June 14, 2007
CD Review: Bryan Ferry’s Dylanesque
Ivysport Launches Nation’s First Interactive Video Scholarship Competition on the Web
Groundbreaking program for college-bound high school students blends technology and education in the first-ever video and internet-based scholarship opportunity
Santa Ana, CA (PRWEB) January 25, 2005 — Ivysport, the official online clothing retailer of the Ivy League Schools, has announced the top 20 finalists in the nation’s first and only scholarship competition based on video applications from high school students around the country. Between now and February 9, online supporters and the general public can view, rate, and comment on each of the 2-minute “Excellence in Life” videos via Ivysport’s interactive scholarship portal (www.oneivy.com/excellence).
“Today’s students are driven to achieve high GPAs and SAT scores, but ultimately what counts most is excellence in life,” said J. Eric Barnes, President and CEO of Ivysport. “Ivysport is challenging high school students in this revolutionary scholarship. Not only did we introduce a new media into the world of scholarship applications, but we also made the process interactive, allowing anyone on the web to get involved and show their support for their favorite finalist video.”
In an unprecedented attempt to blend emerging technology and education, Ivysport has opened the doors to tech-savvy students and their supporters in the quest for a scholarship. With the challenge of developing a 2-minute short film about their own interpretation of the Ivysport motto “Excellence in Life,” each of the 20 finalists’ films appears online. Until February 9th, visitors can rate and comment on each video, all of which is open to viewing by the general public. Topics of the finalist videos include a variety of themes, including overcoming obstacles, a love of music and dancing, excellent teachers, and simply – laughing.
Ivysport will award a $1,000 scholarship for the winner to use at any college of his or her choice, with second and third prizes also available for students. Over 300 entries were submitted for the 2005 competition, and entries are now being accepted for the 2006 competition at www.oneivy.com/excellence.
The top 20 Excellence in Life finalists for 2005 are:
Jared Norby, Richmond, TX; Jacob Fenn, Thatcher, UT; Rosie Rion, Krumville, NY; Leonard Menchiari, Firenze, Italy; Ryan S. Lay, Mesa, AZ; Andrew Lester, Greensboro, NC; Michael Weisbeck, Houston, TX; Jeff Zeller, Centennial, CO; Amelia Peterson, Omaha, NE; Claire Sund, La Mesa, CA; Chelsea Coburn, Houston, TX; Hillary Adams, Rockport, TX; Malynda Jackson, Cudahy, WI; Justin D. Jarrett, Columbia, PA; Bennette Sebastian, Colonial Heights, VA; Catherine R Peters, Rudolph, WI; Alana Schlang, Battle Ground, WA; Lauren Ridge, Midlothian, TX; Sean J.Akari, Touchet, WA; Alec Amram, Portland, OR; Megan Amram, Portland, OR.
The sound of music
In that unforgettably smooth, four-part harmony, their songs came from real feelings. Like their big hit, “Paper Doll”–I remember feeling sorry for the guy in the song who lost his girlfriend; but I felt more sorry for myself because guys were stealing girls from me even before I got them.
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Sixty years later, as I marvel at Black music’s phenomenal growth, at the tumultuous changes in the industry, and at the diversity of genres that evolved along the way, one constant that seems to transcend generation and style is Black music’s core character–its authenticity. No matter what form it takes–the urban poetry of today’s rap and hip-hop, blues, jazz, R&B, pop, whatever-Black music, we know, is entertaining, but what makes it so relevant is that Black music is also a form of truth-telling.
“The truth is a hit” was what we used to say in those wildly competitive A&R meetings at Motown, with producers and writers vying for who would get the next release on the hottest artists. We listened to the records in contention, debated, and then voted. Many ingredients mattered, but the trump card was always truth. If what we heard wasn’t true to that individual group or artist, or didn’t communicate a true feeling, it wasn’t going anywhere.
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Truth-telling has been a function of Black music from its earliest roots. From the drumbeat rhythms in our DNA that our ancestors carried from Africa, to the work songs and Negro spirituals of slavery, Black music is a chronicle of our collective emotional journey in this world–pain and sadness, happiness and celebration. Slave songs were also songs of wisdom and faith. The wisdom lay under the words, sometimes in metaphors and codes, in messages sent to ourselves of who we really were. The faith we openly expressed in our ability to make music helped free our souls, long before outward freedom came.
When I came of age in the ’40s, those elements of truth, wisdom and faith could still be heard in the rich music scene unfolding across the country. Detroit was jumping. The hottest Black stars were coming in from everywhere to the Paradise Valley, Graystone Ballroom, and my favorite night spot, the Flame Show Bar. Big Bands had been kicking [behind]. Duke Ellington, Count Basie and Cab Calloway had us dancing our butts off. During this fertile period the music stew was being stirred, mixing together traditions of jazz, blues, and pop, as it brought out the sharpest-dressed cats and prettiest women around. At the Flame, where they had a stage built right into the bar, it was possible on any night to see anybody. Incredible! It was a major musical feast, spread out for the choosing.
If you wanted hot chili, chitlins” and greens, Dinah Washington could serve it up in great style. If you wanted a juicy steak, smooth champagne and the finest caviar, it was Sarah Vaughn. Her voice was an incredible instrument, from the lowest lows to the highest highs. Pure. And Billie Holiday–I can’t think of a food, but she was awesome. She was “Lady Day.” She sang about life–her life. And I loved every minute of it.
Now Dinah could sing the blues and everything else, talkin’ ’bout men like dawgs. She’d walk that bar at the Flame, “tellin’ it like it is,” working it from end to end–both the bar and her behind. Billie usually put her man on a pedestal. She sang from her soul, from a place of pain, love and sensitivity. Later on when I produced Lady Sings The Blues, it meant the world to me to pay homage to a woman I loved, played by Diana Ross, a woman I was in love with.
Places to go, people to see
Marsmobil - Une affaire de mode et (Compost)
Making music
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ZHANG JUZHONG AND LEE YUN KUEN REPLY: We can only infer how the flutes were made on the basis of the technologies available to the Jiahu people. There is no evidence that metal tools were used at the Jiahu site.
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Although the red-crowned crane’s bones were very thin, they were also very hard, so they wouldn’t have broken easily. Cutting a crane bone at an exact location required precise control, which could be achieved by sawing with a stone knife. The holes in the flutes were perforated by drilling, and in fact, some stone drills were found in Jiahu, though they did not match the size of the holes in the flutes. The Jiahu may have used other stone drills that matched the holes, but we didn’t uncover any during the excavation.