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During the late 1960s, throughout the 1970s, and into the 1980s, New York City poets and musicians played together, published each other, and inspired one another to create groundbreaking art. In "Do You Have a Band?", Daniel Kane reads deeply across poetry and punk music to capture this compelling exchange and its challenge to the status of the visionary artist, the cultural capital of poetry, and the lines dividing sung lyric from page-bound poem. Kane reveals how the new sounds of proto-punk and punk music found their way into the poetry of the 1960s and 1970s downtown scene, enabling writers to develop fresh ideas for their own poetics and performance styles. Likewise, groups like The Fu...
Together with its accompanying CD, this text captures the excitement of the vibrant, irreverent poetry scene of New York's Lower East Side in the 1960s. The text draws from personal interviews with many of the participants, from unpublished letters and from rare sound recordings.
Daniel Kane, Sr. (1810-1870) was born at Londonderry, County Derry, Northern Ireland. He married Catherine Dixon and four of their eight children were born there. They emigrated to Canada in 1846 during the time of the Great Potato Famine and settled in Huron Co., Ontario. They lived there for over twenty years. Four more children were born in McKillop Twp., Ontario. Later, family members moved to Minnesota and settled at Melrose, in Stearns Co. in 1869. Daniel died at Reno, Minn. when he froze to death in a blizzard.
"We knew Koch, Guest, O'Hara, Ashbery, and Schuyler thrived on the gritty, buoyant clank of city life, but that they drew from a secret fountain there only the Brill Building really let on, until now. In seven crisply argued, essayistic chapters, Gray lets us see and feel the invisible paradise glowing within the visible form of the subway, the skyscraper, the tenement bank, the tattoo parlor, a heaven ̀growing in the street/right up through the concrete, but soft and sweet and dreaming."---Kevin Killian, Author, Little Men --Book Jacket.
The Kitans established the Liao dynasty in northern China, which lasted for over two centuries (916-1125). In this survey the reader will find what is currently known about the Kitan language and scripts. The language was very likely distantly related to Mongolian, with two quite different scripts in use. A few generations after their state was defeated, almost all trace of the Kitan spoken and written languages disappeared, except a few words in Chinese texts. Over the past few decades, however, inscriptions from the tombs of the Liao emperors and the Kitan aristocracy have been at least partially deciphered, resulting in a significant increase of our knowledge of the Kitan lexicon, morphology and syntax.
Principles of International Finance, first published in 1988, provides a comprehensive introduction to international finance which is rapidly becoming an increasingly important branch of international economics. The book is structured so that it can easily be adopted as a complete one-semester course in international finance and is divided into the four major divisions of international finance: The Foreign Exchange Market and the Balance of Payments; Exchange Rate Systems; Equilibrium and the Adjustment Process and The Post-War International Financial System. This book is designed for economics and business undergraduates studying international finance for the first time. It is non-mathematical and presumes no more than a general background in macroeconomics.
The oldest trick in the book turns out to be the best thing that’s ever happened . . . Jada Berklee’s acting career is finally heating back up after an on-set romance with her ex ruined her last job on a popular TV show. When she gets a second chance with a desirable supporting role in a hot new romantic comedy, Jada’s determined not to let on-set politics or her off-set ex get in the way again. She’s prepared, polished, professional--and she’s going to knock their socks off. Still, despite Jada’s best efforts to keep her head down she accidentally walks in on leading man--and notorious lothario--Tristan Maxwell cheating on his latest fling. An intense and embarrassing showdown o...
Definitions of what constitutes innovative poetry are innumerable and are offered from every quarter. Some critics and poets argue that innovative poetry concerns free association (John Ashbery), others that experimental poetry is a "re-staging" of language (Bruce Andrews) or a syntactic and cognitive break with the past (Ron Silliman and Lyn Hejinian). The tenets of new poetry abound. But what of the new reading that such poetry demands? The essays in Reading the Difficulties offer case studies in and strategies for reading innovative poetry. They allow readers to interact with verse that deliberately removes many of the comfortable cues to comprehension-poetry that is frequently non-narrative, non-representational, and indeterminate in subject, theme, or message. Book jacket.
By the mid-1960s, New American poets and Underground filmmakers had established a vibrant community in which they collaborated to produce a profusion of poetry/film hybrids. Drawing on unpublished correspondence and interviews, the author provides a fresh look at avant-garde poetry and film in the 1960s and their future influences.