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"The fact is, you will teach." from the Foreword by Stephen Clapp, Dean Emeritus, The Julliard School. Whether serving on the faculty at a university, maintaining a class of private students, or fulfilling an invitation as guest artist in a master class series, virtually all musicians will teach during their careers. From the Stage to the Studio speaks directly to the performing musician, highlighting the significant advantages of becoming distinguished both as a performer and a pedagogue. Drawing on over sixty years of combined experience, authors Cornelia Watkins and Laurie Scott provide the guidance and information necessary for any musician to translate his or her individual approach into productive and rewarding teacher-student interactions. Premised on the synergistic relationship between teaching and performing, this book provides a structure for clarifying the essential elements of musical artistry, and connects them to such tangible situations as setting up a studio, teaching a master class, interviewing for a job, judging competitions, and recruiting students. From the Stage to the Studio serves as an essential resource for university studio faculty, music pedagogy teachers, college music majors, and professionals looking to add effective teaching to their artistic repertoire.

The Clapp III is a versatile set of two accent tables crafted from honey-brown polished reclaimed Indian mango wood. The beautifully finished wooden tops are supported by a sturdy matte-black iron frame, ensuring durability and style. The taller table features a demi-lune shaped base, allowing the shorter table to be neatly stowed underneath when not in use. This functional design makes the Clapp III perfect for both nesting and individual use. With dimensions of 20 x 20 x 26 inches for the large table and 17 x 17 x 24 inches for the small table, this set looks fabulous in spaces inspired by Industrial or Woodlands design styles, adding warmth and character to your decor. Size: medium.

The Clapp I is an elegant set of two coffee tables that offers both versatility and style, making it a perfect addition to any modern living space. Crafted with a top made from beautifully dark-brown polished Indian mango wood, these tables showcase the natural grain and richness of the wood, adding warmth and character to your d�cor.The sturdy matte-black iron frame not only provides robust support but also complements the wooden top, creating a striking contrast that enhances the overall aesthetic. The design features a taller table with a unique demi-lune shaped base, allowing the shorter table to nest conveniently underneath when not in use. This innovative nesting feature makes the Clapp I perfect for maximizing space while offering the flexibility to use the tables individually or together as needed.Whether you're entertaining guests or enjoying a cozy night in, these coffee tables serve as stylish surfaces for drinks, snacks, or decorative items. The Clapp I looks fabulous in interiors inspired by Industrial or Woodland design styles, seamlessly blending functionality with visual appeal. With its combination of high-quality materials and thoughtful design, the Clapp I set is sure to enhance any room in your home.

Introducing the Clapp IV accent table set, a stunning combination of rustic charm and modern design. Crafted from medium-brown polished reclaimed Indian mango wood, the tables showcase the natural beauty of the wood while promoting sustainability. This versatile set includes two tables that can be nested together or used individually, providing flexibility for any space.Each table is supported by a sturdy matte-black iron frame, ensuring durability while adding an industrial edge. The taller table features a unique demi-lune shaped base, allowing the shorter table to conveniently stow beneath it, making this set perfect for maximizing your living area. Ideal for spaces inspired by Industrial or Woodlands design styles, the Clapp IV accent tables effortlessly blend functionality with aesthetic appeal.

Led by songwriter Allen Clapp, the fourth album by San Francisco's best-kept secret finds the band exploring glittery, glam and catchy, coastal odes to inner-space. Perhaps it's most critically acclaimed album to date, the press has hailed 2020 as "the future and the past of Indiepop" and "A Magical-Mystery Tour like, breeze-through of pop hooks, micro-tuned harmonies and fuzzy, glinting guitars". The album features members of the Mummies and the Ocean Blue.

Leading listeners on adventures in soundscapes & song craft sparkling with palpable energy, Clapp somehow navigates Nashville pop, Rundgren-esque soft rock & slick Euro disco with a Brill Building songwriting prowess that unifies his vision for the future of pop.

This rollicking ride through a single day in the ill-fated village of San Marcos will leave you reeling with laughter, even as you cringe at the misadventures of the hapless Porter Clapp and his pitiable wife, Steph; the jaundiced Onésimo Moro and his ever-watchful spouse, Isabel; and the rest of Crawford’s riotous cast. At this story’s beginning, a meeting notice from the state water agency, posted at the local store, seems to portend an imminent threat to the valley’s precious acequias. But perhaps more ominous―at least to the paranoid Clapp―is the possibility of the outside world meddling with the isolation, blissful or not, of this remote Hispanic plaza town. As the time of the meeting looms, we follow the characters through the day and become immersed in a place unnervingly familiar to anyone who has lived in Northern New Mexico. Crawford spares no one from his acerbic wit and skewering prose, yet there remains an unmistakable affection for the marvelously dysfunctional community and the very faults that he so eloquently parodies. As the tale unfolds, we dread the incipient threat from outside the valley less and begin to hope that something will deflect the downward spiral every character seems doomed to follow―but nothing anticipates or prepares us for the denouement that Crawford skillfully delivers, leaving us punch drunk with mirth.

"My ancestral Italian village in America was in Waterbury Connecticut." In this sentence, Joanna Clapps Herman raises the central question of this book: To what extent can a person born outside of Italy be considered Italian? The granddaughter of Italian immigrants who arrived in the United States in the early 1900s, Herman takes a complicated and nuanced look at the question of to whom and to which culture she ultimately belongs. Sometimes the Italian part of her identity--her Italianità--feels so aboriginal as to be inchoate, inexpressible. Sometimes it finds its expression in the rhythms of daily life. Sometimes it is embraced and enhanced; at others, it feels attenuated. "If, like me," Herman writes, "you are from one of Italy's overseas colonies, at least some of this Italianità will be in your skin, bones, and heart: other pieces have to be understood, considered, called to ourselves through study, travel, reading. Some of it is just longing. How do we know which pieces are which?"

Experience the history of Bodie State Historic Park, just east of Yosemite National Park. Author Nicholas Clapp and photographer Will Furman portray Bodie in both vivid words and stunning photography a town that had two sides, aptly described in an 1870s account... On the eve of her family's departure for booming Bodie, a little girl was said to have gathered her dolls, that they might join her as she knelt by her bed, her prayer concluding with a somber... 'Goodbye, God; we are going to Bodie!' Word was that the camp was hard-bitten, desperado-ridden. Getting wind of the girl's farewell to the Almighty, The Weekly Bodie Standard reported that, oh no, that wasn't what the she had mind. Not at all. Someone had gotten the punctuation wrong. What she surely said was... Good, by God, we are going to Bodie! There were, in fact, two Bodies. On one hand, it was a fearfully and wonderfully bad place stalked by shootist in black swallow-tailed coats. On the other hand, it was a town of hard-working pioneers who dressed their little girls in starched white frocks and met adversity with charity and good cheer. As he passed through, Mark Twain mused that in Bodie virtue versus vice made for exciting times, and he'd have it no other way. He was to add, 'It was a plain wonder how man carried on under such circumstances.'

God Is Not . . . takes on today's prevailing misconceptions about who God is by boldly stating who God is not. Rodney Clapp critiques pop culture's anthem to a slobby, ineffective "God like us," while D. Stephen Long, in "God Is Not Nice," questions our therapy-fed longing for a useful, nonthreatening deity. If God is not an American or a capitalist or "religious," as contributors Michael Baxter, Mike Budde, and William T. Cavanaugh go on to argue, then who is God? Laytham concludes with a stirring essay on who God is, calling the church to visibly demonstrate where its primary allegiance lies.Audacious without being rude, God Is Not . . . is a lively, necessary, and intelligently reverent read.

"The fact is, you will teach." from the Foreword by Stephen Clapp, Dean Emeritus, The Julliard School. Whether serving on the faculty at a university, maintaining a class of private students, or fulfilling an invitation as guest artist in a master class series, virtually all musicians will teach during their careers. From the Stage to the Studio speaks directly to the performing musician, highlighting the significant advantages of becoming distinguished both as a performer and a pedagogue. Drawing on over sixty years of combined experience, authors Cornelia Watkins and Laurie Scott provide the guidance and information necessary for any musician to translate his or her individual approach into productive and rewarding teacher-student interactions. Premised on the synergistic relationship between teaching and performing, this book provides a structure for clarifying the essential elements of musical artistry, and connects them to such tangible situations as setting up a studio, teaching a master class, interviewing for a job, judging competitions, and recruiting students. From the Stage to the Studio serves as an essential resource for university studio faculty, music pedagogy teachers, college music majors, and professionals looking to add effective teaching to their artistic repertoire.

In Speculative Harvests, Clapp and Isakson investigate the evolving relationship between the agrifood and financial sectors, paying particular attention to how the contemporary process of financialization is reshaping agrarian development and food systems. Understood as the growing prevalence of financial actors, markets, motives and profits in an economy, financialization is a defining feature of modern-day capitalism that is reconfiguring the distribution of wealth and economic power in a variety of contexts across the globe. In a clear and accessible manner, Clapp and Isakson explain the character and ramifications of these changes for the world food economy and systematically detail how different elements of agrifood provisioning -- including commodity trading, farmland tenure, the management of agricultural risk, and food trading, processing, and retailing -- have been reconfigured for financial purposes. Clapp and Isakson highlight the importance of confronting the financialization of food and agriculture, identify the challenges of conventional approaches to food system reform and consider innovative alternatives. Speculative Harvests is essential reading for food scholars and activists who not only seek a better understanding of the problems inherent to the contemporary food system but also are also in search of effective interventions towards its positive transformation.

Six plein-air painters in Oakland, California, joined together in 1917 to form an association that lasted nearly fifteen years. The Society of Six―Selden Connor Gile, Maurice Logan, William H. Clapp, August F. Gay, Bernard von Eichman, and Louis Siegriest―created a color-centered modernist idiom that shocked establishment tastes but remains the most advanced painting of its era in Northern California. Nancy Boas's well-informed and sumptuously illustrated chronicle recognizes the importance of these six painters in the history of American Post-Impressionism.The Six found themselves in the position of an avant garde not because they set out to reject conventionality, but because they aspired to create their own indigenous modernism. While the artists were considered outsiders in their time, their work is now recognized as part of the vital and enduring lineage of American art. Depression hardship ended the Six's ascendancy, but their painterliness, use of color, and deep alliance with the land and the light became a beacon for postwar Northern California modern painters such as Richard Diebenkorn and Wayne Thiebaud. Combining biography and critical analysis, Nancy Boas offers a fitting tribute to the lives and exhilarating painting of the Society of Six.

Larry Clapp discovered he had prostate cancer in 1990, and delved into self-healing alternatives to surgery and radiation, and developed a cure for prostrate cancer that he used successfully on himself. This book employs nutrition, massage, herbs, homeopathy and other medical alternatives that can not only cure you but enhance your sex life, and your physical and mental strength.

Limited vinyl LP-only pressing. Mount Curve Avenue sees the Jim Ruiz Set making an expansive mid '60s sound that reviewers are raving about. Like his classic 1995 LP O Brother Where Art Thou? the new album, produced by The Orange Peels' Allen Clapp, owes much to '60s Pop and Jazz, and '80s UK acts like Everything But the Girl, The Monochrome Set & The Jazz Butcher. All of which is filtered through Ruiz's funny, romantic, world-weary lyrics. It's a charmer of an album and an extremely welcome ret

Six plein-air painters in Oakland, California, joined together in 1917 to form an association that lasted nearly fifteen years. The Society of Six―Selden Connor Gile, Maurice Logan, William H. Clapp, August F. Gay, Bernard von Eichman, and Louis Siegriest―created a color-centered modernist idiom that shocked establishment tastes but remains the most advanced painting of its era in Northern California. Nancy Boas's well-informed and sumptuously illustrated chronicle recognizes the importance of these six painters in the history of American Post-Impressionism.The Six found themselves in the position of an avant garde not because they set out to reject conventionality, but because they aspired to create their own indigenous modernism. While the artists were considered outsiders in their time, their work is now recognized as part of the vital and enduring lineage of American art. Depression hardship ended the Six's ascendancy, but their painterliness, use of color, and deep alliance with the land and the light became a beacon for postwar Northern California modern painters such as Richard Diebenkorn and Wayne Thiebaud. Combining biography and critical analysis, Nancy Boas offers a fitting tribute to the lives and exhilarating painting of the Society of Six.

Convertible Counterpoint in the Strict Style by Serge Taneiev was used as text by many great Russian and western composers of classical music, from Rachmaninoff to Saminsky, to Piston, to Sabaneiev, to Clapp, and Stavinsky. This is the first paperpack edition of the English translation of the most distinguished teatise ever written on musical composition. G. Ackley Brower translated the manual from the original Russian, and Serge Koussevitzky wrote the Introduction.

During her long career as a public figure in Jacksonian America, Anne Royall was called everything from an "enemy of religion" to a "Jackson man" to a "common scold." In her search for the source of such strong reactions, Elizabeth Clapp has uncovered the story of a widely read woman of letters who asserted her right to a political voice without regard to her gender. Widowed and in need of a livelihood following a disastrous lawsuit over her husband’s will, Royall decided to earn her living through writing--first as a travel writer, journeying through America to research and sell her books, and later as a journalist and editor. Her language and forcefully expressed opinions provoked people at least as much as did her inflammatory behavior and aggressive marketing tactics. An ardent defender of American liberties, she attacked the agents of evangelical revivals, the Bank of the United States, and corruption in government. Her positions were frequently extreme, directly challenging the would-be shapers of the early republic’s religious and political culture. She made many enemies, but because she also attracted many supporters, she was not easily silenced. The definitive account of a passionate voice when America was inventing itself, A Notorious Woman re-creates a fascinating stage on which women’s roles, evangelical hegemony, and political involvement were all contested.

Six plein-air painters in Oakland, California, joined together in 1917 to form an association that lasted nearly fifteen years. The Society of Six—Selden Connor Gile, Maurice Logan, William H. Clapp, August F. Gay, Bernard von Eichman, and Louis Siegriest—created a color-centered modernist idiom that shocked establishment tastes but remains the most advanced painting of its era in Northern California. Nancy Boas's well-informed and sumptuously illustrated chronicle recognizes the importance of these six painters in the history of American Post-Impressionism.The Six found themselves in the position of an avant garde not because they set out to reject conventionality, but because they aspired to create their own indigenous modernism. While the artists were considered outsiders in their time, their work is now recognized as part of the vital and enduring lineage of American art. Depression hardship ended the Six's ascendancy, but their painterliness, use of color, and deep alliance with the land and the light became a beacon for postwar Northern California modern painters such as Richard Diebenkorn and Wayne Thiebaud. Combining biography and critical analysis, Nancy Boas offers a fitting tribute to the lives and exhilarating painting of the Society of Six.

Since he was in charge of the amphibious operations in the Falklands War of 1982, it goes without saying that there is no one better qualified to tell the story of that aspect of the campaign than Commodore Michael Clapp. In answer to the obvious question, 'Why has it taken him nearly fourteen years to give his account of the vital role he played?' the answer will soon become apparent.Here he describes, with considerable candour, some of the problems met in a Navy racing to war and finding it necessary to recreate a largely abandoned operational technique in a somewhat ad hoc fashion. During the time it took to 'go south' some sense of order was imposed and a not very well defined command structure evolved. As Michael Clapp reveals, this was not done without generating a certain amount of friction.Here also is told how San Carlos Water was chosen for the assault and subsequent inshore operations. Michael Clapp and his small staff made their stand and can claim a major role in the defeat of the Argentine Air and Land Forces.Some of the facts revealed in this book will come as a surprise to many, both among those who 'went south' and among the armchair historians who think they know exactly what occurred. But Michael Clapp, aided by Ewen Southby-Tailyour and a mass of information given to them, has much to add to what has hitherto been told.