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Media Kits
Coming Soon
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Knute J. Nadelhoffer, Alan J. Hogg, Jr., and Brian A. Hazlett, Editors
One hundred years of scientific study of wildlife and environmental change at the University of Michigan Biological Station. Read more . . .
Resources
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Editors Photos
Photos
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The first ornithology class in 1909. Courtesy University of Michigan Biological Station.
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Old-growth stand of red pine in the Pellston Plain. Understory trees of eastern white pine will eventually replace the overstory red pines if wildfire is absent or rare over the next 100-150 years. Courtesy Burton V. Barnes.
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Seedlings of northern red oak are common in the ground-cover layer of the high-elevation, dry, outwash-lake plain forests. They rarely are recruited into the understory layer because of severe deer browsing, exacerbated by slow growth due to soil-water stress. Courtesy Burton V. Barnes.
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Douglas Lake watersheds. Courtesy U.S. Geological Survey.
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A swamp. Courtesy Robert Pillsbury.
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A temporary pool. Courtesy Robert Pillsbury.
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Canada or velvet-leaf blueberry (Vaccinium myrtilloides). Courtesy Edward G. Voss.
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Dwarf lake iris (Iris lacustris). Courtesy Edward G. Voss.
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Sulfur shelf or chicken of the woods (Laetiporus sulphureus). Courtesy Marilynn Smith.
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Nymphaea odorata subsp. tuberosa. Courtesy Mary H. Sexton.
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Cladonia cristatella, commonly known as British soldiers because of the red apothecia, which resemble the red hats of British troops during the American Revolutionary War. This fruticose species is a few inches tall, and is found throughout the state but is abundant in the Lower Peninsula. Courtesy Patricia L. Hinds.
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Porcupine. Courtesy Philip Myers.
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Five-Lined skink, Eumeces fasciata. Courtesy Scott Smith.
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A cluster of the zebra mussel, Dreissena polymorpha. Courtesy Kimberly S. Cerrudo.
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Purple loosestrife, Lythrum salicaria. Courtesy Kimberly S. Cerrudo.
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Sample Music
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I'll See You In My Dreams |
Django Reinhardt's guitar solo on "I'll See You In My Dreams," recorded on June 30, 1939. One of Reinhardt's most famous recordings, this three-minute version of Isham Jones's 1924 theme spotlights the guitarist throughout in an effortlessly inventive performance. |
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Paramount Stomp |
Django Reinhardt's guitar solo on "Paramount Stomp," recorded on December 7, 1937. On a disc that also featured violinists Stéphane Grappelli and Michel Warlop, Reinhardt plays a solo notable for its long-range melodic descents. |
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Festival Swing |
Django Reinhardt's guitar solo on "Festival Swing," recorded on December 26, 1940. Recorded the day after France celebrated its first Christmas under wartime Nazi occupation, "Fesitval Swing" is performed by an all-star big-band featuring the best French jazz musicians of the day, with spoken introductions by the critic Charles Delaunay. |
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Django's Tiger |
Django Reinhardt's guitar solo on "Django's Tiger," recorded on January 31, 1946. An exuberant postwar improvisation based on the harmonies of the Original Dixieland Jazz Band's "Tiger Rag". |
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Embraceable You |
Django Reinhardt's guitar solo on "Embraceable You," recorded on January 31, 1946. A spirited uptempo rendition of George Gershwin's classic song. |
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Coquette |
Django Reinhardt's guitar solo on "Coquette," recorded on January 31, 1946. A sparkling midtempo solo from the postwar record session that reunited Reinhardt with his former musical colleague Stéphane Grappelli for the first time since 1939. |
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I Can't Give You Anything But Love |
Django Reinhardt's guitar solo on "I Can't Give You Anything But Love," recorded on May 4, 1936. A leisurely version of the classic 1928 Jimmy McHugh song. |
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Charleston |
Django Reinhardt's guitar solo on "Charleston," recorded on April 21, 1937. A rousing performance of James P. Johnson's most famous composition. |
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Solitude |
Django Reinhardt's guitar solo on "Solitude," recorded on April 21, 1937. A stately rendering of a ballad by Duke Ellington. |
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A Little Love, A Little Kiss |
Django Reinhardt's guitar solo on "A Little Love, A Little Kiss," recorded on April 6, 1937. An unaccompanied presentation of the song's verse, likely inspired by Eddie Lang's 1927 solo recording of the same theme. |
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The Sheik of Araby |
Django Reinhardt's guitar solo on "The Sheik of Araby," recorded on April 27, 1937. A driving improvisation illustrating Reinhardt's technical facility in the guitar's lower register. |
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Saint Louis Blues |
Django Reinhardt's guitar solo on "Saint Louis Blues," recorded on September 9, 1937. During the habanera section of this familiar 1914 composition, Reinhardt characteristically interpolates ornamental melodic passages between each phrase of W.C. Handy's theme. |
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Honeysuckle Rose |
Django Reinhardt's guitar solo on "Honeysuckle Rose," recorded on January 31, 1938. A romping performance of Fats Waller's famous song, recorded during an interwar tour of Britain. |
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Love's Melody |
Django Reinhardt's guitar solo on "Love's Melody," recorded on February 1, 1946. A graceful rhapsodic improvisation on an original theme. |
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H.C.Q. Strut |
Django Reinhardt's guitar solo on "H.C.Q. Strut," recorded on August 25, 1939. Recorded at the peak of Reinhardt's career, only days before the outbreak of World War II. |
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Miss Columbia |
Django Reinhardt's guitar solo on "Miss Columbia," recorded in September or October 1928. One of Reinhardt's earliest recordings finds him playing the banjo-guitar in a musette ensemble only weeks before he was severely injured in a caravan fire. |
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Solid Old Man |
Django Reinhardt's guitar solo on "Solid Old Man," recorded on April 5, 1939. Recorded with members of the Duke Ellington Orchestra, this slow blues was the subject of one of the earliest published analyses of Reinhardt's playing, by the French composer and critic André Hodeir. |
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Blues for Ike |
Django Reinhardt's guitar solo on "Blues for Ike," recorded on March 10, 1953. Only two months before his death at the age of forty-three, this medium-tempo blues finds Reinhardt playing the electric guitar in the company of several other leading French postwar jazz musicians. |
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Fall 2009
Photos
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Holy Rosary Church, 1883. (Courtesy Traverse Area Historical Society.)
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Sexton Jacob Flees, Father Andrew (second from left), and two unidentified local men show off the spoils of a winter hunt. Circa 1910. (Collection of Jack Sweeney.)
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The only known photograph of Sister Mary Jamina. (Courtesy University of Notre Dame Archives.)
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Aerial view of Isadore, circa 1975. (Courtesy Traverse Area Historical Society.)
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Postcard featuring Stella Lipczynska, inside the Leelanau County Jail, Leland, MI, circa 1919. (Collection of Dave Tinder.)
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Grand Rapids Press coverage. (Courtesy Traverse Area Historical Society.)
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Mardi Link, Photo credit Pete Morton
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Mardi Link, Photo credit Grand Traverse Insider
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Poetics of Dislocation
by Meena Alexander
A prominent poet brings the experience of the world to her struggles to find her place in America, and explores what the many cultures in this country mean for poets practicing their craft. Read more . . .
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Fall 2009
Spring 2009
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The SS J. L. Mauthe and SS Charles M. Schwab during fit out, Ashtabula, spring 1963
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Second Mate Dan Colman on a jury-rigged scaffold painting the stack of the SS Colonel James Pickands, 1963
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Mickey covered with coal dust after a hard night on SS Samuel Mather, Thanksgiving Eve 1962
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Taking a wave over the starboard side of the SS Samuel Mather in rough seas on Lake Superior
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Watchman Henry Speiler and deckwatch Wesley Perkins hosing ice off the deck with steaming water on the SS Samuel Mather, Thanksgiving Day, 1962
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Susent over the stern of the SS Elton Hoyt 2nd, 1962
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Sample Music
Author John Howland has selected a series of musical compositions especially for this site, that he feels help to identify some important trends in Duke Ellington and James P. Johnson's music. Read the descriptions below and click the links to hear a clip of each song, including one exclusive never-released clip from the Johnson estate.
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Black |
Duke Ellington, "Black" from Black, Brown & Beige, performed live at Carnegie Hall, January 23, 1943
NOTE: Duke Ellington's 45-minute, three-movement concert work, Black, Brown and Beige, which is subtitled A Tone Parallel to the History of the Negro in America, was premiered at his orchestra's Carnegie Hall debut and represents Ellington's most ambitious effort at combining his interest in symphonic-length composition and subtle social commentary on both American race relations and the art of African American popular music. |
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New World a Comin' |
Duke Ellington, "New World a Comin'," performed live at Carnegie Hall, December 11, 1943
NOTE: As the central extended composition at Ellington's second annual Carnegie Hall concert, the 1943 quasi-piano concerto New World a Comin' both promoted his lifelong social hopes for racial equality and represented his most self-consciously rhapsodic piano composition. |
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A Tone Parallel to Harlem |
Duke Ellington, A Tone Parallel to Harlem (Harlem Suite), from the 1951 album Ellington Uptown
NOTE: While Duke Ellington's 1951 big band composition A Tone Parallel to Harlem was designed as a musical travelogue of the composer's beloved Harlem community, the subsequent big-band-plus-symphony orchestration (by Luther Henderson) of this masterful 14-minute composition also became Ellington's most widely performed "symphonic" work. |
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Yamekraw: A Negro Rhapsody |
James P. Johnson, Yamekraw: A Negro Rhapsody, performed by Marcus Roberts (piano) with orchestra
NOTE: As the first major black concert jazz composition, and as a work that was notably composed by the father of Harlem stride piano, James P. Johnson's 1927 Yamekraw: A Negro Rhapsody opens a valuable window on the vibrant legacy of the 1920s symphonic jazz idiom as it existed beyond the George Gershwin and Paul Whiteman circle. |
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Jazzamine Concerto |
James P. Johnson, Jazzamine Concerto, recorded by James P. Johnson as a piano solo in 1945
NOTE: James P. Johnson's 1945 solo piano recording of his 1934 piano-and-orchestra Jazzamine Concerto (a.k.a. Concerto Jazz a Mine) ideally illustrates his personal vision for translating the Harlem stride piano idiom to the compositional ideals of the concert hall. |
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In a Baptist Mission |
Movement IV, "In a Baptist Mission," from James P. Johnson's Harlem Symphony, premiere performance by the Brooklyn Civic Orchestra, Dr. Paul Kosok, conductor, March 11, 1939, broadcast over WYNC, New York. Property of the James P. Johnson Estate and the James P. Johnson Foundation, Riverside, CA.
NOTE: This rare transcription recording captures the vibrant premiere performance of the Harlem Symphony, James P. Johnson's rich musical travelogue of the Harlem community and his most-performed concert work. |
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James P. Johnson outside his Harlem home in the late 1920s. Courtesy of the Institute of Jazz Studies, Rutgers University Libraries.
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A 1940s publicity photo of James P. Johnson. Courtesy of the Institute of Jazz Studies, Rutgers University Libraries.
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A 1933 publicity photo of Ellington made before his orchestra's tour of England. This is one of the best-known images of Ellington, and it reflects the Cotton Club famous tag line, "The Aristocrat of Harlem." Courtesy of the Institute of Jazz Studies, Rutgers University Libraries.
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A composerly publicity photo of Duke Ellington from the 1930s. Courtesy of the Institute of Jazz Studies, Rutgers University Libraries.
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Duke Ellington and His Orchestra, 1930. Courtesy of the Institute of Jazz Studies, Rutgers University Libraries.
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A 1935 Brunswick Records advertisement for the release of Duke Ellington's Reminiscing in Tempo. Courtesy of the Institute of Jazz Studies, Rutgers University Libraries.
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From the concert program to the "First Concert of Symphonic Works by James P. Johnson," Heckscher Theatre, New York City, March 8, 1942. Courtesy of the James P. Johnson Foundation.
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From the concert program to the "First Concert of Symphonic Works by James P. Johnson," Heckscher Theatre, New York City, March 8, 1942. Courtesy of the James P. Johnson Foundation.
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While reading what top legal reporters say about some of the most important U.S. Supreme Court oral arguments in recent history, go to www.goodquarrel.com to listen to audio and hear for yourself the very style and delivery of the oral arguments that have shaped the history of our nation's highest law.
Here are some suggestions from the authors:
- Marshal of the Court calls "Oyez, Oyez, Oyez."
- Dahlia Lithwick: Newdow v. Elk Grove United School District (2004)
Page 14, Clip 1: Mr. Newdow's opening sentence.
- Tim O'Brien: Forsyth County, Georgia v. The Nationalist Movement (1992)
Page 35, Clip 1: Barrett's emotional appeal prompts an admonition from Rehnquist.
- Fred Graham: Time Inc. v. Hill (1967)
Page 175, Clip 3: The privacy law did not pose a threat to free expression, argued Nixon, which prompts a question from Justice Fortas.
- Lyle Denniston: Planned Parenthood v. Casey (1992)
Page 59, Clip 1: Kolbert uses her rebuttal time to respond to Starr, identifying the kinds of restrictions that would be tolerated under Starr's proposed standard. She closes with a plea to reaffirm Roe v. Wade.
Photos
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Sample Music
Author David Savran has selected a series of musical compositions especially for this site, that he feels help to identify some important trends discussed in the book. Read the descriptions below and click the links to hear a clip of each song.
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Fascinating Rhythm |
Fred Astaire, "Fascinating Rhythm" from At the Movies
NOTE: The big hit from Lady, Be Good!, the Gershwins' first Broadway smash, "Fascinating Rhythm." |
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Crazy Rhythm |
Caroll Gibbons & The New Mayfair Dance Orchestra, "Crazy Rhythm" from The Charleston
NOTE: "Crazy Rhythm," the 1928 song by Roger Wolfe Kahn and Irving Caesar that explains what happens when a highbrow meets a lowbrow. |
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Sweet And Low-down |
Various Artists - AVID Entertainment, "Sweet And Low-down", from George Gershwin - A Celebration: Fascinating Rhythm
NOTE: The big hit from Tip-Toes, the Gershwins' 1925 hit, "Sweet And Low-down." |
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When Do We Dance? |
Various Artists - AVID Entertainment, "When Do We Dance?", from George Gershwin - A Celebration: Fascinating Rhythm
NOTE: "When Do We Dance?" from Tip-Toes. |
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These Charming People |
Various Artists - AVID Entertainment, "These Charming People", from George Gershwin - A Celebration: Fascinating Rhythm
NOTE: "These Charming People" from Tip-Toes. |
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Concerto in F |
Michael Tilson Thomas; Garrick Ohlsson, "Concerto in F for Piano and Orchestra/Allegro," from Gershwin: Rhapsody in Blue; Concerto in F; An American in Paris: Classic Library Series
NOTE: George Gershwin's Concerto in F, the work that proved that he could write serious concert music. |
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Ballet Pour instruments Mecanique et Percussion, Roll One |
The New Palais Royale Orchestra & Percussion Ensemble, Maurice Peress, "Ballet Pour Instruments Mecanique et Percussion, Roll One," from The Original Ballet Mechanique - George Antheil's Carnegie Hall Concert of 1927
NOTE: George Antheil's Ballet mecanique, the most scandalous and revolutionary piece of music of the 1920s. |
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I'm Just Wild About Harry |
Vaughn De Leath, "I'm Just Wild About Harry," from Ukulele Lady
NOTE: "I'm Just Wild About Harry," by Eubie Blake and Noble Sissle, the big hit of Shuffle Along. |
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Rhapsody in Blue |
Michael Tilson Thomas, "Rhapsody in Blue," from Gershwin: Rhapsody in Blue; Concerto in F; An American in Paris: Classic Library Series
NOTE: George Gershwin's Rhapsody in Blue (1924), the piece that changed American music forever. |
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Fall 2008
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Domino's Farms
by Bertie Bonnell
The fascinating story of the tenacity and talent that transformed a Michigan farmstead into America's most innovative office park. Read more . . .
Resources
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Photos
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