My favorite Hawai’ian band, for pretty much my entire life, has been Olomana. Their songs are twinged with influences of the music from the continental United States from the ’60s and ’70s, especially folk and country. But their music is unquestionably Hawai’ian, with the dazzling slack key guitar and vocal harmonies that it seems everyone excelled at during the ’70s.
Hello! I must extend my apologies for leaving you all without a post yesterday. I believe this snaps a streak we had of more than a year with at least one post a day.
The reason for the break is that neither Colin nor I could figure out what to do for our thousandth post on Nullary Sources, which turns out to be this one right here. So yesterday came and went.
To make up for it, we’re going to post nothing but Hawai’ian music all day today. First up is “Pua Lilia” from The Sunday Manoa’s second album. The Sunday Manoa was perhaps the very first contemporary Hawai’ian music group, so I figured they’d be a good place to start.
Plus, Peter Moon’s solo starting at 1:35 is one of the best there ever was.
Today, on a very special episode of Nullary Sources, we present to you a performance of Camille Saint-Saëns’s The Carnival of the Animals from the 2005 Dubrovnik Festival of Chamber Music. The movement accompanying this post is “Introduction and Royal March of the Lion,” but the rest of the movements have been uploaded to a playlist, save for “Wild Asses,” which is private for some reason.
This performance is somewhat notable because it’s narrated by Roger Moore. He introduces each movement with a poem. A poem which appears to be written for this performance.
Let that one sink in. Sir Roger Moore reciting original poetry about animals. Poetry like this:
Rob Mifsud wrote a nice, readable explanation of the Northern Cities vowel shift that’s happening in the United States:
American dialects are actually diverging.
There are multiple examples of such divergence. But none is as dramatic, as baffling to linguists, and as mysteriously under the collective radar as what’s happening in the cities that ring the Great Lakes. From Syracuse, N.Y., in the east to Milwaukee in the west, 34 million Americans are revolutionizing the sound of English.
Snippets from interviews with members of the original Macintosh design team, recorded in October 1983 for projected TV commercials that were never used. Featuring Burrell Smith, Andy Hertzfeld, George Crow, Bill Atkinson and Mike Murray.
I was considering making some kind of timely remark about the “the balance of power is going to shift from companies running people to people running companies” line, but this old stuff puts me in way too good of a mood to do that.
In 2001, a group of academics set out to collect the oral history of Northern Ireland’s combatants, they say to record the truth, before it was too late.
…
Interviewees like William Smith were promised that their testimony would remain confidential until their deaths. And that’s how it went for years, the tapes hidden away under lock and key on Boston College’s campus.
But in 2010, that all changed, after infamous IRA commander Brendan Hughes died and his interviews were released.
…
And then, last summer, a bombshell: The U.S. Department of Justice, acting on behalf of United Kingdom law enforcement, subpoenaed the tapes of several interview subjects who were still alive.
This is a hard one. The piece points out that these legal acts can cause (and, in fact, are causing) future informants not to cooperate. But then, how do you balance the desire and need for justice?
The International Group for Historic Aircraft Recovery (TIGHAR), which has been investigating the infamous Amelia Earhart plane crash for years, have recently discovered what is thought to be pieces of her plane in the waters off Nikumaroro island in Kiribati – a southwestern Pacific republic.
The underwater mission began on July 12th and used an Autonomous Underwater Vehicle (AUV) and a Remote Operated Vehicle (ROV) to man the operation. Hours of high-definition data was produced. The famed Lockheed Electra aircraft was not immediately identified due to a harsh marine environment and technical difficulties.
Darren Naish of the University of Southampton wrote an unbelievably long and brutal takedown of a website on his Tetrapod Zoology blog for Scientific American.
That’s right. A website. Here’s his conclusion:
… for all the reasons discussed above, he has gone off at a tangent and his work as it stands at the moment will never be accepted, or indeed be of substantive interest, to anyone else who has a strong technical interest in the evolution of pterosaurs, squamates, synapsids or other tetrapods. The Digital Graphic Segregation technique, the finding of innumerable things that no-one thinks are real, the radically weird, discordant-with-all-other-data tetrapod phylogeny, the problems of using too few characters, of selective character choice and other methodological problems, and the insistence that only he has seen the light and that we are all too blinkered and too biased to realise the veracity of his results effectively ensure that he works on an ‘academic island’, separated and essentially ignored by the rest of the community.
Now imagine every point in this paragraph explained with more words and images than you’ve ever seen in your entire life, and you’ll have 1/100 of what Naish wrote. Wowza.