|Product Name||Marc Blitzstein: His Life, His Work, His World|
|Category||Book / Magazine / Publication|
|Amazon.com||Buy on Amazon ~ 0199791597|
|Price New||19.28 US Dollars (curriencies)|
|Price Used||2.49 US Dollars (curriencies)|
|Width||2 inches (convert)|
|Height||6.5 inches (convert)|
|Length||9.4 inches (convert)|
|Weight||35.2 ounces (convert)|
|Long Description||A composer and lyricist of enormous innovation and influence, Marc Blitzstein remains one of the most versatile and fascinating figures in the history of American music, his creative output running the gamut from films scores and Broadway operas to art songs and chamber pieces. A prominent leftist and social maverick, Blitzstein constantly pushed the boundaries of convention in mid-century America in both his work and his life. Award-winning music historian Howard Pollack's new biography covers Blitzstein's life in full, from his childhood in Philadelphia to his violent death in Martinique at age 58. The author describes how this student of contemporary luminaries Nadia Boulanger and Arnold Schoenberg became swept up in the stormy political atmosphere of the 1920s and 1930s and throughout his career walked the fine line between his formal training and his populist principles. Indeed, Blitzstein developed a unique sound that drew on everything contemporary, from the high modernism of Stravinsky and Hindemith to jazz and Broadway show tunes. Pollack captures the astonishing breadth of Blitzstein's work--from provocative operas like The Cradle Will Rock , No for an Answer ,and Regina , to the wartime Airborne Symphony composed during his years in service, to lesser known ballets, film scores, and stage works. A courageous artist, Blitzstein translated Bertolt Brecht and Kurt Weill's The Threepenny Opera during the heyday of McCarthyism and the red scare, andturned it into an off-Broadway sensation, its "Mack the Knife" becoming one of the era's biggest hits. Beautifully written, drawing on new interviews with friends and family of the composer, and making extensive use of new archival and secondary sources, Marc Blitzstein presents the most complete biography of this important American artist.|
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Article of interest
The Facing Identification Mark, or FIM, is used by the United States Postal Service (USPS) for the automation of mail processing. Basically, the FIM is a set of vertical bars that are printed on the upper edge of an envelop or postcard, slightly to the left of the stamp. It’s a nine digit barcode that consists of vertical bars and zeros, which are represented by the blank spaces.
The FIM’s primary function is to ensure that all mail is facing the proper way, to identify how the postage was paid (business reply, etc.) and whether or not the business reply mail has a POSTNET barcode. Should there be a POSTNET barcode, the mail can then be sent directly to the barcode sorter.
There are four different types of FIM barcodes, A, B, C and D.
- FIM A: Used for courtesy reply mail and metered reply mail with a preprinted POSTNET barcode.
- FIM B: Used for business reply mail without a preprinted ZIP+4 barcode.
- FIM C: Used for business reply mail with a preprinted ZIP+4 barcode.
- FIM D: Used only with IBI postage.
As far as standards are concerned, the FIM has to meet very specific guidelines:
- A FIM clear zone must not contain any printing other than the FIM pattern
- The rightmost bar of the FIM must be at least 2” (+/- 1/8”) from the right edge of each piece of mail
- Each FIM bar must be 5/8” high (+/- 1/8”) and 1/32” wide (+/- 0.008”)
- The tops of each FIM bar can’t be lower than 1/8” from the top edge of the mail
- The bottoms of each FIM bar can’t touch the bottom edge of the FIM clear zone, but can’t be more than 1/8” above or below the edge.