This course covers methods for organizing your code, both conceptually and literally. You’ll learn the importance of separating concerns when writing JavaScript, gaining hands-on experience along the way. Separating concerns can be done with or without an organizational library or framework. We’ll learn how to separate concerns without one, and then we’ll explore an organizational library together. You’ll also learn strategies for exploring other libraries and frameworks on your own.
Upon opening the CD case of So Much Shouting, So Much Laughter, one is greeted with a picture of an automobile shop with a sign reading, "We Believe in God – America – Trucks." One imagines that Ani DiFranco and her fellow New Yorkers find a number of similar sentiments as their progressive folk show travels across small-town America. Despite such nativist impulses, DiFranco also finds a warm, responsive audience wherever she travels. Her first live album in five years, So Much Shouting, So Much Laughter documents the Righteous Babe in a number of settings, captured between September 2000 and April 2002. Like 1997's Living in Clip, one can't really hope to reproduce a DiFranco concert on a single disc. The performances are seamlessly sequenced, meaning one can put both discs in the CD changer, crank up the volume, and settle into the easy chair for a private show.
The late Larry Young was an organist whose fairly brief career had lots of highs and very few middles or lows. Take this session from 1973 – his first non-Blue Note date as a leader and post-Lifetime – as a for instance. It is startling for its fresh look at how the organ is used in jazz and in improvisation, period. On Lawrence of Newark, Young enlisted a host of younger New York session cats who were hanging around the fringes of the funk and avant-garde scenes – James Blood Ulmer, trumpeter Charles MacGee, Cedric Lawson, and about a dozen others all jumped into Young's dark and freaky musical stew.