Thursday, November 24, 2011
images el amor emo
Susana Chávez-Silverman, born in Los Angeles, California, is a U.S. Latina writer and professor of Romance Languages and Literature at Pomona College in Claremont, California.
Susana received her undergraduate degree in Spanish from University of California, Irvine in 1977 where she graduated magna cum laude. She continued her education at Harvard University where, in 1979, she received her Masters degree in Romance Languages. In 1991, Susana received her Ph.D. in Spanish from the University of California, Davis. Her dissertation was titled: The Ex-Centric Self: The Poetry of Alejandra Pizarnik. Susana has taught at University of California, Santa Cruz, University of California, Berkeley, University of California, Irvine, University of California, Davis, and the University of South Africa before coming to Pomona College.
Chávez-Silverman, born to a Jewish Hispanist father and a Chicana teacher mother, was raised in a bilingual and bicultural atmosphere between Los Angeles, Madrid and Guadalajara, Mexico. After completing her education, traveling a great deal, and living in Boston, Berkeley, Los Angeles, Spain and South Africa, she now resides in Claremont, California, where she is professor of Spanish, Latino/a and Latin American Studies in the Department of Romance Languages and Literature at Pomona College. Susana specializes in gender and sexuality studies, autobiography/memoir, Latin American and U.S. Latina/Chicana literature, poetry, and feminist pedagogy. Chávez-Silverman has written and coauthored several books on the above-mentioned topics.
The bilingual creative nonfiction work by Chávez-Silverman is published by the University of Wisconsin Press. Her book, Killer Crónicas: Bilingual Memories, was published by the University of Wisconsin Press in 2004. This collection of chronicles began in 2001, after the US National Endowment for the Humanities (NEH) awarded Susana a fellowship for a project on contemporary Argentine women's poetry. She spent thirteen months in Buenos Aires where, in addition to research and writing on her official (academic) book, she began to send bilingual, punning "letters from the southern [cone] front" to colleagues and friends by email. Susana says: "Living in Buenos Aires, that gorgeous, turn of the century city in a country on the brink of (economic) collapse-home to many of the authors and artists I had long admired (Jorge Luis Borges, Julio Cortázar, Alfonsina Storni, Alejandra Pizarnik, and before them the foundational Romantics, Domingo Faustino Sarmiento and Echeverría)-brought out a sense of self, displaced yet oddly at home, in a cultural, linguistic and even tangible way. In Buenos Aires, the fragmented parts of me, the voices, cultures, and places inside of me rubbed up against each other and struck fire. I called my email missives "Crónicas," inspired by the somewhat rough-hewn, journalistic, often fantastic first-hand accounts sent "home" by the early conquistadores, and refashioned by modern-day counterparts such as Carlos Monsiváis, Elena Poniatowska, and Cristina Pacheco." One of Susana's crónicas, "Anniversary Crónica," inspired by the June 16th anniversary of both Susana's parents' wedding and that of the so-called "Soweto Riots" in South Africa, was recently awarded First prize in Personal Memoir in the 2002 "Chicano Literary Excellence Contest" sponsored by the U.S. national literary magazine el Andar.
Killer Cronicas: Bilingual Memories is written in an unorthodox style in that it code-switches seamlessly between English and Spanish, without translation of either language. For instance, Killer Cronicas is "teeming with such bits of clever bilingual wordplay, such as 'feliz' (happy) to refer to homosexuals, and 'anyguey' for 'anyway.' Mixed in are countless Latin American regionalisms, joking phonetic spellings and faux translations, such as 'ternura' for 'tenure.' 'I know, ya se, mama,' she writes."
Susana received her undergraduate degree in Spanish from University of California, Irvine in 1977 where she graduated magna cum laude. She continued her education at Harvard University where, in 1979, she received her Masters degree in Romance Languages. In 1991, Susana received her Ph.D. in Spanish from the University of California, Davis. Her dissertation was titled: The Ex-Centric Self: The Poetry of Alejandra Pizarnik. Susana has taught at University of California, Santa Cruz, University of California, Berkeley, University of California, Irvine, University of California, Davis, and the University of South Africa before coming to Pomona College.
Chávez-Silverman, born to a Jewish Hispanist father and a Chicana teacher mother, was raised in a bilingual and bicultural atmosphere between Los Angeles, Madrid and Guadalajara, Mexico. After completing her education, traveling a great deal, and living in Boston, Berkeley, Los Angeles, Spain and South Africa, she now resides in Claremont, California, where she is professor of Spanish, Latino/a and Latin American Studies in the Department of Romance Languages and Literature at Pomona College. Susana specializes in gender and sexuality studies, autobiography/memoir, Latin American and U.S. Latina/Chicana literature, poetry, and feminist pedagogy. Chávez-Silverman has written and coauthored several books on the above-mentioned topics.
The bilingual creative nonfiction work by Chávez-Silverman is published by the University of Wisconsin Press. Her book, Killer Crónicas: Bilingual Memories, was published by the University of Wisconsin Press in 2004. This collection of chronicles began in 2001, after the US National Endowment for the Humanities (NEH) awarded Susana a fellowship for a project on contemporary Argentine women's poetry. She spent thirteen months in Buenos Aires where, in addition to research and writing on her official (academic) book, she began to send bilingual, punning "letters from the southern [cone] front" to colleagues and friends by email. Susana says: "Living in Buenos Aires, that gorgeous, turn of the century city in a country on the brink of (economic) collapse-home to many of the authors and artists I had long admired (Jorge Luis Borges, Julio Cortázar, Alfonsina Storni, Alejandra Pizarnik, and before them the foundational Romantics, Domingo Faustino Sarmiento and Echeverría)-brought out a sense of self, displaced yet oddly at home, in a cultural, linguistic and even tangible way. In Buenos Aires, the fragmented parts of me, the voices, cultures, and places inside of me rubbed up against each other and struck fire. I called my email missives "Crónicas," inspired by the somewhat rough-hewn, journalistic, often fantastic first-hand accounts sent "home" by the early conquistadores, and refashioned by modern-day counterparts such as Carlos Monsiváis, Elena Poniatowska, and Cristina Pacheco." One of Susana's crónicas, "Anniversary Crónica," inspired by the June 16th anniversary of both Susana's parents' wedding and that of the so-called "Soweto Riots" in South Africa, was recently awarded First prize in Personal Memoir in the 2002 "Chicano Literary Excellence Contest" sponsored by the U.S. national literary magazine el Andar.
Killer Cronicas: Bilingual Memories is written in an unorthodox style in that it code-switches seamlessly between English and Spanish, without translation of either language. For instance, Killer Cronicas is "teeming with such bits of clever bilingual wordplay, such as 'feliz' (happy) to refer to homosexuals, and 'anyguey' for 'anyway.' Mixed in are countless Latin American regionalisms, joking phonetic spellings and faux translations, such as 'ternura' for 'tenure.' 'I know, ya se, mama,' she writes."
images de amistad y amor
Discos Qualiton was a record label, published by the extinct recording studio Fonema S.A. A garage experiment born in Rosario, Argentina in 1961, Qualiton would later became a major independent project influencing a generation of artists, writers, musicians, poets and filmmakers.
The first attempts by Nelson Montes-Bradley and Ivan Cosentino to produce and publish vinyl records in Argentina was made under the umbrella of Fondo Cultural, a firm based in Rosario, and incorporated in Buenos Aires. Fondo Cultural resorted to the use of the name Qualiton, which eventually led to the establishment of a close relationship with the homonymous Qualiton of Hungary, the state owned record company during the Communist years.
Joaquín Rodrigo's "Cantares de los pajes de la nao" by the Coro Estable de Rosario, conducted by Cristián Hernández Larguía, was Qualiton's first recording in 1961. Soon, the idea of producing other choruses became a perfect venue to establish the company in the local arena. Editions of no more than 300 LPs, were being quickly absorbed amongst the members of the chorus ensemble and their close relatives. By 1965, the early catalog of Discos Qualiton produced by Fondo Cultural, was beginning to develop into a greater ordeal. Fondo Cultural became extinct and Fonema incorporated thus allowing Nora Raffo and Carlos Melero, newest members of the Qualiton team, to joined in the corporation.
The following Fonema years, were mostly but not exclusively dedicated to produce classical music with a particular emphasis in baroque and colonial periods in Latin America under its Qualiton label. Also worth mentioning are the recordings of ethnographic music harvested in the field and gathered under the label Serie del Conocimiento and the unique recordings of literary works known as Juglaría.
By the late 1960s the record label had already relocated from Rosario to Buenos Aires, and expanded its catalog. New investors were seduced by the idea of creating a major independent label. Curt von Simpson and Gertrudis Moser joined Fonema executive leadership providing the needed contacts with local banks (namely Banco Oddone). During this period of expansion Take One, a state-of-the-arts 24-channel recording studio was built to specs. Take one, which would eventually become a landmark of the record industry was located at Fonema's HQ on Perú 375 in Buenos Aires Historical District known as Montserrat The original concept of a small and family orientated garage experiment born in Rosario, had grown out of proportion. However, by 1976, a military putsch, led by Jorge Rafael Videla, ousted Argentine president Isabel Perón making life quite difficult for the arts at large, and in particular for domestic labels linked to the previous years of social unrest. The final days of Discos Qualiton came about in 1978.
The first attempts by Nelson Montes-Bradley and Ivan Cosentino to produce and publish vinyl records in Argentina was made under the umbrella of Fondo Cultural, a firm based in Rosario, and incorporated in Buenos Aires. Fondo Cultural resorted to the use of the name Qualiton, which eventually led to the establishment of a close relationship with the homonymous Qualiton of Hungary, the state owned record company during the Communist years.
Joaquín Rodrigo's "Cantares de los pajes de la nao" by the Coro Estable de Rosario, conducted by Cristián Hernández Larguía, was Qualiton's first recording in 1961. Soon, the idea of producing other choruses became a perfect venue to establish the company in the local arena. Editions of no more than 300 LPs, were being quickly absorbed amongst the members of the chorus ensemble and their close relatives. By 1965, the early catalog of Discos Qualiton produced by Fondo Cultural, was beginning to develop into a greater ordeal. Fondo Cultural became extinct and Fonema incorporated thus allowing Nora Raffo and Carlos Melero, newest members of the Qualiton team, to joined in the corporation.
The following Fonema years, were mostly but not exclusively dedicated to produce classical music with a particular emphasis in baroque and colonial periods in Latin America under its Qualiton label. Also worth mentioning are the recordings of ethnographic music harvested in the field and gathered under the label Serie del Conocimiento and the unique recordings of literary works known as Juglaría.
By the late 1960s the record label had already relocated from Rosario to Buenos Aires, and expanded its catalog. New investors were seduced by the idea of creating a major independent label. Curt von Simpson and Gertrudis Moser joined Fonema executive leadership providing the needed contacts with local banks (namely Banco Oddone). During this period of expansion Take One, a state-of-the-arts 24-channel recording studio was built to specs. Take one, which would eventually become a landmark of the record industry was located at Fonema's HQ on Perú 375 in Buenos Aires Historical District known as Montserrat The original concept of a small and family orientated garage experiment born in Rosario, had grown out of proportion. However, by 1976, a military putsch, led by Jorge Rafael Videla, ousted Argentine president Isabel Perón making life quite difficult for the arts at large, and in particular for domestic labels linked to the previous years of social unrest. The final days of Discos Qualiton came about in 1978.
images caroline dale
Caroline Dale is a widely-recorded British cellist who has performed music for numerous films, including Truly, Madly, Deeply, Hilary and Jackie, Fear and Loathing in Las Vegas, as well as the 2005 adaptation of Jane Austen's Pride and Prejudice and 2007's Academy Award winner Atonement. She currently plays Principal Cello for the English Chamber Orchestra and London Metropolitan Orchestra.
She has performed with Jimmy Page and Robert Plant during their 1994 tour promoting the album No Quarter. She plays in the 1994 video for "Whatever" by Oasis.
In 2002, Dale released Such Sweet Thunder, an album of classical music with performances of Handel's Sarabande from the D-minor harpsichord suite, and the Largo from Vivaldi's E minor Cello Sonata.
She played with David Gilmour during his 2002 solo tour dates, and on his most recent album, On an Island. She appears on the David Gilmour in Concert DVD which was recorded at Robert Wyatt's Meltdown concert and the Royal Festival Hall concert, both in 2002. In 2008, she appeared, playing solo cello, at Ron Geesin's 2 performances of the "Atom Heart Mother Suite", with Pink Floyd tribute band Mun Floyd, the Royal College Brass Ensemble, and the choral group Canticum. David Gilmour made a guest appearance on the second night.
Since the mid 1990s and up until as recently as 2007, she was Sinéad O'Connor's touring cellist. She often sang with O'Connor and her band on the song "In This Heart", from the 1994 album Universal Mother.
She has performed with Jimmy Page and Robert Plant during their 1994 tour promoting the album No Quarter. She plays in the 1994 video for "Whatever" by Oasis.
In 2002, Dale released Such Sweet Thunder, an album of classical music with performances of Handel's Sarabande from the D-minor harpsichord suite, and the Largo from Vivaldi's E minor Cello Sonata.
She played with David Gilmour during his 2002 solo tour dates, and on his most recent album, On an Island. She appears on the David Gilmour in Concert DVD which was recorded at Robert Wyatt's Meltdown concert and the Royal Festival Hall concert, both in 2002. In 2008, she appeared, playing solo cello, at Ron Geesin's 2 performances of the "Atom Heart Mother Suite", with Pink Floyd tribute band Mun Floyd, the Royal College Brass Ensemble, and the choral group Canticum. David Gilmour made a guest appearance on the second night.
Since the mid 1990s and up until as recently as 2007, she was Sinéad O'Connor's touring cellist. She often sang with O'Connor and her band on the song "In This Heart", from the 1994 album Universal Mother.
images michelle litjens
Michelle Litjens (born September 28, 1972, St. Louis, Missouri) is a Wisconsin politician and legislator. She graduated from the UW-Oshkosh in 1995.
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