9:11
Charles Ives - Symphony No. 2 - V. Allegro molto vivace
Charles Ives - Symphony No. 2 - V. Allegro molto vivace
Charles Ives (1874-1954) Symphony No. 2 (1897-1901) I. Allegro moderato II. Allegro III. Adagio cantabile IV. Lento maestoso V. Allegro molto vivace Leonard Bernstein New York Philharmonic Orchestra In a testament to Ives' disciplined powers of invention, the piece departs from the conventional four-movement symphonic structure, which has been modified by the insertion of the Lento maestoso as an introduction to the Allegro molto vivace. Although the work was composed during Ives' twenties, it had to wait half a century to be premiered, in a 1951 New York Philharmonic concert conducted by Leonard Bernstein. The symphony premiered to rapturous applause but Ives responded with ambivalence. Indeed, he did not even attend the concert in person but had to be dragged by family and friends to a neighbor's house to listen to the live radio broadcast. The public performance had been postponed for so long because Ives had been alienated from the American classical establishment. Ever since his training with Horatio Parker at Yale, Ives had suffered their disapproval of the mischievous unorthodoxy with which he radically pushed the boundaries of European classical structures to create soundscapes that recalled the vernacular music-making of his New England upbringing. Like Ives' other compositions which honor the European and American inheritances, the Second Symphony never makes verbatim quotation of popular American tunes such as "Columbia, the Gem of the Ocean", "Camptown Races <b>...</b>
5:56
Charles Ives - Symphony No. 2 - I. Allegro moderato
Charles Ives - Symphony No. 2 - I. Allegro moderato
Charles Ives (1874-1954) Symphony No. 2 (1897-1901) I. Allegro moderato II. Allegro III. Adagio cantabile IV. Lento maestoso V. Allegro molto vivace Leonard Bernstein New York Philharmonic Orchestra In a testament to Ives' disciplined powers of invention, the piece departs from the conventional four-movement symphonic structure, which has been modified by the insertion of the Lento maestoso as an introduction to the Allegro molto vivace. Although the work was composed during Ives' twenties, it had to wait half a century to be premiered, in a 1951 New York Philharmonic concert conducted by Leonard Bernstein. The symphony premiered to rapturous applause but Ives responded with ambivalence. Indeed, he did not even attend the concert in person but had to be dragged by family and friends to a neighbor's house to listen to the live radio broadcast. The public performance had been postponed for so long because Ives had been alienated from the American classical establishment. Ever since his training with Horatio Parker at Yale, Ives had suffered their disapproval of the mischievous unorthodoxy with which he radically pushed the boundaries of European classical structures to create soundscapes that recalled the vernacular music-making of his New England upbringing. Like Ives' other compositions which honor the European and American inheritances, the Second Symphony never makes verbatim quotation of popular American tunes such as "Columbia, the Gem of the Ocean", "Camptown Races <b>...</b>
10:22
Charles Ives - Symphony No. 2 - II. Allegro
Charles Ives - Symphony No. 2 - II. Allegro
Charles Ives (1874-1954) Symphony No. 2 (1897-1901) I. Allegro moderato II. Allegro III. Adagio cantabile IV. Lento maestoso V. Allegro molto vivace Leonard Bernstein New York Philharmonic Orchestra In a testament to Ives' disciplined powers of invention, the piece departs from the conventional four-movement symphonic structure, which has been modified by the insertion of the Lento maestoso as an introduction to the Allegro molto vivace. Although the work was composed during Ives' twenties, it had to wait half a century to be premiered, in a 1951 New York Philharmonic concert conducted by Leonard Bernstein. The symphony premiered to rapturous applause but Ives responded with ambivalence. Indeed, he did not even attend the concert in person but had to be dragged by family and friends to a neighbor's house to listen to the live radio broadcast. The public performance had been postponed for so long because Ives had been alienated from the American classical establishment. Ever since his training with Horatio Parker at Yale, Ives had suffered their disapproval of the mischievous unorthodoxy with which he radically pushed the boundaries of European classical structures to create soundscapes that recalled the vernacular music-making of his New England upbringing. Like Ives' other compositions which honor the European and American inheritances, the Second Symphony never makes verbatim quotation of popular American tunes such as "Columbia, the Gem of the Ocean", "Camptown Races <b>...</b>
2:25
Alec Wilder - Her old man was suspicious (1941)
Alec Wilder - Her old man was suspicious (1941)
"Alec Wilder's music is a unique blend of American musical traditions -- among them jazz and the American popular song -- and basic "classical" European forms and techniques. As such it fiercely resists all labeling. Although it often pained Alec that his music was not more widely accepted by either jazz or classical performers, undeterred he wrote a great deal of music of remarkable originality in many forms: sonatas, suites, concertos, operas, ballets, art songs, woodwind quintets, brass quintets, jazz suites -- and hundreds of popular songs. Many times his music wasn't jazz enough for the "jazzers," or "highbrow," "classical" or "avant-garde" enough for the classical establishment. In essence, Wilder's music was so unique in its originality that it didn't fit in any of the preordained musical slots and stylistic pigeonholes. His music was never out of vogue because, in effect, it was never in vogue, its non-stereotypical specialness virtually precluding any widespread acceptance. " Gunther Schuller the painting is David Hockney's "interior with lamp" (2003)
3:18
Alec Wilder - Seldom the sun (july 17, 1940)
Alec Wilder - Seldom the sun (july 17, 1940)
From the album Frank Sinatra Conducts the Music of Alec Wilder, one of the legendary octets of the great (and greatly underrated) composer. Mitch Miller (Horn (English), Mitch Miller (Oboe), Julius Baker (Flute), Frank Carroll (?), Walter Gross (?), Goddard Lieberson (Liner Notes), Toots Mondello (?), Reggie Merrill (?), Jimmy Carroll (?), Eddie Powell (?), Harold Goltzer (Bassoon) "Alec Wilder's music is a unique blend of American musical traditions -- among them jazz and the American popular song -- and basic "classical" European forms and techniques. As such it fiercely resists all labeling. Although it often pained Alec that his music was not more widely accepted by either jazz or classical performers, undeterred he wrote a great deal of music of remarkable originality in many forms: sonatas, suites, concertos, operas, ballets, art songs, woodwind quintets, brass quintets, jazz suites -- and hundreds of popular songs. Many times his music wasn't jazz enough for the "jazzers," or "highbrow," "classical" or "avant-garde" enough for the classical establishment. In essence, Wilder's music was so unique in its originality that it didn't fit in any of the preordained musical slots and stylistic pigeonholes. His music was never out of vogue because, in effect, it was never in vogue, its non-stereotypical specialness virtually precluding any widespread acceptance. " Gunther Schuller
52:48
How Much Can Discrimination Explain? | Walter Williams
How Much Can Discrimination Explain? | Walter Williams
Established to study and advance classical liberalism, the Foundation for Economic Education (FEE) is the oldest free-market organization in the United States. Murray Rothbard recognized FEE for creating a "crucial open center" that he credits with launching the movement. FEE researches and advocates free-market, classical liberal, and libertarian ideas through lectures as well as publications. The lectures are either a part of week long seminars featuring multiple faculty, or feature one prominent speaker for the Evenings at FEE series. Outreach efforts include a monthly magazine, The Freeman, as well as pamphlets, lectures, and academic sponsorship. FEE publishes reprints of classic libertarian texts. In 1946, FEE was founded by Leonard Read of the Los Angeles Chamber of Commerce, Donaldson Brown of General Motors Corporation, Professors Leo Wolman of Columbia University and Fred R. Fairchild of Yale University, Henry Hazlitt of the New York Times, Claude Robinson of Opinion Research Corporation, and David Goodrich of BF Goodrich. The William Volker Fund was instrumental in subsidizing FEE's establishment. The initial officers of FEE included Read as president, Hazlitt as vice-president, and Goodrich as chairman. After retiring from Grove City College where he taught economics, Hans Sennholz served as president of the Foundation from 1992 to 1997. Donald J. Boudreaux, former Chairman of the Department of Economics at George Mason University, served as president of the <b>...</b>
52:01
Government Intervention and Individual Freedom | Walter Williams
Government Intervention and Individual Freedom | Walter Williams
Established to study and advance classical liberalism, the Foundation for Economic Education (FEE) is the oldest free-market organization in the United States. Murray Rothbard recognized FEE for creating a "crucial open center" that he credits with launching the movement. FEE researches and advocates free-market, classical liberal, and libertarian ideas through lectures as well as publications. The lectures are either a part of week long seminars featuring multiple faculty, or feature one prominent speaker for the Evenings at FEE series. Outreach efforts include a monthly magazine, The Freeman, as well as pamphlets, lectures, and academic sponsorship. FEE publishes reprints of classic libertarian texts. In 1946, FEE was founded by Leonard Read of the Los Angeles Chamber of Commerce, Donaldson Brown of General Motors Corporation, Professors Leo Wolman of Columbia University and Fred R. Fairchild of Yale University, Henry Hazlitt of the New York Times, Claude Robinson of Opinion Research Corporation, and David Goodrich of BF Goodrich. The William Volker Fund was instrumental in subsidizing FEE's establishment. The initial officers of FEE included Read as president, Hazlitt as vice-president, and Goodrich as chairman. After retiring from Grove City College where he taught economics, Hans Sennholz served as president of the Foundation from 1992 to 1997. Donald J. Boudreaux, former Chairman of the Department of Economics at George Mason University, served as president of the <b>...</b>
19:11
Edmond De Luca: Conquerors of the Ages (1957) (Part 1 of 2)
Edmond De Luca: Conquerors of the Ages (1957) (Part 1 of 2)
Composer: Edmond De Luca Born: 7 February 1909 — Philadelphia, PA — USA Died: 9 April 2004 Edmond De Luca was born in Philadelphia and studied at the Curtis Institute of Music; he took composition and theory with William Happich and piano with Leo Ornstein. In 1936, his Suite for Orchestra won a composition competition hosted by the Philadelphia Orchestra and was performed by them. He graduated from Juilliard in 1943 and then De Luca's First Symphony won first prize in another competition, this time hosted by the Detroit Symphony Orchestra. De Luca's best-known works were orchestral suites commission by David L. Miller of Trans World Records, "Safari" and "Conquerors of the Ages," originally recorded by the "Trans World Symphony Orchestra," later known as the 101 Strings Orchestra and, in actuality, the Hamburg Symphony. Both tasty and tasteless, these albums were popular among audiophiles in the days of early stereo, but their lushly romantic, highly cinematic style did not establish De Luca as a composer worthy of serious consideration by the classical establishment of the day. Oddly, De Luca is not known to have worked in the motion picture industry, where his talents would have situated him well. (re: Classical Composers Database) Orchestra: Richard Linz conducting the London Philharmonic Orchestra and Chorus. Cover Art: 2a. Alexander the Great by Howard David Johnson 2b. Alexander the Great in the Temple of Jerusalem 2c. Alexander at the Battle of IsusTrans 2d <b>...</b>
10:45
Charles Ives - Symphony No. 2 - III. Adagio cantabile
Charles Ives - Symphony No. 2 - III. Adagio cantabile
Charles Ives (1874-1954) Symphony No. 2 (1897-1901) I. Allegro moderato II. Allegro III. Adagio cantabile IV. Lento maestoso V. Allegro molto vivace Leonard Bernstein New York Philharmonic Orchestra In a testament to Ives' disciplined powers of invention, the piece departs from the conventional four-movement symphonic structure, which has been modified by the insertion of the Lento maestoso as an introduction to the Allegro molto vivace. Although the work was composed during Ives' twenties, it had to wait half a century to be premiered, in a 1951 New York Philharmonic concert conducted by Leonard Bernstein. The symphony premiered to rapturous applause but Ives responded with ambivalence. Indeed, he did not even attend the concert in person but had to be dragged by family and friends to a neighbor's house to listen to the live radio broadcast. The public performance had been postponed for so long because Ives had been alienated from the American classical establishment. Ever since his training with Horatio Parker at Yale, Ives had suffered their disapproval of the mischievous unorthodoxy with which he radically pushed the boundaries of European classical structures to create soundscapes that recalled the vernacular music-making of his New England upbringing. Like Ives' other compositions which honor the European and American inheritances, the Second Symphony never makes verbatim quotation of popular American tunes such as "Columbia, the Gem of the Ocean", "Camptown Races <b>...</b>
22:50
Edmond De Luca: Conquerors of the Ages (1957) (Part 2 of 2)
Edmond De Luca: Conquerors of the Ages (1957) (Part 2 of 2)
Composer: Edmond De Luca Born: 7 February 1909 — Philadelphia, PA — USA Died: 9 April 2004 Edmond De Luca was born in Philadelphia and studied at the Curtis Institute of Music; he took composition and theory with William Happich and piano with Leo Ornstein. In 1936, his Suite for Orchestra won a composition competition hosted by the Philadelphia Orchestra and was performed by them. He graduated from Juilliard in 1943 and then De Luca's First Symphony won first prize in another competition, this time hosted by the Detroit Symphony Orchestra. De Luca's best-known works were orchestral suites commission by David L. Miller of Trans World Records, "Safari" and "Conquerors of the Ages," originally recorded by the "Trans World Symphony Orchestra," later known as the 101 Strings Orchestra and, in actuality, the Hamburg Symphony. Both tasty and tasteless, these albums were popular among audiophiles in the days of early stereo, but their lushly romantic, highly cinematic style did not establish De Luca as a composer worthy of serious consideration by the classical establishment of the day. Oddly, De Luca is not known to have worked in the motion picture industry, where his talents would have situated him well. (re: Classical Composers Database) Orchestra: Richard Linz conducting the London Philharmonic Orchestra and Chorus. Cover Art: 6a. Hernán Cortés (artist unknown) 6b. Shiphead 6c. The Burning of the Ships 6d. Aztec Ritual 6e. Hernan Cortes by (boc0-d4husrh)? 7a. Jacques-Louis <b>...</b>
2:59
Charles Ives - Symphony No. 2 - IV. Lento maestoso
Charles Ives - Symphony No. 2 - IV. Lento maestoso
Charles Ives (1874-1954) Symphony No. 2 (1897-1901) I. Allegro moderato II. Allegro III. Adagio cantabile IV. Lento maestoso V. Allegro molto vivace Leonard Bernstein New York Philharmonic Orchestra In a testament to Ives' disciplined powers of invention, the piece departs from the conventional four-movement symphonic structure, which has been modified by the insertion of the Lento maestoso as an introduction to the Allegro molto vivace. Although the work was composed during Ives' twenties, it had to wait half a century to be premiered, in a 1951 New York Philharmonic concert conducted by Leonard Bernstein. The symphony premiered to rapturous applause but Ives responded with ambivalence. Indeed, he did not even attend the concert in person but had to be dragged by family and friends to a neighbor's house to listen to the live radio broadcast. The public performance had been postponed for so long because Ives had been alienated from the American classical establishment. Ever since his training with Horatio Parker at Yale, Ives had suffered their disapproval of the mischievous unorthodoxy with which he radically pushed the boundaries of European classical structures to create soundscapes that recalled the vernacular music-making of his New England upbringing. Like Ives' other compositions which honor the European and American inheritances, the Second Symphony never makes verbatim quotation of popular American tunes such as "Columbia, the Gem of the Ocean", "Camptown Races <b>...</b>
72:53
The History of Austrian Economics, Part 1 | Dr. Israel Kirzner
The History of Austrian Economics, Part 1 | Dr. Israel Kirzner
Established to study and advance classical liberalism, the Foundation for Economic Education (FEE) is the oldest free-market organization in the United States. Murray Rothbard recognized FEE for creating a "crucial open center" that he credits with launching the movement. FEE researches and advocates free-market, classical liberal, and libertarian ideas through lectures as well as publications. The lectures are either a part of week long seminars featuring multiple faculty, or feature one prominent speaker for the Evenings at FEE series. Outreach efforts include a monthly magazine, The Freeman, as well as pamphlets, lectures, and academic sponsorship. FEE publishes reprints of classic libertarian texts. In 1946, FEE was founded by Leonard Read of the Los Angeles Chamber of Commerce, Donaldson Brown of General Motors Corporation, Professors Leo Wolman of Columbia University and Fred R. Fairchild of Yale University, Henry Hazlitt of the New York Times, Claude Robinson of Opinion Research Corporation, and David Goodrich of BF Goodrich. The William Volker Fund was instrumental in subsidizing FEE's establishment. The initial officers of FEE included Read as president, Hazlitt as vice-president, and Goodrich as chairman. After retiring from Grove City College where he taught economics, Hans Sennholz served as president of the Foundation from 1992 to 1997. Donald J. Boudreaux, former Chairman of the Department of Economics at George Mason University, served as president of the <b>...</b>
65:49
Morality and Freedom | Dr. Ronald H. Nash
Morality and Freedom | Dr. Ronald H. Nash
Established to study and advance classical liberalism, the Foundation for Economic Education (FEE) is the oldest free-market organization in the United States. Murray Rothbard recognized FEE for creating a "crucial open center" that he credits with launching the movement. FEE researches and advocates free-market, classical liberal, and libertarian ideas through lectures as well as publications. The lectures are either a part of week long seminars featuring multiple faculty, or feature one prominent speaker for the Evenings at FEE series. Outreach efforts include a monthly magazine, The Freeman, as well as pamphlets, lectures, and academic sponsorship. FEE publishes reprints of classic libertarian texts. In 1946, FEE was founded by Leonard Read of the Los Angeles Chamber of Commerce, Donaldson Brown of General Motors Corporation, Professors Leo Wolman of Columbia University and Fred R. Fairchild of Yale University, Henry Hazlitt of the New York Times, Claude Robinson of Opinion Research Corporation, and David Goodrich of BF Goodrich. The William Volker Fund was instrumental in subsidizing FEE's establishment. The initial officers of FEE included Read as president, Hazlitt as vice-president, and Goodrich as chairman. After retiring from Grove City College where he taught economics, Hans Sennholz served as president of the Foundation from 1992 to 1997. Donald J. Boudreaux, former Chairman of the Department of Economics at George Mason University, served as president of the <b>...</b>
62:00
Competition and Monopoly | Dr. Bejamin Rogge
Competition and Monopoly | Dr. Bejamin Rogge
Established to study and advance classical liberalism, the Foundation for Economic Education (FEE) is the oldest free-market organization in the United States. Murray Rothbard recognized FEE for creating a "crucial open center" that he credits with launching the movement. FEE researches and advocates free-market, classical liberal, and libertarian ideas through lectures as well as publications. The lectures are either a part of week long seminars featuring multiple faculty, or feature one prominent speaker for the Evenings at FEE series. Outreach efforts include a monthly magazine, The Freeman, as well as pamphlets, lectures, and academic sponsorship. FEE publishes reprints of classic libertarian texts. In 1946, FEE was founded by Leonard Read of the Los Angeles Chamber of Commerce, Donaldson Brown of General Motors Corporation, Professors Leo Wolman of Columbia University and Fred R. Fairchild of Yale University, Henry Hazlitt of the New York Times, Claude Robinson of Opinion Research Corporation, and David Goodrich of BF Goodrich. The William Volker Fund was instrumental in subsidizing FEE's establishment. The initial officers of FEE included Read as president, Hazlitt as vice-president, and Goodrich as chairman. After retiring from Grove City College where he taught economics, Hans Sennholz served as president of the Foundation from 1992 to 1997. Donald J. Boudreaux, former Chairman of the Department of Economics at George Mason University, served as president of the <b>...</b>
55:50
The Myth of Class Struggle | William Law
The Myth of Class Struggle | William Law
Established to study and advance classical liberalism, the Foundation for Economic Education (FEE) is the oldest free-market organization in the United States. Murray Rothbard recognized FEE for creating a "crucial open center" that he credits with launching the movement. FEE researches and advocates free-market, classical liberal, and libertarian ideas through lectures as well as publications. The lectures are either a part of week long seminars featuring multiple faculty, or feature one prominent speaker for the Evenings at FEE series. Outreach efforts include a monthly magazine, The Freeman, as well as pamphlets, lectures, and academic sponsorship. FEE publishes reprints of classic libertarian texts. In 1946, FEE was founded by Leonard Read of the Los Angeles Chamber of Commerce, Donaldson Brown of General Motors Corporation, Professors Leo Wolman of Columbia University and Fred R. Fairchild of Yale University, Henry Hazlitt of the New York Times, Claude Robinson of Opinion Research Corporation, and David Goodrich of BF Goodrich. The William Volker Fund was instrumental in subsidizing FEE's establishment. The initial officers of FEE included Read as president, Hazlitt as vice-president, and Goodrich as chairman. After retiring from Grove City College where he taught economics, Hans Sennholz served as president of the Foundation from 1992 to 1997. Donald J. Boudreaux, former Chairman of the Department of Economics at George Mason University, served as president of the <b>...</b>
4:28
Quadriga Consort: The Saucy Sailor - live
Quadriga Consort: The Saucy Sailor - live
The Saucy Sailor (Trad. England / arr. Nikolaus Philipp Newerkla) - played by Quadriga Consort, the Austrian ensemble for Early Music: www.quadriga-consort.at Live in concert, Molln, Upper Austria, 5th June 2008 Lyrics: Come, my dearest, come, my fairest, Come and tell unto me, Will you pity a poor sailor boy, Who has just come from sea? I can fancy no poor sailor: No poor sailor for me! For to cross the wide ocean Is a terror to me. You are ragged, love, you are dirty, love, And your clothes they smell of tar. So begone, you saucy sailor boy, So begone, you Jack Tar! If I'm ragged, love, if I'm dirty, love, If my clothes they smell of tar, I have silver in my pocket, love, And of gold a bright store. When she heard those words come from him, On her bended knees she fell. To be sure, I'll wed my sailor, For I love him so well. Do you think that I am foolish? Do you think that I am mad? That I'd wed with a poor country girl Where no fortune's to be had? I will cross the briny ocean Where the meadows they are green; Since you have had the offer, love, Another shall have the ring. For I'm young, love, and I'm frolicksome, I'm good-temper'd, kind and free. And I don't care a straw, love, What the world says of me.
3:58
Learn To Sing Hindustani - Classical Vocals - Volume 1
Learn To Sing Hindustani - Classical Vocals - Volume 1
Buy the DVD at: www.superaudio.in or www.musicandchants.com The Hindustani Music that developed during the Moghul 15th and 16th century AD is based on the rich Indian tradition. Amir Khusro was a scholar poet and musicologist of rare talent in the court of Allauddin Khilji 13th century AD is credited with the introduction of new forms and styles in Hindustani music, which are still in practice today. Hindustani music is based on the raga system. Raag is the intricate system of scales and associated melodic patterns. In their numerical ratios, the scales and melodic patterns correspond with moods, colors, seasons and hours of day and night. This time theory, which governs the raags, is a unique feature of Hindustani music. The main architect of the existing system of Hindustani music was Pandit VN Bhatkhande who was responsible for the classification of the Ragas into the 10 that's. An important landmark in Hindustani music was the establishment of gharanas under the patronage of princely states. A gharana is more a school of thought than an institution. Each of the gharanas developed distinct facets and styles of presentation and performance. A Hindustani musician by profession, Dr. Ramdesh Pande is a renowned vocalist of new generation and an artist of commendable talent. Shri Chepe Shri Panake and Pt. Prabhakar Deshkar initiated Dr. Ramdesh Pande in classical music. Later he was fortunate to receive guidance from Pt. Yashwant Bua Joshi and Pt. Ulhas Kashalkar of Gwalior <b>...</b>
4:06
Learn To Sing Hindustani - Classical Vocals - Volume 2
Learn To Sing Hindustani - Classical Vocals - Volume 2
Buy the DVD at: www.superaudio.in or www.musicandchants.com The Hindustani Music that developed during the Moghul 15th and 16th century AD is based on the rich Indian tradition. Amir Khusro was a scholar poet and musicologist of rare talent in the court of Allauddin Khilji 13th century AD is credited with the introduction of new forms and styles in Hindustani music, which are still in practice today. Hindustani music is based on the raga system. Raag is the intricate system of scales and associated melodic patterns. In their numerical ratios, the scales and melodic patterns correspond with moods, colors, seasons and hours of day and night. This time theory, which governs the raags, is a unique feature of Hindustani music. The main architect of the existing system of Hindustani music was Pandit VN Bhatkhande who was responsible for the classification of the Ragas into the 10 that's. An important landmark in Hindustani music was the establishment of gharanas under the patronage of princely states. A gharana is more a school of thought than an institution. Each of the gharanas developed distinct facets and styles of presentation and performance. A Hindustani musician by profession, Dr. Ramdesh Pande is a renowned vocalist of new generation and an artist of commendable talent. Shri Chepe Shri Panake and Pt. Prabhakar Deshkar initiated Dr. Ramdesh Pande in classical music. Later he was fortunate to receive guidance from Pt. Yashwant Bua Joshi and Pt. Ulhas Kashalkar of Gwalior <b>...</b>
49:23
Signing Ceremony for the Vivekananda Visiting Professorship
Signing Ceremony for the Vivekananda Visiting Professorship
The University of Chicago commemorates the establishment of the Vivekananda Visiting Professorship with a signing ceremony and Indian classical dance performance. The new visiting professorship in Indian studies is supported by a $1.5 million gift from India's Ministry of Culture. The new chair commemorates the legacy of Hindu spiritual leader Swami Vivekananda, who helped to raise awareness of Hinduism and Indian culture in the US. The professorship includes a teaching commitment as well as an annual public lecture, enriching the University's program for the study of the Indian subcontinent. The ceremony was led by Martha T. Roth (Dean of the Division of Humanities at the University of Chicago), Dipesh Chakrabarty (Professor in History and South Asian Languages & Civilizations), Nirupama Rao (Ambassador of India to the US), and Pranab Mukherjee (Finance Minister of India). Indian classical music performance at the ceremony: youtu.be January 28, 2012.
9:49
Classical Heroes & Villains of the Founders (1 of 5)
Classical Heroes & Villains of the Founders (1 of 5)
April 17, 2009 - Carl Richard, award-winning author and professor of history at the University of Louisiana-Lafayette, gave the afternoon keynote address in the Hauenstein Center's conference, "Barack Obama and the Lessons of Antiquity." He presented a paper titled, "Classical Heroes and Villains of the Founders." Dr. Richard is professor of History (Ph.D., Vanderbilt University, 1988) at the University of Louisiana, Lafayette. His research and teaching focus on early national American history and US intellectual history. He has authored several works, including Twelve Greeks and Romans Who Changed the World (2003), The Founders and the Classics: Greece, Rome, and the American Enlightenment (1994), “The Classical Roots of the US Congress: Mixed Government Theory” in Inventing Congress: Origins and Establishment of the First Federal Congress (1999), “A Dialogue with the Ancients: Thomas Jefferson and Classical Philosophy and History” in Journal of the Early Republic (1989), and “The Shadow of a Plan: The Rationale Behind Wilson's 1918 Siberian Intervention” in The Historian (1986).
2:30
Juliette Impromptu Improv at Bar One in Detroit Marriott at Ren Cen
Juliette Impromptu Improv at Bar One in Detroit Marriott at Ren Cen
Juliette performs an amazing impromptu improv on Bar One's piano located at the Detroit Marriott inside the Renaissance Center. As a classically trained pianist she couldn't resist playing whatever she was feeling as we saw the piano upon returning from the Windsor Red Bull Air Races on the Detroit River. [Only 2:30 was recorded of a 10 minute jam session.]
1:05
The Mill : Celebrating 50 Years of Establishment
The Mill : Celebrating 50 Years of Establishment
THE MILL CELEBRATES 50 EXTRAORDINARY YEARS. The Mill is the ambassador of exceptional interior design and sterling quality that is borne from a brilliant synergy of talented professionals in their respective fields of creative ingenuity -- Kri:eit associates, The ID Dept, Splendor, XXII Century and Designers' Secret. The same philosophy resonates throughout The Mill -- to tailor exclusive services and the most exquisite interiors that would inspire even the most discerning of design aficionados.
