Background
Brodsky, Robert Fox was born on May 16, 1925 in Philadelphia, Pennsylvania, United States. Son of Samuel H. and Sylvia (Fox) Brodsky.
(The stories, rants, letters, and essays in "A Pilgrim Mud...)
The stories, rants, letters, and essays in "A Pilgrim Muddles Through" represent a sometimes serious, as in 'Credo of a God Fearing Atheist', sometimes ridiculous, as in 'The Hard Life of a Poet', and sometimes instructive, as in 'Brigs I Have Known', but but always an interesting glimpse of modern day trials and tribulations. The breadth of the topics covered is enormous, and all but the serious treatments are given a light touch by an obvious iconoclast. You can discover how at last we can have peace in the Middle East; how to become an unsuccessful author; and how to get book on the Goodyear blimp; and, yes, ride a bus from Haifa to Amman on a Saturday. Also enjoying and edifying are the pictures and cartoons that illustrate many of the stories.
http://www.amazon.com/gp/product/0615272169/?tag=2022091-20
(This is a book in remembrance and in praise of what we us...)
This is a book in remembrance and in praise of what we used to call "Hot Jazz". Now, in obeisance of the many forms of music that are called 'jazz', it is differentiated by being called "Traditional Jazz" or OKOM (Our Kind Of Music). This is a book for and about Moldy Figs - those who remain rooted in the hot jazz music of the originators! My purpose is to give the curious, wanting to learn more about the old music, a place to start; and those - like me - still in love with it, a chance to reminisce. The stories herein will give avid readers a better understanding of what the music was, and what it is now. For those versed in the genre, the book may be an updating of 'Jazzmen' and the other sacred texts. The soul of hot jazz music is in ensemble playing, with the front line backed by a solid, unobtrusive driving beat, more sensed than heard. The Cornetist, with bell-like tones, or the more screeching Trumpet, is carrying the melody. The best play mostly in the middle registers and drive the band on down. The Trombonist is either playing complementary back ground rhythm - playing 'figures' as the old New Orleans masters used to call them - or filling in the spaces between cornet phrases with wild glissandos or raucous smears. The other voice, the Clarinet, plays throughout, complementing and sailing above the two deeper voices. This is the stuff that evokes the emotions; this is the stuff that lets the musicians release the sum of their life experiences. When you get right down to it, what I like is best illustrated by my selections in the two music appreciation 'lecture' programs that I first developed in the mid 70's and continue to present: One devoted to New Orleans jazz and the other to Dixieland jazz. These are my "Serenades for Mouldy Figges"; slide-shows-with-music lectures; discussed herein. Why the title? It comes from the words of Bessie Smith's first recording in 1923, "Downhearted Blues": "I've got the World in a Jug; Stopper's in my hand".
http://www.amazon.com/gp/product/B00I6KZZQU/?tag=2022091-20
(This is a book in remembrance and in praise of what we us...)
This is a book in remembrance and in praise of what we used to call "Hot Jazz". Now, in obeisance of the many forms of music that are called 'jazz', it is differentiated by being called "Traditional Jazz" or OKOM (Our Kind Of Music). This is a book for and about Moldy Figs - those who remain rooted in the hot jazz music of the originators! My purpose is to give the curious, wanting to learn more about the old music, a place to start; and those - like me - still in love with it, a chance to reminisce. The stories herein will give avid readers a better understanding of what the music was, and what it is now. For those versed in the genre, the book may be an updating of 'Jazzmen' and the other sacred texts. The soul of hot jazz music is in ensemble playing, with the front line backed by a solid, unobtrusive driving beat, more sensed than heard. The Cornetist, with bell-like tones, or the more screeching Trumpet, is carrying the melody. The best play mostly in the middle registers and drive the band on down. The Trombonist is either playing complementary back ground rhythm - playing 'figures' as the old New Orleans masters used to call them - or filling in the spaces between cornet phrases with wild glissandos or raucous smears. The other voice, the Clarinet, plays throughout, complementing and sailing above the two deeper voices. This is the stuff that evokes the emotions; this is the stuff that lets the musicians release the sum of their life experiences. When you get right down to it, what I like is best illustrated by my selections in the two music appreciation 'lecture' programs that I first developed in the mid 70's and continue to present: One devoted to New Orleans jazz and the other to Dixieland jazz. These are my "Serenades for Mouldy Figges"; slide-shows-with-music lectures; discussed herein. Why the title? It comes from the words of Bessie Smith's first recording in 1923, "Downhearted Blues": "I've got the World in a Jug; Stopper's in my hand".
http://www.amazon.com/gp/product/1439266484/?tag=2022091-20
educator author Aerospace engineer
Brodsky, Robert Fox was born on May 16, 1925 in Philadelphia, Pennsylvania, United States. Son of Samuel H. and Sylvia (Fox) Brodsky.
BME, Cornell University, 1947. MAero. Engineering, New York University, 1948. Doctor of Science in Engineering, New York University, 1950.
Master of Science in Mathematics, University New Mexico, 1957.
Instructor, New York University, 1948-1950;
supervisor theoretical aerodynamics, Sandia Corporation, Albuquerque, 1950-1956;
chief aerodynamics, Convair/Pomona, 1956-1959;
with, Aerojet-General Corporation, 1959-1971;
chief engineer, Space-General, El Monte, California, 1963-1967;
corporation manager European operations, AeroJet-General, Paris, 1969-1970;
manager systems test, Aerojet ElectroSystems Company, 1970-1971;
professor, head department aerospace engineering, Iowa State University, Ames, 1971-1980;
on faculty improvement leave with space and communications group, Hughes Aircraft Company, 1978-1979;
senior systems engineer, TRW Space and Technology Group, Redondo Beach, California, 1980-1983;
director technological planning, TRW Space and Technology Group, Redondo Beach, California, 1982-1986;
program manager, TRW Space and Technology Group, Redondo Beach, California, 1986-1988;
chief engineer, Microcosm, Inc., Torrance, California, 1988-1998. Adjunct Professor aerospace engineering University of Southern California, 1982-1996, National Technological U., 1994-1996. Visiting professor The Technion, Haifa, Israel, 1989-1990, 94.
Seminar lectures on remote sensing from space, Turin, Italy, 1988, Paris, London, Munich, 1991, Washington, 1992, 93, 94, 96, Albuquerque, 1995, Los Angeles & Cocoa Beach, 1996-1998. Consultant in field.
(The stories, rants, letters, and essays in "A Pilgrim Mud...)
(This is a book in remembrance and in praise of what we us...)
(This is a book in remembrance and in praise of what we us...)
Fellow: American Institute of Aeronautics and Astronautics (member deceleration technical committee 1963-1965, member educational activities committee 1972-1997, member spacecraft system technical committee 1978-1982, member space transportation technical committee 1985-1988, member editorial advisory board A&A 1977-1981, chairman Los Angeles section 1986-1987, Sustained Service award 2000, Distinguished Lecturer since 2008), Institute Advancment Engineering. Member: National Society of Professional Engineers, American Society Aerospace Education (vice president 1979-1981, Educator of the Year 1979), American Society Engineering Education (Centennial citation 1993), American Astronautical Society, International Council Systems Engineering, Rotary, Sigma Xi.
Married Patricia Wess, January 24, 1959. Children: Bette W., Robert D., David V., Jeffrey M.