Do you like art or history? Could you consider yourself a connoisseur of anything? If so, a career in the antiques and fine art auction industry might be perfect for you.
I was drawn to stories from the past and jumped back and forth between English and History majors while at Hamilton. I chose History, and it was a Hamilton professor, Chris Hill, who recommended that I look into public history when I graduated. Public historians are trained in all types of museum careers, but they could also learn to be historic preservationists, national park rangers, tour guides, conservationists, consultants, archivists, cultural resource managers, librarians, and anything else you can dream up relating to the public presentation of history.
Your degree is what you make it, particularly through the selection of a relevant institution and internships to get hands-on training in your desired direction. Similar to researching objects as a museum curator, auction catalogers delve into the history and authenticity of objects to figure out what they are and how much they are worth. Monitoring the market, working with clients to secure collections, looking at large numbers of pieces each day, and keeping sales in mind appealed to my competitive side and presented an alternative to the museum world.
Auction houses hire catalogers, also known as specialists, for every category of fine and decorative arts. I am a generalist—someone who knows a little about everything. However, there is a great deal of merit to honing in on something that you love and becoming an expert. Specialists could have studied a particular type of art, worked with a concentrated collection in some capacity, or have some other targeted experience that would translate into an intimate knowledge of one sector of the antique or art world.
Yup, in Rolla, Mo. A friend had told me about it. At this remarkable camp, youngsters learn how to blow things up — responsibly, of course. But still. Most of the essays, I think, were prompted by current events — or at least by something I read or observed, which tickled my brain, and made my fingers itch to write.
Digging for history: Ancient glass in the collection | National Museum of American History
A conference I was to attend — the Oslo Freedom Forum — was postponed at the last minute. Because of a hotel-workers strike. Some months before, Opening Night at Carnegie Hall had been canceled. Because the stagehands union had a grievance. These guys are rich, by the way. My fingers itched to write about labor unions, and my mental wrestling with them over the years. So I did. In December , a pro-Obama group put out an ad promoting ObamaCare.
Can you judge a book by its cover? Sometimes yes, sometimes no. The next chapter consists of essays too — but they are all on one subject, language. I figured they should have their own chapter. Linguistic issues come up constantly, at least in my mind. My fingers frequently itch to write about language. This led to an essay by me about labels, political or otherwise. Is that a linguistic issue, properly understood, or more like a name issue?
I am speaking of language broadly. And profiles, of musicians.
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Curiously enough, I mention Carter in the Hoiby piece, saying that Hoiby once forwarded me a spoof on Carter. Each man was highly interesting, in his distinctive ways. Some of the music pieces, like other pieces in this volume, were sparked by events. Or rather, she lip-synched it. Preparing this volume, I of course re-read the pieces. And there is repetition in this book, which I have done little or nothing to obviate. But each mention belongs in the particular piece. I also tell a story about Harry Reid — twice, in two different pieces.
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Again, the story belongs where it is, each time. After the third or fourth time, you probably register that. Buckley Jr. I quote him over and over again. I have a bad case of Buckleyitis. More precisely, I quoted his quoting of somebody else.
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I do some of that in Digging In. I quote him quoting someone else. I quote him quoting the same quotation in two different pieces. This is my defense, to the extent I need one: I spent chunks of my life reading him. I spent a lot of time with him personally.
He just seeped in. As there is something Biblical or Shakespearean for every occasion, there is something Buckleyan. In this book, there are no photos. There are no audio recordings either. I heard them, as I re-read the pieces, and that was easy because I had heard them in the first place.
Take Lorin Maazel, the conductor. I think he even waved his hand a little. I wish you could have heard him: the mixture of pity and contempt for people who make themselves feel good by sneering at people whose talents they can barely fathom. I wish you could have heard Gene Genovese, the historian—that sharp Brooklynese, directed with deadly aim at various targets.
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Includes 80 items, such as "Fan me, soldierman" item , pae , and Carry me Ackee go Linstead market " item , pages — During the s, Oxford University Press published six collections of Jamaican folks songs arranged and annotated by Dr. Olive Lewin. Her book, Rock It Come Over: the Folk Music of Jamaica, describes Jekyll's book as "very well researched," but she gives examples of occasional errors.
She concludes that "although Jekyll's interest extended beyond music to Jamaican folklore, it was by his considerable knowledge as a musician that he made the most valuable contribution to this all too neglected field of scholarship. Of these, mento is by far the most common.
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However, much of mento is of relatively recent origin and should be classified as popular music rather than folk. Linkages from folk music to mento are described in Daniel T. The first two of these were popularized by Harry Belafonte.