series took place on July 14, 2012, Guthrie's 100th birthday.[118]
On June 26, 1998, as part of its Legends of American Music series, the United States Postal Service issued 45 million 32-cent stamps honoring folk musicians Huddie Ledbetter, Guthrie, Sonny Terry and Josh White. The four musicians were represented on sheets of 20 stamps.[117]
Guthrie was inducted into the Oklahoma Music Hall of Fame in 1997.
On September 26, 1992, The Peace Abbey, a multi-faith retreat center located in Sherborn, Massachusetts, awarded Guthrie its Courage of Conscience Award for his social activism and artistry in song which conveyed the plight of the common person.[116]
In 1987, "Roll On Columbia" was chosen as the official Washington State Folk Song,[115] and in 2001 Guthrie's "Oklahoma Hills" was chosen to be the official state folk song of Oklahoma.[17]
Although Guthrie's catalog never brought him many awards while he was alive, in 1988 he was inducted into the Rock and Roll Hall of Fame,[113] and in 2000 he was honored with the Grammy Lifetime Achievement Award.[114]
Pete Seeger had the Hudson River Sloop Clearwater.[112] It was launched in 1978. Now operated by the Beacon Sloop Club, it serves to educate people about sailing and the history and environs of the Hudson River.
Posthumous honors and published works
The melody came from a tune that A.P.Carter had found and recorded with Sarah and Maybelle Carter prior to 1934 and was not original to Guthrie.[111]
When JibJab published a parody[107] of Guthrie's "This Land Is Your Land" to comment on the US 2004 Presidential election, Ludlow Music attempted to have this parody taken down, claiming it breached their copyright. JibJab then sued to affirm their parody was Fair Use, with the Electronic Frontier Foundation (EFF) acting for them. As part of their research on the case they found that the song had actually been first published by Woody Guthrie in 1945, although the copyright was not registered until 1956. This meant that when Ludlow applied to renew the copyright in 1984 they were 11 years too late, and the song had in fact been in the public domain since 1973 (28 years from first publication).[108] Ludlow agreed that JibJab were free to distribute their parody. In an interview on NPR Arlo Guthrie said that he thought the parody was hilarious and he thought Woody would have loved it too.[109] Ludlow still claims copyright for this song, though the basis for this claim is unclear.[110]
"This song is Copyrighted in U.S., under Seal of Copyright # 154085, for a period of 28 years, and anybody caught singin it without our permission, will be mighty good friends of ourn, cause we don't give a dern. Publish it. Write it. Sing it. Swing to it. Yodel it. We wrote it, that's all we wanted to do."[105] Currently a number of different organizations claim copyright for many of Guthrie's songs.[106]
On the typescript submitted for copyright of "This Land Is Your Land", Guthrie wrote:
Copyright controversy
In "I'm Not There", a 2007 biographical movie about Bob Dylan, one of the characters introduced in the film as segments of Dylan's life is a young African-American boy who calls himself "Woody Guthrie". The purpose of this particular character was a reference to Dylan's youthful obsession with Guthrie. The fictional Woody also reflects the fictitious autobiographies that Dylan constructed during his early career as he established his own artistic identity. In the film there is even a scene where the fictional Woody visits the real Woody Guthrie as he lays ill and dying in a hospital in New York. (A reference to the times when a nineteen year old Dylan would regularly visit his idol, after learning of his whereabouts, while he was hospitalized in New York in the 1960s.)
[104] Woody and Marjorie Guthrie were honored at a musical celebration featuring
In 2003, Jimmy LaFave produced a Woody Guthrie tribute show called Ribbon of Highway, Endless Skyway. The ensemble show toured around the country and included a rotating cast of singer-songwriters individually performing Guthrie's songs. Interspersed between songs were Guthrie's philosophical writings read by a narrator. In addition to LaFave, members of the rotating cast included Ellis Paul, Slaid Cleaves, Eliza Gilkyson, Joel Rafael, husband-wife duo Sarah Lee Guthrie (Woody Guthrie's granddaughter) and Johnny Irion, Michael Fracasso, and The Burns Sisters. Oklahoma songwriter Bob Childers, sometimes called "the Dylan of the Dust", served as narrator.[100][101] When word spread about the tour, performers began contacting LaFave, whose only prerequisite was to have an inspirational connection to Guthrie. Each artist chose the Guthrie songs that he or she would perform as part of the tribute. LaFave said, "It works because all the performers are Guthrie enthusiasts in some form".[102] The inaugural performance of the Ribbon of Highway tour took place on February 5, 2003 at the Ryman Auditorium in Nashville. The abbreviated show was a featured segment of Nashville Sings Woody, yet another tribute concert to commemorate the music of Woody Guthrie held during the Folk Alliance Conference. The cast of Nashville Sings Woody, a benefit for the Woody Guthrie Foundation and Archives, also included Arlo Guthrie, Marty Stuart, Nanci Griffith, Guy Clark, Ramblin' Jack Elliott, Janis Ian, and others.[103]
From 1999 to 2002 the Smithsonian Institution Traveling Exhibition Service presented the traveling exhibit, This Land Is Your Land: The Life and Legacy of Woody Guthrie. In collaboration with Nora Guthrie, the Smithsonian exhibition draws from rarely seen objects, illustrations, film footage, and recorded performances to reveal a complex man who was at once poet, musician, protester, idealist, itinerant hobo, and folk legend.[99]
In September 1996 Cleveland's Rock and Roll Hall of Fame and Museum and Case Western Reserve University cohosted Hard Travelin': The Life and Legacy of Woody Guthrie, a 10-day conference of panel sessions, lectures, and concerts. The conference became the first in what would become the museum's annual American Music Masters Series conference.[94] Highlights included Arlo Guthrie's keynote address, a Saturday night musical jamboree at Cleveland's Odeon Theater, and a Sunday night concert at Severance Hall, the home of the Cleveland Orchestra.[95] Musicians performing over the course of the conference included Arlo Guthrie, Bruce Springsteen, Billy Bragg, Pete Seeger, Ramblin' Jack Elliott, the Indigo Girls, Ellis Paul, Jimmy LaFave, Ani DiFranco, and others.[96] In 1999, Wesleyan University Press published a collection of essays from the conference[97] and DiFranco's record label, Righteous Babe, released a compilation of the Severance Hall concert, 'Til We Outnumber 'Em, in 2000.[98]
Since his death, artists have paid tribute to Guthrie by covering his songs or by dedicating songs to him. On January 20, 1968, three months after Guthrie's death, Harold Leventhal produced A Tribute to Woody Guthrie at New York City's Carnegie Hall.[90] Performers included Jack Elliott, Pete Seeger, Tom Paxton, Bob Dylan and the Band, Judy Collins, Arlo Guthrie, Richie Havens, Odetta, and others. Leventhal repeated the tribute on September 12, 1970, at the Hollywood Bowl. Recordings of both concerts were eventually released as LPs and later combined into one CD.[91] The Irish folk singer, Christy Moore, was also strongly influenced by Woody in his seminal 1972 album Prosperous, giving renditions of "The Ludlow Massacre" and Bob Dylan's "Song to Woody". Dylan also penned Last Thoughts on Woody Guthrie as a later tribute song to Guthrie.[92] Andy Irvine, Moore's band mate in Irish group Planxty and lifelong admirer of Woody Guthrie, wrote "Never Tire Of The Road" (album: Rain On The Roof, 1996), a tribute song which he performs live by including Guthrie's verse "All of you fascists bound to lose". In 1986, Irvine also recorded both parts of Guthrie's "The Ballad Of Tom Joad" (under the title of "Tom Joad") with his other band Patrick Street. Bruce Springsteen also performed a cover of Guthrie's "This Land is Your Land" on his live album Live 1975–1985. In the introduction to the song, Springsteen referred to it as "just about one of the most beautiful songs ever written."[93]
These lyrics were rediscovered by Nora Guthrie and were set to music by the Jewish Klezmer group The Klezmatics with the release of Happy Joyous Hanukkah on JMG Records in 2007. The Klezmatics also released Wonder Wheel — Lyrics by Woody Guthrie, an album of spiritual lyrics put to music composed by the band.[88] The album, produced by Danny Blume, was awarded a Grammy Award for Best Contemporary World Music Album.[89]
Marjorie Mazia was born Marjorie Greenblatt and her mother, Aliza Greenblatt, was a well-known Yiddish poet. With her, Guthrie wrote numerous Jewish lyrics. Guthrie's Jewish lyrics can be traced to the unusual collaborative relationship he had with his mother-in-law, who lived across from Guthrie and his family in Brooklyn in the 1940s. Guthrie (the Oklahoma troubadour) and Greenblatt (the Jewish wordsmith) often discussed their artistic projects and critiqued each other's works, finding common ground in their shared love of culture and social justice, despite very different backgrounds. Their collaboration flourished in 1940s Brooklyn, where Jewish culture was interwoven with music, modern dance, poetry and anti-fascist, pro-labor, classic socialist activism. Guthrie was inspired to write songs that came directly out of this unlikely relationship, both personal and political; he identified the problems of Jews with those of his fellow Okies and other oppressed peoples.
Jewish songs
The Woody Guthrie Folk Festival is held annually in mid-July to commemorate Guthrie's life and music. The festival is held on the weekend closest to Guthrie's birth date (July 14) in Guthrie's hometown of Okemah, Oklahoma. Planned and implemented annually by the Woody Guthrie Coalition, a non-profit corporation, the goal is simply to ensure Guthrie's musical legacy.[84][85] The Woody Guthrie Coalition commissioned a local Creek Indian sculptor to cast a full-body bronze statue of Guthrie and his guitar, complete with the guitar's well-known inscription: "This machine kills fascists".[86] The statue, sculpted by artist Dan Brook, stands along Okemah's main street in the heart of downtown and was unveiled in 1998, the inaugural year of the festival.[87]
Folk Festival
Guthrie's unrecorded written lyrics housed at the archives have been the starting point of several albums including the Wilco and Billy Bragg albums Mermaid Avenue and Mermaid Avenue Vol. II, created in 1998 sessions at the invitation of Guthrie's daughter Nora.[81] The Native American (Diné) trio Blackfire also interpreted previously unreleased Guthrie lyrics at Nora's invitation.[82] Jonatha Brooke's 2008 album, The Works, includes lyrics from the Woody Guthrie Archives set to music by Jonatha Brooke.[83] The various artists compilation Note of Hope: A Celebration of Woody Guthrie was released in 2011. Nora selected Jay Farrar, Will Johnson, Anders Parker, and Yim Yames to record her father's lyrics for New Multitudes to honor the 100th anniversary of his birth and a box set of the Mermaid Avenue sessions was also released.
[80] The Woody Guthrie Center features, in addition to the archives, a museum focused on the life and the influence of Guthrie through his music, writings, art, and political activities. The museum is open to the public; the archives is open only to researchers by appointment. The archives contains thousands of items related to Guthrie, including original artwork, books, correspondence, lyrics, manuscripts, media, notebooks, periodicals, personal papers, photographs, scrapbooks, and other special collections.[79] The Center officially opened on April 27, 2013.[78] The Woody Guthrie Foundation is a
Foundation, Center and Archives
"I hate a song that makes you think that you are not any good. I hate a song that makes you think that you are just born to lose. Bound to lose. No good to nobody. No good for nothing. Because you are too old or too young or too fat or too slim too ugly or too this or too that. Songs that run you down or poke fun at you on account of your bad luck or hard traveling.
I am out to fight those songs to my very last breath of air and my last drop of blood. I am out to sing songs that will prove to you that this is your world and that if it has hit you pretty hard and knocked you for a dozen loops, no matter what color, what size you are, how you are built.
I am out to sing the songs that make you take pride in yourself and in your work."[76]
Musical legacy
- Married: Mary Esta Jennings (1933–1943), Marjorie Greenblatt Mazia (1945–1953), Anneke van Kirk (1953–1954)
- Children (8): Gwendolyn Gail (1935–1976), Sue (1937–1978), Bill (1939–1962), Cathy Ann (1943–1947), Arlo Davy (1947–), Joady Ben (1948–), Nora (1950–), Lorinna Lynn (1954–1973)
- Grandfather of musician Sarah Lee Guthrie
In the late 1950s and early 1960s, a new generation of young people was inspired by folk singers such as Guthrie. These "folk revivalists" became more politically aware in their music than those of the previous generation. The American Folk Revival was beginning to take place, focused on the issues of the day, such as the civil rights movement and free speech movement. Pockets of folk singers were forming around the country in places such as Cambridge, Massachusetts, and the Greenwich Village neighborhood of New York City. One of Guthrie's visitors at Greystone Park was the 19-year-old Bob Dylan,[73] who idolized Guthrie. Dylan wrote of Guthrie's repertoire: "The songs themselves were really beyond category. They had the infinite sweep of humanity in them."[74] After learning of Guthrie's whereabouts, Dylan regularly visited him.[75] Guthrie died of complications of Huntington's disease on October 3, 1967. By the time of his death, his work had been discovered by a new audience, introduced to them through Dylan, Pete Seeger, Ramblin' Jack Elliott, his ex-wife Marjorie and other new members of the folk revival, and his son Arlo.
Folk revival and Guthrie's death
During the final few years of his life, Guthrie was largely alone except for family. Because of the progression of Huntington's, he was difficult to be around. Guthrie's illness was essentially untreated, because of a lack of information about the disease. His death helped raise awareness of the disease and led Marjorie to help found the Committee to Combat Huntington's Disease, which became the Huntington's Disease Society of America.[70] None of Guthrie's three remaining children with Marjorie have developed symptoms of Huntington's. Mary Guthrie's son Bill died in an auto-train accident in Pomona, California, at the age of 23.[71] Mary's other children, Gwendolyn and Sue, suffered from the disease and both died at 41 years of age.[72]
Guthrie, increasingly unable to control his muscles, was hospitalized at Greystone Park Psychiatric Hospital in Morris County, NJ from 1956 to 1961, at Brooklyn State Hospital (now Kingsboro Psychiatric Center) in East Flatbush until 1966,[68] and finally at Creedmoor Psychiatric Center in Queens Village, NY until his death in 1967.[69] Marjorie and the children visited Guthrie at Greystone every Sunday. They answered fan mail and played on the hospital grounds. Eventually a longtime fan of Guthrie invited the family to his nearby home for the Sunday visits. This lasted until Guthrie was moved to the Brooklyn State Hospital, which was closer to Howard Beach, NY, where Marjorie and the children then lived.
Upon his return to California, Guthrie lived at the Theatricum Botanicum, a summer-stock type theatre founded and owned by Will Geer; with blacklisted singers and actors, he waited out the anti-communist political climate. As his health worsened, he met and married his third wife, Anneke Van Kirk. They had a child, Lorinna Lynn. The couple moved to Fruit Cove, Florida, briefly. They lived in a bus on land called Beluthahatchee, owned by his friend Stetson Kennedy. Guthrie's arm was hurt in a campfire accident when gasoline used to start the campfire exploded. Although he regained movement in the arm, he was never able to play the guitar again. In 1954, the couple returned to New York.[67] Shortly after, Anneke filed for divorce, a result of the strain of caring for Guthrie. Anneke left New York and allowed friends to adopt Lorinna Lynn. Lorinna had no further contact with her birth parents and died in a car accident in California in 1973 at the age of 19. After the divorce, Guthrie's second wife, Marjorie, re-entered his life and cared for him until his death.
By the late 1940s, Guthrie's health was declining, and his behavior was becoming extremely erratic. He received various diagnoses (including alcoholism and schizophrenia), but in 1952, it was finally determined that he was suffering from Huntington's disease,[8] a genetic disorder inherited from his mother. Believing him to be a danger to their children, Marjorie suggested he return to California without her; they eventually divorced.[66]
Deteriorating health
1950s and 1960s
During this time Ramblin' Jack Elliott studied extensively under Guthrie, visiting his home and observing how he wrote and performed. Elliott, like Bob Dylan later, idolized Guthrie and was inspired by his idiomatic performance style and repertoire. Because of Guthrie's suffering Huntington's disease, Dylan, and Guthrie's son Arlo, later claimed they learned much of Guthrie's performance style from Elliott. When asked about Arlo's claim, Elliott said, "I was flattered. Dylan learned from me the same way I learned from Woody. Woody didn't teach me. He just said, If you want to learn something, just steal it—that's the way I learned from Lead Belly."[65]
The years living on Mermaid Avenue were among Guthrie's most productive periods as a writer. His extensive writings from this time were archived and maintained by Marjorie and later his estate, mostly handled by Guthrie's daughter, Nora. Several of the manuscripts contain scribblings by a young Arlo and the other Guthrie offspring.[64]
Mermaid Avenue
In 1949, Guthrie's music was featured in the film Columbia River;[62] Guthrie had been commissioned in 1941 to provide songs for the project, but it had been postponed by WWII.[63]
A 1948 crash of a plane carrying 28 Mexican farm workers from Oakland, California, in deportation back to Mexico inspired Woody to write "Deportee (Plane Wreck At Los Gatos)".[61]
While he was on furlough from the Army, Guthrie and Marjorie were married.[59] After his discharge, they moved into a house on Mermaid Avenue in Coney Island and over time had four children. One of their children, Cathy, died as a result of a fire at the age of four, sending Guthrie into a serious depression.[60] Their other children were Joady, Nora, and Arlo. Arlo followed in his father's footsteps as a singer-songwriter. During this period, Guthrie wrote and recorded Songs to Grow on for Mother and Child, a collection of children's music, which includes the song "Goodnight Little Arlo (Goodnight Little Darlin')", written when Arlo was about nine years old.
Guthrie believed performing his anti-fascist songs and poems at home was the best use of his talents; Guthrie lobbied the United States Army to accept him as a USO performer instead of conscripting him as a soldier in the draft. When Guthrie's attempts failed, his friends Cisco Houston and Jim Longhi pressured Guthrie to join the U.S. Merchant Marine.[53] Guthrie followed their advice and went to sea in June 1943 making voyages in convoys during the Battle of the Atlantic aboard the merchant ships SS William B. Travis, SS William Floyd, and SS Sea Porpoise. He served as a mess man and dishwasher and frequently sang for the crew and troops to buoy their spirits on transatlantic voyages. His first ship William B. Travis hit a mine in the Mediterranean Sea killing one person aboard but made it to Bizerte, Tunisia under her own power.[54] His last ship, Sea Porpoise, took troops from the United States for the D-Day invasion. Guthrie was aboard when the ship was torpedoed off Utah Beach by the German submarine U-390 on July 5, 1944, injuring 12 of the crew. Guthrie was unhurt and the ship stayed afloat to be repaired at Newcastle upon Tyne in England[55] before returning to the United States in July 1944.[56] He was an active supporter of the National Maritime Union, the main union for wartime American sailors. Guthrie wrote songs about his experience in the Merchant Marine but was never satisfied with the results. Longhi later wrote about these experiences in his book Woody, Cisco and Me.[57] The book offers a rare first-hand account of Guthrie during his Merchant Marine service. In 1945, Guthrie's association with Communism made him ineligible for further service in the Merchant Marine, and he was drafted into the U.S. Army.[58]
World War II years
In 1944, Guthrie met Moses "Moe" Asch of Folkways Records, for whom he first recorded "This Land Is Your Land". Over the next few years, he recorded "Worried Man Blues", along with hundreds of other songs. These recordings would later be released by Folkways and Stinson Records, which had joint distribution rights.[52] The Folkways recordings are available (through the Smithsonian Institution online shop); the most complete series of these sessions, culled from dates with Asch, is titled The Asch Recordings.
The Asch recordings
Guthrie was a prolific writer, penning thousands of pages of unpublished poems and prose, many written while living in New York City. After a recording session with Alan Lomax, Lomax suggested Guthrie write an autobiography. Lomax thought Guthrie's descriptions of growing up were some of the best accounts he had read of American childhood.[47] During this time Guthrie met Marjorie Mazia, a dancer in New York who would become his second wife. Mazia was an instructor at the prestigious Martha Graham Dance School, where she was assisting Sophie Maslow with her piece Folksay. Based on the folklore and poetry collected by Carl Sandburg, Folksay included the adaptation of some of Guthrie's Dust Bowl Ballads for the dance.[48] Guthrie continued to write songs and began work on his autobiography. The end product, Bound for Glory, was completed with the patient editing assistance of Mazia and was first published by E.P. Dutton in 1943.[49] It is vividly told in the artist's down-home dialect, with the flair and imagery of a true storyteller. Library Journal complained about the "too careful reproduction of illiterate speech."[50] But Clifton Fadiman, reviewing the book in the New York Times, paid the author a fine tribute: "Someday people are going to wake up to the fact that Woody Guthrie and the ten thousand songs that leap and tumble off the strings of his music box are a national possession, like Yellowstone and Yosemite, and part of the best stuff this country has to show the world."[50] A film adaptation of Bound for Glory was released in 1976.[51]
Bound for Glory
[46] In the Almanac House, Guthrie added authenticity to their work, since he was a "real" working-class Oklahoman. "There was the heart of America personified in Woody ... And for a New York Left that was primarily Jewish, first or second generation American, and was desperately trying to get Americanized, I think a figure like Woody was of great, great importance", a friend of the group,
Initially Guthrie helped write and sing what the Almanac Singers termed "peace" songs; while the Nazi-Soviet Pact was in effect, until Hitler invaded the Soviet Union in June 1941, the Communist line was that World War II was a capitalist fraud. After Hitler's invasion of the Soviet Union, the group wrote anti-fascist songs. The members of the Almanac Singers and residents of the Almanac House were a loosely defined group of musicians, though the "core" members included Guthrie, Pete Seeger, Millard Lampell and Lee Hays. In keeping with common socialist ideals, meals, chores and rent at the Almanac House were shared. The Sunday hootenannys were good opportunities to collect donation money for rent. Songs written in the Almanac House had shared songwriting credits among all the members, although in the case of "Union Maid", members would later state that Guthrie wrote the song, ensuring that his children would receive residuals.[43]
Following the conclusion of his work in Washington, Guthrie corresponded with Pete Seeger about Seeger's newly formed folk-protest group, the Almanac Singers. Guthrie returned to New York with plans to tour the country as a member of the group.[42] The singers originally worked out of a loft in New York City hosting regular concerts called "hootenannys", a word Pete and Woody had picked up in their cross-country travels. The singers eventually outgrew the space and moved into the cooperative Almanac House in Greenwich Village.
Almanac Singers
In May 1941, after a brief stay in Los Angeles, Guthrie moved the family north to Washington on the promise of a job. Gunther von Fritsch was directing a documentary about the Bonneville Power Administration's construction of the Grand Coulee Dam on the Columbia River, and needed a narrator. Alan Lomax had recommended Guthrie to narrate the film and sing songs onscreen. The original project was expected to take 12 months, but as filmmakers became worried about casting such a political figure, they minimized Guthrie's role. The Department of the Interior hired him for one month to write songs about the Columbia River and the construction of the federal dams for the documentary's soundtrack. Guthrie toured the Columbia River and the Pacific Northwest. Guthrie said he "couldn't believe it, it's a paradise",[38] which appeared to inspire him creatively. In one month Guthrie wrote 26 songs, including three of his most famous: "Roll On Columbia", "Pastures of Plenty", and "Grand Coulee Dam".[39] The surviving songs were released as Columbia River Songs. The film "Columbia" was not completed until 1949 (see below). At the conclusion of the month in Oregon and Washington, Guthrie wanted to return to New York. Tired of the continual uprooting, Mary Guthrie told him to go without her and the children.[40] Although Guthrie would see Mary again, once on a tour through Los Angeles with the Almanac Singers, it was essentially the end of their marriage. Divorce was difficult, since Mary was a member of the Catholic Church, but she reluctantly agreed in December 1943.[41]
Pacific Northwest
In September 1940 Guthrie was invited by the Model Tobacco Company to host their radio program Pipe Smoking Time. Guthrie was paid $180 a week, an impressive salary in 1940.[35] He was finally making enough money to send regular payments back to Mary. He also brought her and the children to New York, where the family lived briefly in an apartment on Central Park West. The reunion represented Woody's desire to be a better father and husband. He said, "I have to set [sic] real hard to think of being a dad."[35] Guthrie quit after the seventh broadcast, claiming he had begun to feel the show was too restrictive when he was told what to sing.[36] Disgruntled with New York, Guthrie packed up Mary and his children in a new car and headed west to California.[37]
In November 1941, Seeger introduced Guthrie to his friend the poet Charles Olson, then a junior editor at the fledgling magazine Common Ground. The meeting led to Guthrie writing the article "Ear Players" in the Spring 1942 issue of the magazine. The article marked Guthrie's debut as a published writer in the mainstream media.[34]
Guthrie had some success in New York at this time as a guest on CBS's radio program Back Where I Come From and used his influence to get a spot on the show for his friend Huddie "Lead Belly" Ledbetter. Ledbetter's Tenth Street apartment was a gathering spot for the leftwing musician circle in New York at the time, and Guthrie and Ledbetter were good friends, as they had busked together at bars in Harlem.[33]
In March 1940, Guthrie was invited to play at a benefit hosted by The John Steinbeck Committee to Aid Farm Workers, to raise money for migrant workers. There he met the folksinger Pete Seeger, and the two men became good friends.[31] Later, Seeger accompanied Guthrie back to Texas to meet other members of the Guthrie family. He recalled an awkward conversation with Mary Guthrie's mother, in which she asked for Seeger's help to persuade Guthrie to treat her daughter better.[32]
These verses were often omitted in subsequent recordings, sometimes by Guthrie. Although the song was written in 1940, it was four years before he recorded it for Moses Asch in April 1944.[29] Sheet music was produced and given to schools by Howie Richmond sometime later.[30]
- In the squares of the city, In the shadow of a steeple;
- By the relief office, I'd seen my people.
- As they stood there hungry, I stood there asking,
- Is this land made for you and me?
- As I went walking, I saw a sign there,
- And on the sign there, It said "no trespassing." [In another version, the sign reads "Private Property"]
- But on the other side, it didn't say nothing!
- That side was made for you and me.
Guthrie was tired of the radio overplaying Irving Berlin's "God Bless America." He thought the lyrics were unrealistic and complacent.[27] Partly inspired by his experiences during a cross-country trip and his distaste for "God Bless America," he wrote his most famous song, "This Land Is Your Land", in February 1940; it was subtitled: "God Blessed America for Me." The melody is adapted from an old gospel song, "Oh My Loving Brother." This was best known as "When The World's On Fire," sung by the country group The Carter Family. Guthrie signed the manuscript with the comment, "All you can write is what you see, Woody G., N.Y., N.Y., N.Y."[28] He protested against class inequality in the fourth and sixth verses:
Sample of Woody Guthrie's song, "This Land is Your Land"
|Problems playing this file? See .
Arriving in New York, Guthrie, known as "the Oklahoma cowboy," was embraced by its leftist folk music community. For a time, he slept on a couch in Will Geer's apartment. Guthrie made his first recordings—several hours of conversation and songs recorded by the folklorist Alan Lomax for the Library of Congress—as well as an album, Dust Bowl Ballads, for Victor Records in Camden, New Jersey.[26]
New York City
1940s: Building a Legacy
With the outbreak of World War II and the nonaggression pact the Soviet Union had signed with Germany in 1939, the owners of KFVD radio did not want its staff "spinning apologia" for the Soviet Union. Both Robbin and Guthrie left the station.[25] Without the daily radio show, his prospects for employment diminished, and Guthrie and his family returned to Pampa, Texas. Although Mary Guthrie was happy to return to Texas, the wanderlusting Guthrie soon after accepted Will Geer's invitation to New York City and headed east.
It was at KFVD that Guthrie met newscaster Ed Robbin. Robbin was impressed with a song Guthrie wrote about political activist Thomas Mooney, believed by many to be wrongly convicted in a case that was a cause célèbre of the time.[19] Robbin, who became Guthrie's political mentor, introduced Guthrie to socialists and Communists in Southern California, including Will Geer (who, in turn, introduced Guthrie to John Steinbeck).[20] Robbin remained Guthrie's lifelong friend, and helped Guthrie book benefit performances in the Communist circles in Southern California. Notwithstanding Guthrie's later claim that "the best thing that I did in 1936 was to sign up with the Communist Party,"[21] he was never a member of the Party. He was noted as a fellow traveler—an outsider who agreed with the platform of the party while not subject to party discipline.[22] Guthrie asked to write a column for the Communist newspaper, People's World. The column, titled "Woody Sez," appeared a total of 174 times from May 1939 to January 1940. "Woody Sez" was not explicitly political, but was about current events as observed by Guthrie. He wrote the columns in an exaggerated hillbilly dialect and usually included a small comic;[23] they were published as a collection after Guthrie's death.[3] Steve Earle said of Guthrie, "I don't think of Woody Guthrie as a political writer. He was a writer who lived in very political times."[24]
During the late part of that decade, he achieved fame with radio partner Maxine "Lefty Lou" Crissman as a broadcast performer of commercial "hillbilly" music and traditional folk music.[18] Guthrie was making enough money to send for his family, who were still living in Texas. While appearing on the commercial radio station KFVD, owned by a populist-minded New Deal Democrat Frank W. Burke, Guthrie began to write and perform some of the protest songs that would eventually appear on Dust Bowl Ballads.
"This song is Copyrighted in U.S., under Seal of Copyright #154085, for a period of 28 years, and anybody caught singin' it without our permission, will be mighty good friends of ourn, cause we don't give a dern. Publish it. Write it. Sing it. Swing to it. Yodel it. We wrote it, that's all we wanted to do."
At age 19, Guthrie met and married his first wife, Mary Jennings, with whom he had three children,[15] Gwendolyn, Sue, and Bill.[16] With the advent of the Dust Bowl era, Guthrie left Texas, leaving Mary behind, and joined the thousands of Okies who were migrating to California looking for work. Many of his songs are concerned with the conditions faced by these working class people.
1930s: Traveling


text:
Lack of Championship notoriety at the Bell Centre notwithstanding, the home of the Montreal Canadiens has witnessed more than its fair share of horrific on ice injuries. Some even career threatening.
With the latest injury sustained by the Canadiens Lars Eller being hit to the head by Ottawa Senators Eric Grba this past week, I have complied a list of major injuries over the years that occurred at the Bell Centre.
January 20, 2000: Trent McLeary troat injury
April 25, 2002: Richard Zednick hit by Kyle McLaren (Boston Bruins)
April 26, 2006: Saku Koivi hit in the eye by Justin Williams (Carolina Hurricanes)
November 13, 2010: Andrei Markov Injury
March 8 2011: Max Pacioretty destroyed by Zedeno Chara (Boston Bruins)
November 9, 2012: Blake Geoffrion suffers skull injury in AHL game at the Bell Centre by Jean-Philippe Cote.
Blake Geoffrion has yet to return to skating and might never play professional hockey again.
There were two others which I couldn;t find online but they were Donald Audette's hand injury ending his career. And Robert Lang's injury sustained during the Canadiens Centenniel season.
Special thanks to And-o from the GOHABS.com Message Board for pointing out three omissions from my original post.
Mario Perrazzino
TiqIQ's job is to find you the best deals on tickets, and for Montreal Canadiens tickets, you may want to check out FanXChange.