Search Results

The Internet Chess Club, or ICC, is one of several popular Internet chess servers where players can log in and play games, catch a recorded lecture, or watch in real time the real-world tournament games of the top players. A million games a week are played on the server, by players who reside in towns and cities around the world. The popularity of this and other servers illustrates the ways in which the Internet has become an integral part of players' excursions in chess. Originally known as the Internet Chess Server, the ICC took on its current name in 1995, when its head programmer decided to transform it into a commercial site and charge yearly membership fees. It is no accident that the development of the server has occurred in an age of rapid globalization.

While black executives rose up in such large record companies as Brunswick during the mid to late 1960s, musicians and music media responded to Martin Luther King and Operation Breadbasket’s growing emphasis on northern cities, especially Chicago. WVON served as a connector among the music, its audience and the wider movement. At the same time, music educators like James Mack showed young artists how learning different idioms, particularly classical music, can be a path toward their own artistic empowerment. Musicians like Curtis Mayfield also sought to establish self sufficiency through establishing artist-owned enterprises, like his own Curtom Records. Other artists, such as the Chess Records session musicians, asserted themselves within that company’s organizational hierarchy and through their own music.

Sonny Blount arrived in Chicago in 1946. This chapter examines his initial years in the city, where musical work in different circumstances—show-club arranging with Fletcher Henderson at the Club DeLisa, session recordings for Leonard Chess’s Aristocrat label, self-recorded rehearsals with young bebop players, strip-club accompaniment in Calumet City—offered both hardship and extraordinary musical variety. Tracing Blount’s activities across various settings reveals how particular racial and spatial conditions affected different centers of musical production, how production at these sites addressed an array of social issues, and how one cohort of South Side musicians developed community ideals that ranged beyond conventional liberal notions of black leadership and progress. Despite the racial conflicts and economic challenges reshaping black Chicago, Sonny Blount and many of his colleagues experienced the early post–World War II years as a historical moment full of possibility.

Chess, draughts, backgammon, and “mankaleh” (a board game), were all commonly played particularly by lower classes in coffeehouses. “Tab,” and “seegeh,” were also played by the lower classes and the rules of these two plus “mankaleh” are given in detail. Cards were played by all social ranks and almost always for money. Sports were very uncommonly played, but this chapter explains that occasionally wrestling was seen at festivals and that a game called “gareed,” played in teams on horses, would take place in particular in Upper Egypt at a celebration (of a wedding for example) of someone wealthy.

Chapter five reconsiders Chandler’s own war experience to show that Marlowe, like his creator, displayed symptoms of combat-related post-traumatic stress disorder (PTSD). Examining the novels for these manifestations, Marlowe’s symptoms appear to fall into the three separate symptom-related categorizations of PTSD. This chapter will also demonstrate how the game of chess becomes a metaphor for the city of Los Angeles that enables the troubled detective to locate himself within a structured and orderly environment. Marlowe reassess and reviews his own case-related actions and dealings by evaluating his movements on the chessboard.

The second chapter introduces the reader to some core principles of temperament and how these dimensions often combine to yield five different temperamental types (mellow, moderate, anxious, vigorous, and agitated). Instructions and tools will be provided to help the reader identify their child’s temperament traits and type as well as their own. The well-known goodness-of-fit theory will be described to support the idea for why it is so important to incorporate temperament when making good parenting choices. This chapter will also briefly cover topics related to sex differences and the causes of temperament. The basic knowledge about temperament acquired in this chapter will be applied to future chapters concerning specific parenting debates.

This chapter considers the British musical over the last thirty years. As pop operas continued to appear, Chess (1986), Tim Rice's collaboration with Benny Anderson and Björn Ulvaes (from the Swedish pop group ABBA), was considered a classy example, centered on a rivalry of chess champions. ABBA's catalogue in the jukebox show Mamma Mia! (1999) creates a line-up of point numbers fitted into an innocuous story. In comparison, Chess tells of globally dangerous affairs of state and is very precisely musicalized with just one incongruous number, “One Night In Bangkok,” which would seem to have been created solely to guarantee a big hit song. Claude-Michel Schönberg and Alain Boublil, understanding that the proper launching site for an international success was London or New York, gave the West End Miss Saigon (1989) and Martin Guerre (1996). With such serious musicals as Girl From the North Country (2017) and the pop-opera cycle commanding the scene, musical comedy as such started to become scarce, though Spamalot (Broadway 2005; West End 2006) showed the comedy musical is still capable of claiming smash hit status.

Questions

Which of the following theories was NOT proposed by Sigmund Freud?

The topographical model of mind

Affect trauma theory

Individual psychology theory

The structural model of the mind

Psychosexual stages of development

Which of the following is...

While musical biopics typically focus on individual careers, Cadillac Records, about the blues label Chess Records, strays from this tendency, covering an array of talent, including Chuck Berry, Muddy Waters, Etta James, Howlin’ Wolf, Little Walter, songwriter Willie Dixon, and producer Len Chess. By foregrounding the history of the record label, the production of songs, and the management of black talent, it would seem that this bizpic must be a more truthful mode of biography than the star-celebrating biopics. True, Cadillac Records makes the exploitation of Chess Records recording artists a central part of its narrative. However, this bizpic presents a surprisingly vexed portrayal of the label. Emphasis on injustice is counterbalanced by exuberant passages in which artistry, commercialism, and social progress are celebrated, resulting in startlingly divergent scenes. The author explicates the film’s contradictory tendencies, attending to critical literature on the blues, the musical biopic genre, and representations of race and masculinity on screen.