While we like to think all the performers that appear on these pages present a blast of fresh air, Darlingside is exceptional. All four members met at Williams College in Williamstown, Mass., having sung together in one of the schoola€™s eight a cappella groups, the Octet, and at different times having taken the same songwriting course given by the esteemed Bernice Lewis. Don began performing at open mics at the boarding school he attended for high school and wrote songs with his roommate (remarkably, the song a€?Drowning Elvisa€? had its inception here). Harris Paseltiner was born in Evanston, Ill., and grew up in nearby Glencoe, north of Chicago, near Lake Michigan. With once-a-week cello recitals starting at age 6, Harris developed a stage presence early. His father became interested in a cappella singing when Dave was in middle school and early high school, so he also got into it. The formation of Darlingside was an evolutionary process that saw other talented student friends at Williams playing for awhile in different formats.
While a€?Blow the House Downa€? stood out as a favorite early on, as I listened to each song on EP 1 (2010) and Pilot Machines (2012) for analysis, it became harder and harder to favor any one song in particular. True to the banda€™s name, in a€?Good Man,a€? there are no easy phrases, no a€?darlingsa€? in here to describe the lingering addiction and loss of and separation from a difficult woman. For this listener, the violin-cello intro in a€?Surrounda€? is the first full introduction on this album to Darlingsidea€™s particular sound. In a€?The Catbird Seat,a€? an oft-requested song from Darlingsidea€™s fan base, therea€™s a gossamer poetry in the lyrics.
The symbol of a drowning man in a€?Drowning Elvisa€? serves to create an image of someone left for dead after the crash and burn of a relationship.
In Darlingsidea€™s debut effort, relationship dissolution gets a variety of innovative treatments a€” the group conducts a clinic on how to attack the subject melodically and lyrically from a number of angles. Darlingside collaborated with songwriter and gifted singer Heather Maloney to release the 2014 five-song EP Woodstock on Signature Sounds. An ethereal blend of two voices, guided by fate to find each other, travels the wire from iTunes to earbuds and into my ear canal a€” so exquisite, ita€™s almost unbearable. Hannah and Maggiea€™s almost unearthly harmonies evoke descriptions like a€?Simon and Garfunkel crossed with the Indigo Girls.a€? Indeed, they have been included in a number of Simon and Garfunkel tributes. When Hannah was around 10, there was an electric guitar sitting in the living room, a leftover from one of her fathera€™s stage roles. The drama club would host coffeehouses every first Friday and that was where Hannah first performed solo, singing her songs and accompanying herself on guitar. Maggie was in chorus, but switched her energies to forming rock bands when she was still in middle school.
Although Hannah earned a degree in American Studies with a focus on Race and Ethnicity and Maggie in Comparative Literature with a focus on English and Spanish Literature, it would be music that defined their path going forward. The house to which Hannah was assigned was an old, Victorian-style residence (the oldest on campus) that, at 50 coeds, was smaller than most. At some point they harmonized on one anothera€™s songs and some friends suggested that they sing together. Hannah graduated in 2011 and moved to New York City, with Maggie still having one year left.
In January of 2012, they recorded their second album, the aforementioned Muscle & Bone, and released it in May. Hea€™d come backstage to change costumes and she would witness the transformation of her father to an actor with a€?elaborate costumes and crazy makeup.a€? She absorbed the idea that investing onea€™s time into performance and the arts was a valuable thing. Maggiea€™s dad was happy that she was playing acoustic, and wasna€™t thrilled that her goal was to play rock. There was a broad range of types of performance, ranging from poetry and music (Hannah would sing and play guitar) to displays of visual art or even hair styling. In 2010, Hannaha€™s junior year, they sat down to play music together working on covers and originals. Hannah graduatedA  in 2011 and moved to New York City, with Maggie still having one year left. In January of 2012, they recorded their second album, the aforementioned Muscle & Bone, andA  released it in May. In 1965, while working as a waiter that summer in the Catskills, a folkie came through and stopped at our little hotel to visit a friend on the staff. Upon my return to Connecticut, I promptly sought out Will Tressler, my folk-singing Industrial Design professor. We were also getting off on rock staples like the Beatles and Stones and our homebred establishment bashers, The Jefferson Airplane.
His father had seen Jorma pick up and fail to continue with other instruments, so he agreed that if Jorma could learn two songs on his friend's guitar, he could get a brand-new one. In high school he became friends with Jack Casady, also a guitarist, and together they went to concerts and clubs. A subsequent work-study program through Antioch allowed him to live in New York City and strengthen his chops further. He played at open mics at Folk City, and got to watch the Reverend play live there, as well as people like Sonny Terry and Brownie McGee and John Lee Hooker. In 1962, Jorma moved to the San Francisco Bay area and enrolled at Santa Clara University where he finished getting his degree in Sociology. He was teaching guitar in a small music store in San Jose during this time, playing as a solo act in coffee houses and backing up a young, promising blues singer on the acoustic scene by the name of Janis Joplin. Old friend Barry Mitterhoff (left), mandolinist extraordinaire (a member of Silk City when Acoustic Live featured them in our December 2000 issue) has joined Jorma (center) and Jack Casady in the present version of Hot Tuna.
When the band went on tour, at first, shows weren't as long as they would later become, and Jorma and Jack still had plenty of energy afterward.
In 1972, the Airplane disbanded and Jorma performed and recorded both solo and with Hot Tuna. In 1988, while playing a gig with Hot Tuna in Key West, Jorma took notice of a woman from the stage. In addition to guitar, there is also instruction on bass guitar, lap steel guitar, mandolin, percussion, vocals and songwriting. There is also a concert hall at the ranch where national touring artists look forward to playing.
Life is full for Jorma these days between touring and teaching and being a husband and father (he has a 10-year old son and 18-month-old daughter).
A subsequent work-study programA  through Antioch allowed him to live in New York City and strengthen his chops further. In his teenage years, Peter played both Basketball and Baseball for Our Lady of Perpetual Help Church CYO. Upon his High School Graduation he was awarded an Athletic Scholarship for X-Country and Track to Murray State University in Kentucky.
The most significant event at this point in his life was the birth of his son in August, 1967. He accepted a physical education teaching position at Apponequet Regional High School in Lakeville, MA for school year 1967-1968. In the fall of 1967 he convinced the Athletic Director to add a Mena€™s X-Country team to Apponequet Regional High School. Before the next school began, in August, Peter experienced another life changing event, the birth of his second child, a beautiful daughter. The beginning of the 1968 school year at Apponequet Peter expanded his coaching ability and became Head Coach Mena€™s Track & Field. In November of 1969 he and his family moved to a new home in East Freetown, MA only a few miles from Apponequet Regional High School. Summer vacations were spent as Director of Clear Pond in Lakeville, MA from 1969-1987 where he introduced an annual Flea Market, Blooper Ball, which is still played today, and swimming lessons just to name a few. In late 1974 he developed stress related ulcers due to juggling multiple positions and family responsibilities.
In the fall of 1982 he became Head Coach of Womena€™s Field Hockey at Apponequet and earned league championship in 1983 with an overall record 32-12-9. In 1982 he became Assistant Pitching Coach for University of Connecticut Womena€™s Fastpitch Softball Team. During his tenure at Apponequet he continued his education and became Director of Physical Education, Athletic Director and served as Acting Assistant Principal. ROROTOKO : Nancy Leys Stepan On her book Eradication: Ridding the World of Diseases Forever? We are multiple, fragmented, and evolving selves who, nevertheless, believe we have unique and consistent identities. What accounts for this illusion?  Why has the problem of identity become so central to post-war scholarship, fiction and popular culture? I contend that the defining psychological feature of modernity is the tension between our reflective and social selves. To address this problem, Westerners have developed four generic strategies of identity construction that are associated with four distinct political orientations: conservatism, totalitarianism, liberalism and anarchism.
I develop my argument through the reading of ancient and modern literary, philosophical and musical texts.
I begin the book by arguing that the Scientific Revolution played a central role in the epistemic turn that paved the way for the development of a radically new culture of credit. Casualties of Credit then proceeds to explore the ideas and practices associated with the formation of trust. The rest of the book engages with the debates surrounding, firstly, the use of the death penalty to protect the new credit currency against forgers and counterfeiters and, secondly, the initiative to use anticipated profits from the African slave trade to bolster trust in the nation’s public credit.
I define “cruel optimism” as a kind of relation in which one depends on objects that block the very thriving that motivates our attachment in the first place. A destructive love affair is my favorite example: if I leave you I am not only leaving you (which would be a good thing if your love destroys my confidence) but also I leaving an anchor for my optimism about life (which is why I want to stay with you even though I’m unhappy, because I am afraid of losing the scene of my fantasy itself).
So this double bind produces conflicts in how to proceed, because massive loss is inevitable if you stay or if you go.
Cruel Optimism asks: Why is it so hard to leave those forms of life that don’t work?  Why is it that, when precariousness is spread throughout the world, people fear giving up on the institutions that have worn out their confidence in living? This is why I am interested in seeing optimism operate in all kinds of attachment: from intimacy and sexuality to things like voting, or the belief that capitalism is a meritocracy that rewards active competence.
Centrally, I argue that the economic and historical dimensions of these success stories must be supplemented by looking at the narratives that responded to dramatic changes in the urban environment. Through Amateur Eyes is all about how amateur documentary films and photographs taken primarily by Germans can be used in the memory and memorialization of World War II and the Holocaust. The re-presentations of archival images are found everywhere: in museum exhibitions, Gallery Exhibitions, made-for-television documentaries, magazines, documentary films, and on the Web. Our extremely fluid understanding of what the statue says comes from three of its essential qualities: abstractness, artistic banality, and colossal size.


Finally, the statue’s colossal size and strategic location guaranteed that it would continue to draw attention and thus retain the ability to encourage people to confer meaning on it, whether for political, social, or commercial purposes. How Economics Shapes Science focuses on how costs and incentives—core concepts in economics—shape the practice of science, especially the practice of science at universities. Thus designers themselves were hardly unaffected by the insertion of the computer into manifold aspects of everyday life. The banda€™s sound, combining contemporary folk, chamber music, a cappella and rock a€™na€™ roll, permeates the atmosphere with a charged, electric quality, like an approaching storm. There, at her urging, they were taught to a€?kill your darlings,a€? those lyrics that come too easily, are too facile or a€?clever,a€? that get in the way of the forward movement of the piece.
At his mothera€™s urging, Auyona€™s classical training (Suzuki method) on the violin began at age 3. At Williams, his performing was confined to college events, occasionally solo and occasionally with friends. Harris good-naturedly said that, counter to most stories we hear, he ran off the soccer field in kindergarten yelling, a€?Dad, can I take violin lessons?a€? His entire family a€” parents, a brother and a sister a€” were all music lovers. As he describes it: a€?I used to go to school early to play in a chamber orchestra, and then had a period of symphony orchestra each day. There was no stage fright issue getting up to play original songs with guitar at open mics in high school. In high school, Dave was introduced to new music by friends a€” Dispatch, Guster, John Mayer, Pat McGee and generally softer alt rock stuff. It has a cinematic feel to it, and opens the door for a savvy film-maker to use as part of a soundtrack (or at least the film credits outro) in a story about taking an unexpected path and looking for a second chance for redemption.
That, and the combination of the delicacy of the melody and the deliberate hesitancy in the vocal phrasing carries with it the sensation of heartache.
An a cappella intro with high, almost wailing oh-oh background choral effect leads into a rapid tremolo on electric guitar and a matching beat on snare drum.
Especially when further reflection sets in: only out of your lips could those words pull me out of my head.
For me, their version of the title track eclipses both versions originally heard by CSNY and Joni Mitchell.
I believe theya€™ll continue to thrill audiences with their vibrant melodies, meaningful lyrics and killer chops a€” both singing and playing a€” for a long, long time.
Hannah Hickok and Maggie Kraus, a lesbian folk-pop duo, look at all the facets of living a€” loving, losing, friendship a€” as if peering through a microscope, taking the facets apart and reassembling them with delicate, faerie fingers. In a perfect world, I think their articulate expression of lives so sharply felt and lived could change a listenera€™s DNA.
Her parents were actors but her mother quit the theater when Hannah was born in favor of another career path. In addition to the exposure to Broadway musical theater tunes, folk revival classics like James Taylor and Joni Mitchell were played often. She was a member of the all-female and coed a capella groups and the chorus all four years of high school. After learning the basics, she and a small group of other campers performed for everyone in camp.
Shea€™d coax boys into being members of her bands, selecting roles for them (a€?OK, Brian, youa€™re gonna play drumsa€¦a€?), regardless of their lack of experience.
She hated the results and invested in an MBox, a portable computer recording interface (with mic and instrument ports) for computers. Hannah ran the coffeehouse events each month with few exceptions, and with even more regularity when she was house president in her junior and senior years. So Maggie visited Hannah regularly at Hannaha€™s campus residence and found the vibe relaxed and inviting, more so than her own residence. At the end of the summer they completed a two-week Northeast tour, their first extended travel on the road.
After Maggie graduated they embarked on their first national tour, jumping from Portland, Maine to Nashville to Salt Lake City.
We were thrilled to include them in our late-night guerrilla showcase at the 2013 Northeast Regional Folk Alliance Conference and wea€™re eager to help them promote their new album. The first six or seven years, I spent bouncing around academia, pitching fitfully toward a B.A. He rocked his head back and forth, flinging long hair side to side while his foot plied a wah-wah pedal. Sufficiently toked, we decided to take in some music at a local venue that presented two or three nationally touring acts per evening (Paul's Mall? He remembers learning Louvin Brothers songs and he was able to make that trip to the music store.
There he met Ian Buchanan, who turned him on to fingerstyle guitar, specifically the music of the Reverend Gary Davis.
Perhaps it stemmed from the time that Ian Buchanan helped him learn how to play finger style, or simply to pass along the torch of the old craft, down from the Reverend, to new generations of players. Besides Jorma, the pantheon of great teachers includes, at various times, Jack Casady, Chris Smither, Little Toby Walker, Happy Traum, Bob Margolin, John McEuen, Barry Mitterhoff, Woody Mann, David Lindley, David Jacobs-Strain, Beppe Gambetta, Tommy Emmanuel, Guy Davis, Rory Block and a host of others.
Seems either no one is talking about louis daguerre at this moment on GOOGLE-PLUS or the GOOGLE-PLUS service is congested.
While at Clear Pond a tragic accident took the life of Roy Caliri, a lifeguard for Clear Pond. He found himself managing coaches and student athletes and not having much to do with the students themselves.
After leaving Stoughton Public School System he continued private Softball pitching lessons in his attached garage. Throughout his diagnosis and treatment, Peter wanted to ensure that his experience would, somehow, contribute to the advancement of research, and eventual cure, for this deadly form of cancer.
In exploring the intellectual underpinnings of the seventeenth-century English Financial Revolution, I uncover how people conceived of money and how their understanding was grounded in the prevailing thinking about science, philosophy, politics, commerce, law, and colonialism.
In particular, I focus on how the Hartlib Circle—the period’s premier scientific and social reform group—embraced Baconian and alchemical thinking in developing a vision for the universal reformation of humanity.
But for money to be able to ignite industry and activate hidden resources, as well as mediate an ever-expanding world of goods, it was necessary to find a way to expand the quantity of money in society.
Drawing on new models for probabilistic thinking developed by John Locke and other philosophers, political economists derived a set of principles for how to create the most confidence-inducing currency.
In both instances, repression and violence played essential roles in protecting and promoting trust in the new culture of credit.
How are they manipulated to corroborate a certain version of World War II and the Holocaust?
And they have been used and reused in both mainstream and alternative media since 1995 in Europe and North America. I show how, in the period stretching from the “invention” of the computer just before and during WWII to the appearance of the personal computer in the mid-1970s, disciplines once well outside the realm of architecture—information and management theory, cybernetics, ergonomics, computer science—became integral aspects of design theory and practice. Locked into air guitar, air fiddle, air harmony, listening to a€?Blow the House Downa€? from their full-length CD, Pilot Machines. He received a fellowship to study music in Ireland, Brazil and Turkey in the 2007-08 school year and came away from his year abroad convinced that he could pursue music as a career. There were Suzuki violin lessons early on for one or two years, which never took hold, and a few starter lessons in guitar at 13 to 14 years old.
Then after school it was solo practice, lessons and chamber music rehearsals and musicianship classes and recitals on the weekends.a€? He picked up the guitar in high school and began experimenting with songwriting. I was forced to be in a play in second grade and I had one line, which I delivered incorrectly.a€? Even at Williams, when he took the songwriting course (which had a performance element), he still dealt with stage fright any time he had to perform. Key members of the band got back together in 2009 and moved into a house just outside of Northampton.
Dave Senft (performance anxiety conquered) takes most of the lead vocals and Don Mitchell steps in for key songs. Therea€™s a depth that elicits from me an astonished a€?Oh my God a€¦ are you serious?a€? again and again. While there is cello accompaniment on this, ita€™s practically a stand-alone as an a cappella piece. Davea€™s pleading lead vocal essentially performs a duet with the violin-cello combo and the voices of the others slide in behind him while backing handclaps effectively increase the listenera€™s pulse rate. Because Hannah and Maggie plunge a rapier of emotional honesty into the psyche, the listener might become a better person, more empathetic.
She performed in musical plays a€” her first was when she was 5 a€” and was in chorus all through grade school and high school.
He taught her how to play The Beatlesa€™ a€?Blackbird,a€? the first song she ever learned on guitar. She always liked music and, like Hannah, she was exposed to folk revivalists James Taylor and Joni Mitchell. There was supposed to be an a€?officiala€? staged performance at the end of the camp session, but it never happened. In 2001, Maggie was 11 going on 12 when, with her own allowance, she bought the Fender Stratocaster that she still occasionally plays. In high school, tired of wrangling other students into supporting her, she returned to acoustic guitar and performed with two friends as an acoustic trio. Using her acoustic guitar, she began making her own digital recordings of songs using Pro Tools software. There was a large living room where everyone would gather together at teatime once a week on Fridays. Shea€™d roam the halls, listening for good voices singing, perhaps idly, that she might recruit for the a capella group. Toward the end of Maggiea€™s freshman year, there was an event where graduating seniors were given a send-off banquet. Later, in December, they opened for Dar Williams, an inspirational figure and thus, for them, their most notable performance to date.
The sound of the metal picks against the bronze strings blew everything else out of the water.
Around that time, I learned that the Reverend Gary Davis, an inspiration to many 50's and 60's folk-era fingerstyle guitarists, was playing one evening at a church coffeehouse in the area. Not sure -- the 60's had finally kicked in.) Among the people appearing over two nights running were Pentangle, Livingston Taylor anda€¦ Hot Tuna. When Jorma was 17 years old, he and Jack (then 15 years of age) formed a band called the Triumphs.
When Paul Kantner asked Jorma to be in a new band, he demurred at first, having reservations about going electric. Soon, they were doing acoustic sets in the middle of Airplane concerts to enormous audience enthusiasm.


On a whim, Vanessa Lillian, a civil engineer, had accepted an invitation to attend the concert.
There are lessons in guitar, from Jorma, Woody Mann, David Wolf (includes beginner level), bass from Jack Casady and Oteil Burbidge and mandolin from Barry Mitterhoff.
Papa John Creach, violinist for theA  Airplane, also joined the band for a couple of years. She was a joy to behold He loved her with all his heart and cherished every moment spent with her. Roy Caliri was also a former member of Petea€™s X-Country team at Apponequet Regional High School. Activities including basketball, swimming, gymnastics and more were included in the program.
Over 300 girls have the honor of calling themselves a a€?Garage Girl.a€? Also, continued coaching at the University of Connecticut until 2011. While Casualties of Credit’s most immediate focus is on a series of unexpected connections between money and alchemy, slavery, and the death penalty, its more general aim is to illuminate the deep cultural and political embeddedness of credit.
Armed with proper knowledge, they believed that it was possible for mankind to transmute nature, society, and people for utilitarian ends—and thus launch what they referred to as an “infinite improvement” process. After discussing how the Hartlib Society ambitiously sought to use their alchemical knowledge to turn lead into gold, I explore how they switched their attention to the development of a generally circulating credit currency once their transmutational efforts failed. In addition to solid assets securing the paper notes, transparent institutional designs and accounting practices, and honest and honorable directors, one of the most important conditions for the development a credit currency was that anyone who undermined trust and confidence was harshly punished. While John Locke, Christopher Wren, and Isaac Newton played prominent roles in the debates about the use of the death penalty against monetary criminals, Daniel Defoe and Jonathan Swift actively and enthusiastically promoted the scheme to use profits from the slave trade to bolster public credit. Effectively, my perspective on the images casts them as more than “pictures taken by the German perpetrators,” a perspective that has often led to their rejection or, at best, marginalization, because , through this lens, the images have become equated with reflections of Nazi ideology.
The steady, metronomic snare beat and driving electric guitar strum crank up my heart rate and provoke ecstasy. His mandolin playing (minimal before the trip) improved exponentially with exposure to the culture and musicians a€” and their musicianship a€” in those countries. Don credits performing with Chorus Angelicus, a touring childrena€™s choir not connected with school, as his most intense and formative early experience. Early on, he was drawn to the music in Disney movies (The little Mermaid, Beauty and the Beast, Aladdin, etc.) and the music of Elton John.
He didna€™t start getting over it until he began busking regularly in Boston and abroad, after college. Dona€™s lead vocal is softer and therea€™s a wonderful harmony blend on the passage pull me undera€¦ The sonorous cello creates a mournful, lament-like undercurrent.
Having seen the band perform a€?Whippoorwilla€? live a couple of times, Ia€™m also partial to that track from the EP. A case in point is the stark beauty of a€?Curfewa€? from their second album, Muscle & Bone.
Initially, shea€™d crank the sound up on a little amp, playing a€?awful musica€? in her bedroom.
At some point in high school, the computer crashed, taking hundreds of hours of recordings with it. When Hannah had settled in, she wanted to replicate the coffeehouses shea€™d experienced in high school, so she offered to organize a coffeehouse event at teatime one Friday per month. We recommend a visit to their website, where their blog will provide more insight into their gentle, quirky humor as well as photographic glimpses of their adventures on tour. For anyone who harbored a fondness for fingerstyle guitar, this was an inclusive jewel of life-changing proportions. Hot Tuna took a hiatus in 1977, leaving Jorma to do solo work, both solo acoustic and electric, with bass and drum backup. As if following a Hollywood script, they talked all night, and then got together the next day, then again the following night.
That dream has come to fruition in Fur Peace Ranch, a guitar camp in Pomeroy, in the hilly farmland of southeast Ohio, about two hours drive from Columbus. The site allows the student to contact the instructor and receive specific help to smooth out any rough spots with the lessons. Moreover, I also explore the tension between credit’s marvelous productive potential and the integral role repressive violence played during the Financial Revolution. Moving from a metallic currency to a paper currency did not strike them as that great of a leap considering their understanding that all forms of money are based on credit. In exploring how these criteria informed the creation of the Bank of England in 1694, Casualties of Credit turns to its second primary focus: the role of violence in the English Financial Revolution. He played in numerous orchestras and his main interest was chamber music (he started in earnest at age 10), specifically piano trios (piano, violin and cello). His father helped him learn the lyrics to a€?Under the Seaa€? (from The Little Mermaid) so hea€™d be able to sing it more effectively.
Hannah wrote the song and sings the lead vocal with a call-and-response from Maggie in a passage near the end.
Her first performance was in sixth grade in a school function called a€?The Extreme Concert,a€? a faculty showcase she was allowed to enter.
Nevertheless, she continued writing and performing at a lot of fundraisers, open mics, showcases and other school events.
Hannah, visibly moved, thought, a€?Wow, this girl knows what shea€™s doing.a€? The song is on their first album and Hannah stated that it has been a fan favorite and has won two songwriting awards.
They were upset but not discouraged and committed wholeheartedly to continue playing together. Hannah wrote the song andA  sings the lead vocal with a call-and-response from Maggie in a passage near the end.
Vanessa's engineering background and her organizational skills enabled the dream to achieve reality. In the two samples which show Jorma, a song is broken down into sections and demonstrated throughly. A long-practiced head-swiveling vigilance is the only thing that saves me from an express bus as it blows past me through the caution light at the 15th Street intersection.
In high school, Auyon started to really enjoy vocal harmonies and the bands that used them. As he explains: a€?We fooled around with the idea of starting a band back in college, and then got serious about it in the fall of 2009. He took trumpet lessons in elementary and middle school, but drifted away from that (hardly having practiced to begin with, he says). Although ita€™s tempting to dissect every song, space is limited, so Ia€™ve just selected some particularly noteworthy pieces.
AsA  he explains: a€?We fooled around with the idea of starting a band back in college, and then got serious about it in the fall of 2009. It might simply be an unrequited love song, but it could easily describe a heartbreaking failed connection between two people, one who is gay and one who is straight or who is latently gay but not ready to accept a same-sex relationship. She took lessons in her first year of high school and then learned more on her own by figuring out how to play covers. Maggie quickly seized the opportunity to organize her own a€?unpluggeda€? coffeehouse events.
This past summer, I attended the 2013 CT Folk Festival and saw them perform and introduce new contestants for the songwriting competition. Their acoustic blues set reinforced the cross-pollination between the folk and rock worlds.
Jorma developed a fondness for blues and bluegrass.His early influences included The Carter Family and Flatt and Scruggs. At college he began a weight lifting regiment that he religiously continued daily throughout his life.
That September he started his coaching career at New Bedford High School as X-Country and Indoor Track coach. While silver and gold had successfully enabled trust in the past, the Hartlibians argued that value-less paper notes could also operate as money, granted they fulfilled certain criteria. While in high school, he took classes in music and performed in chorus, assemblies, plays and concerts.
Other instruments a€” guitar, bass, percussion a€” were self-taught or learned from friends. Hours were spent learning chords for songs she wanted to sing by researching guitar tabs on the Internet, figuring out how to play them.
This past year also saw them begin recording their third album, In the Company of Strangers, their first with Purebred. This past year also saw them begin recording their third album,A  In the Company of Strangers, their first with Purebred. I didn't know then that Jorma had already paid homage at the shrine of the Reverend Gary Davis, genuflecting numerous times. When he was 15, he decided he wanted to learn guitar and play bluegrass and old-timey music. Staying in shape was extremely important to Peter almost to the point of being an obsession. For our first two years as band mates, all of us lived in a house together, and we took turns cooking meals for one another. He performed in symphonic orchestral performances in high school and sang in an a cappella group toward the end of high school. Having gotten acquainted with Hannah in the Smiffenpoofs, Maggie had watched YouTube videos of her playing acoustic guitar and singing, so she invited Hannah to perform at her coffeehouse. Having gotten acquainted with Hannah in the Smiffenpoofs, Maggie had watched YouTube videos of her playing acoustic guitar and singing, so she invited HannahA  to perform at her coffeehouse. He described it this way, a€?One year of experience at Roosevelt is worth five years.a€? His first year coaching gave him a taste of success in the field he loved, ending the season with an overall record 9-1. He also participated in symphonic orchestral performances in high school and did a little bit of acting in college. Hannaha€™s performance at Maggiea€™s residence would be the first time either witnessed the other playing live. This might explain his ease as frequent spokesperson (everyone takes turns) at Darlingside gigs. Like a smack addict, I play the track again and again, nodding off over and over in rushes of aching, sweet melancholy.



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