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2 Tansas Gazette - North East Louisiana
. 2 Tansas Gazette - North East Louisiana ======= Map of North Eastern Louisiana Waterproof, La is in the Southern portion of Tansas Parish, La. It is 199 miles from New Orleans. During the era of the cotton plantations the population of the parish was 90% slaves. There were many dances in the parish's leading cities - Waterproof, Newellton and St. Joseph. There were few concerts given and few organized brass or string bands. Jazz music was first mentioned in the newspaper in 1921. 1881 May 7 - The Ball, Wednesday Night In response to an invitation sent us, we attended the ball given by the Tensas "rifles, at Masonic Hall, on the evening of the 4th. As we predicted last week, everyone who attended had an ice time, and to say that it was a success but faintly expressed it. The band - Kaisers, from Natchez - came on the Rebstock, about 6:30 and about 9 p.m. the ladies and their escorts began to arrive, and despite the warmth of the evening, number of them were soon whirling in the dizzy mazes of the waltz. "From that time until the hour appointed for supper, the dancers held the floor, and "chased the giddy hours with flying fee" to the music of quadrille, heel and toe, the waltz and the Lancers. The assemblage was the largest, we learn, of any that has attended a ball here during the season. 1882 November 4 - Brass Band We learn that the Waterproof Brass Band has organized a series of open-air concerts, in the form of night serenades to their friends in the several neighborhoods in the vicinity of the town. -
The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr. -
CSJ Center Hidden Heroes Award Ceremony and Dramatzed
SPECIAL The CSJ Center of Reconciliat on and Just ce, the College of Thanks Communicat on and Fine Arts, Theatre and Dance Department, and the Bellarmine Forum present a Dramat c Performance of: CSJ Center for Reconciliaton and Justce Awards Committee Linda Bannister Doris Baizley Kathleen Kim Marie Anne Mayeski CSJ Center Hidden Heroes Abbie Robinson-Armstrong Jeffrey Wilson Award Ceremony and Special thanks to our LMU awardees for sharing their lives and work with us, and the wonderful artists, writers and actors who are telling them. SPECIAL THANKS ALSO TO: Dramatzed Narratves Dean Bryant Keith Alexander Dean Shane P. Martin Dean Richard Plumb Interim Dean Michael J. O’Sullivan Presentaton Eugene (Gino) Brancolini Linda Buck, CSJ Barbara Busse Sheryle Bush Robert Caro, SJ Jeanine Connor So that all may be one... Joanna Carroll, CSJ Judy Delavigne Patrick Furlong Gabriel Gonzalvez One performance only Rob Hillig Christine Jungwiwattanaporn MaryAnne Huepper, CSJ Mary Beth Ingham, CSJ Geraldine O’Connor Nestor Periera Saturday, October 26, 2013 Pam Rector Jonathan Rothchild 2:30 PM Murphy Hall, Burns Building, LMU Kevin J. Wetmore Jeffrey Wilson Followed by Recept on - Dunning Courtyard LMU Department of Theatre and Dance Stage/Production Managers Visuals/Sound Design Aisling Galvin Rob Hillig Aili Jiaravanont Lisa Brehove Crew Linsay Fritts Bellarmine Forum 2013: Restoring Justice Dylan Fox Alex Perroots University Hall 2000 • 1 LMU Drive, Los Angeles, CA 90045 310.568.6696 • [email protected] • www.lmu.edu/csjcenter CSJ CENTER HIDDEN heroes COMPANY Award Ceremony and Dramatized Narrative Presentation Bios DESEAN KEVIN TERRY has worked with Shakespeare Center Los Angeles, Chalk Repertory Theatre, the Black Dahlia Theatre and Center Theatre Group; where he 1. -
Papéis Normativos E Práticas Sociais
Agnes Ayres (1898-194): Rodolfo Valentino e Agnes Ayres em “The Sheik” (1921) The Donovan Affair (1929) The Affairs of Anatol (1921) The Rubaiyat of a Scotch Highball Broken Hearted (1929) Cappy Ricks (1921) (1918) Bye, Bye, Buddy (1929) Too Much Speed (1921) Their Godson (1918) Into the Night (1928) The Love Special (1921) Sweets of the Sour (1918) The Lady of Victories (1928) Forbidden Fruit (1921) Coals for the Fire (1918) Eve's Love Letters (1927) The Furnace (1920) Their Anniversary Feast (1918) The Son of the Sheik (1926) Held by the Enemy (1920) A Four Cornered Triangle (1918) Morals for Men (1925) Go and Get It (1920) Seeking an Oversoul (1918) The Awful Truth (1925) The Inner Voice (1920) A Little Ouija Work (1918) Her Market Value (1925) A Modern Salome (1920) The Purple Dress (1918) Tomorrow's Love (1925) The Ghost of a Chance (1919) His Wife's Hero (1917) Worldly Goods (1924) Sacred Silence (1919) His Wife Got All the Credit (1917) The Story Without a Name (1924) The Gamblers (1919) He Had to Camouflage (1917) Detained (1924) In Honor's Web (1919) Paging Page Two (1917) The Guilty One (1924) The Buried Treasure (1919) A Family Flivver (1917) Bluff (1924) The Guardian of the Accolade (1919) The Renaissance at Charleroi (1917) When a Girl Loves (1924) A Stitch in Time (1919) The Bottom of the Well (1917) Don't Call It Love (1923) Shocks of Doom (1919) The Furnished Room (1917) The Ten Commandments (1923) The Girl Problem (1919) The Defeat of the City (1917) The Marriage Maker (1923) Transients in Arcadia (1918) Richard the Brazen (1917) Racing Hearts (1923) A Bird of Bagdad (1918) The Dazzling Miss Davison (1917) The Heart Raider (1923) Springtime à la Carte (1918) The Mirror (1917) A Daughter of Luxury (1922) Mammon and the Archer (1918) Hedda Gabler (1917) Clarence (1922) One Thousand Dollars (1918) The Debt (1917) Borderland (1922) The Girl and the Graft (1918) Mrs. -
¶7櫥«Q }欻' / * #376;扎 #732;†
120825bk Teagarden2 REV 29/3/06 8:46 PM Page 8 Track 14: John Fallstitch, Pokey Carriere, Sid Jack Lantz, trombones; Merton Smith, Vic Rosi, Feller, trumpets; Jack Teagarden, Jose Bob Derry, Bert Noah, Dave Jolley, saxes; Guttierez, Seymour Goldfinger, Joe Ferrall, Norma Teagarden, piano; Charles Gilruth, trombones; Danny Polo, clarinet, alto sax; Tony guitar; Lloyd Springer, bass; Frank Horrington, Antonelli, Joe Ferdinando, alto sax; Art Moore, drums Art Beck, tenor sax; Ernie Hughes, piano; Track 19: Charlie Teagarden, trumpet; Jack Arnold Fishkin, bass; Paul Collins, drums Teagarden, Moe Schneider, trombones; Matty Track 15: John Fallstitch, Pokey Carriere, Matlock, clarinet, tenor sax; Ray Sherman, Truman Quigley, trumpets; Jack Teagarden, piano; Bill Newman, guitar, banjo; Morty Corb, Jose Guttierez, Seymour Goldfinger, Joe Ferrall, bass; Ben Pollack, drums trombones; Danny Polo, clarinet, alto sax; Tony Track 20: Charlie Teagarden, trumpet; Jack Antonelli, Joe Ferdinando, alto sax; Art Moore, Teagarden, trombone; Jay St. John, clarinet; Art Beck, tenor sax; Ernie Hughes, piano; Norma Teagarden, piano; Kass Malone, bass; Arnold Fishkin, bass; Paul Collins, drums Ray Bauduc, drums Track 16: John Fallstitch, Pokey Carriere, Truman Quigley, trumpets; Jack Teagarden, Also available ... Jose Guttierez, Seymour Goldfinger, Joe Ferrall, trombones; Danny Polo, clarinet, alto sax; Tony Antonelli, Joe Ferdinando, alto sax; Art Moore, Art Beck, tenor sax; Ernie Hughes, piano; Perry Botkin, guitar; Arnold Fishkin, bass; Paul Collins, drums Track -
Urban Public Space, Privatization, and Protest in Louis Armstrong Park and the Treme, New Orleans
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 2001 Protecting 'Place' in African -American Neighborhoods: Urban Public Space, Privatization, and Protest in Louis Armstrong Park and the Treme, New Orleans. Michael Eugene Crutcher Jr Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Crutcher, Michael Eugene Jr, "Protecting 'Place' in African -American Neighborhoods: Urban Public Space, Privatization, and Protest in Louis Armstrong Park and the Treme, New Orleans." (2001). LSU Historical Dissertations and Theses. 272. https://digitalcommons.lsu.edu/gradschool_disstheses/272 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. -
West End: “The Coney Island of New Orleans”
Geographies of New Orleans West End: “The Coney Island of New Orleans” Richard Campanella, Geographer, Tulane School of Architecture [email protected] Published in the Times-Picayune/New Orleans Advocate, November 3, 2019 Author’s note: This is the third in a series exploring the coastal communities that once surrounded greater New Orleans, principally along the brackish waters of the tidal lagoon known as Lake Pontchartrain. In previous months we looked at Spanish Fort and Milneburg; today we examine their neighbor to the west. Though utterly transformed today, these hamlets remind us that New Orleans, a riverine and deltaic city, may also be considered a coastal city. To most New Orleanians of the 1800s, Lake Pontchartrain represented two things. Firstly, it abounded in natural resources, including fish and game, oysters, and rangia shells, as well as timber, firewood, and clay in the piney woods on the other side. Secondly, the brackish bay was a recreational destination, where fresh breezes and bathing awaited city dwellers seeking respite from the malodorous metropolis. The problem was access: how to get across the swamplands between the city and lakeshore? The original route entailed trekking the Bayou Road and plying Bayou St. John northward to its lake outlet. To improve that connection, Spanish Gov. Hector Carondelet had excavated in 1794 a canal named for him to link with the bayou and access a lakeside point that been militarized since the early 1700s. Later known as Spanish Fort, this spot would become New Orleans’ first lakefront recreational destination, starting in the early 1820s. In 1831, downtown businessmen built a railroad to the lake and ordained a spot on the marshy shore, where Elysian Fields Avenue today crosses Leon C. -
Why We Play: an Anthropological Study (Enlarged Edition)
ROBERTE HAMAYON WHY WE PLAY An Anthropological Study translated by damien simon foreword by michael puett ON KINGS DAVID GRAEBER & MARSHALL SAHLINS WHY WE PLAY Hau BOOKS Executive Editor Giovanni da Col Managing Editor Sean M. Dowdy Editorial Board Anne-Christine Taylor Carlos Fausto Danilyn Rutherford Ilana Gershon Jason Troop Joel Robbins Jonathan Parry Michael Lempert Stephan Palmié www.haubooks.com WHY WE PLAY AN ANTHROPOLOGICAL STUDY Roberte Hamayon Enlarged Edition Translated by Damien Simon Foreword by Michael Puett Hau Books Chicago English Translation © 2016 Hau Books and Roberte Hamayon Original French Edition, Jouer: Une Étude Anthropologique, © 2012 Éditions La Découverte Cover Image: Detail of M. C. Escher’s (1898–1972), “Te Encounter,” © May 1944, 13 7/16 x 18 5/16 in. (34.1 x 46.5 cm) sheet: 16 x 21 7/8 in. (40.6 x 55.6 cm), Lithograph. Cover and layout design: Sheehan Moore Typesetting: Prepress Plus (www.prepressplus.in) ISBN: 978-0-9861325-6-8 LCCN: 2016902726 Hau Books Chicago Distribution Center 11030 S. Langley Chicago, IL 60628 www.haubooks.com Hau Books is marketed and distributed by Te University of Chicago Press. www.press.uchicago.edu Printed in the United States of America on acid-free paper. Table of Contents Acknowledgments xiii Foreword: “In praise of play” by Michael Puett xv Introduction: “Playing”: A bundle of paradoxes 1 Chronicle of evidence 2 Outline of my approach 6 PART I: FROM GAMES TO PLAY 1. Can play be an object of research? 13 Contemporary anthropology’s curious lack of interest 15 Upstream and downstream 18 Transversal notions 18 First axis: Sport as a regulated activity 18 Second axis: Ritual as an interactional structure 20 Toward cognitive studies 23 From child psychology as a cognitive structure 24 . -
PROTEST POP MUSIC ATTACK! Musicians Not Hearings on Leaders Wire Scarce—Pollack Tea Charges Senators Who Start Feb
CHICAGO. FEBRUARY IS, PROTEST POP MUSIC ATTACK! Musicians Not Hearings on Leaders Wire Scarce—Pollack Tea Charges Senators Who Start Feb. 16 Sidemen Themselves Took Fast Rap Have Wrong Picture New York—Trial of Pvta. Mike Bryan and George Auld on nar Of True Situation cotic charges, originally scheduled "Good Thing If Ban On for February 4, was «witched to Chicago "Im rearing induction« February 16 by joint agreement Records Wipes Out All nay alter the situation, but there of the government and defense at Jive and Jazz," They Say hat- been no serious snortagi of torneys Bryan ha» already been good musicians up to this point,” given u sentence of a year in jail ■aid Ben Pollack, manager of the y a military court on charges of Chicago—Indignant pro | Chieo Marx orchestra, during their desertion, this because of his ab tests from America’s nam recent engagement at the Oriental sence from a military stockade in theater here. Miami last month. bandleaders flooded the U. S. Two other defendants, Teddy Senate in U aahington last Reig and Rose Reynolds, will prob “If you’re talking about the week as a mult of ihe rurtitin- ‘name’ sidemen, chaps who have ably plead guilty to chargee of built reputations with big bandx, evasion of the marijuana tax law. wide publicity drriding popu Andrew Weinberger, Auld’a at that’s something else again,” add lar American mnide stirred up ed the chubby discoverer of more torney, said he thought he would real musical talent than any lead fight the ease pointing out that by the senate's investigate« Auld was merely charged with con er in the field. -
Carmel Pine Cone, July 11, 2014 (Main News)
SPECIAL 2014 SECTION ACH INSIDE VolumeThe 100 No. 28 Carmel On the Internet: www.carmelpinecone.com Pine Cone July 11-17, 2014 TRUSTED BY LOCALS AND LOVED BY VISITORS SINCE 1915 What’s the protocol when an otter jumps in? City moves By KELLY NIX McInchak case to IT’S COMMON to see kayakers in Monterey Bay trying to get a close look at its wildlife. But a group of kayakers got more than they could have federal court hoped for when a pair of audacious and frisky California sea otters joined them Tuesday evening — By MARY SCHLEY in their boats. Five people in four rental kayaks were paddling THE CITY and its top officials — including city admin- around Monterey harbor around 6 p.m. when the two istrator Jason Stilwell and administrative services director cheeky otters playfully bobbed up and down in the Sue Paul — will be fighting the lawsuit from former IT man- water before happily plopping themselves aboard the ager Steve McInchak in federal court, not Monterey County’s boats and rolling around the way puppies wrestle. courts. The people in the boats were stunned, and so were Citing McInchak’s claims that his federal rights were vio- onlookers. lated, among numerous state law violations also alleged, the “It was very entertaining, at least for us in the Santa Barbara law firm representing the city filed papers in restaurant,” said Jackie Edwards, a Pine Cone U.S. District Court in San Jose Tuesday “removing” it to fed- employee who was dining at Rappa’s restaurant at the eral court. -
Lending Library
Lending Library KQED is pleased to present the Lending Library. Created expressly for KQED’s major donors, members of the Legacy Society, Producer’s Circle and Signal Society, the library offers many popular television programs and specials for home viewing. You may choose from any of the titles listed. Legacy Society, Producer’s Circle and Signal Society members may borrow VHS tapes or DVDs simply by calling 415.553.2300 or emailing [email protected]. For around-the-clock convenience, you may submit a request to borrow VHS tapes or DVDs through KQED’s Web site (www.KQED.org/lendinglibrary) or by email ([email protected]) or phone (415.553.2300). Your selection will be mailed to you for your home viewing enjoyment. When finished, just mail it back, using the enclosed return label. If you are especially interested in a program that is not included in KQED’s collection, let us know. However, because video distribution is highly regulated, not all broadcast shows are available for home viewing. We will do our best to add frequently requested tapes to our lending library. Sorry, library tapes are not for duplication or resale. If you want to purchase videotapes for your permanent collection, please visit shop.pbs.org or call 877-PBS-SHOP. Current listings were last updated in February 2009. TABLE OF CONTENTS ARTS 2 DRAMA 13 NEWS/PUBLIC AFFAIRS 21 BAY WINDOW 30 FRONTLINE 32 FRONTLINE WORLD 36 P.O.V. 36 TRULY CA 38 SCIENCE/NATURE 42 HISTORY 47 AMERICAN HISTORY 54 WORLD HISTORY 60 THE “HOUSE” SERIES 64 TRAVEL 64 COOKING/HOW TO/SELF HELP 66 FAQ 69 CHILDREN 70 COMEDY 72 1 ARTS Art and Architecture AGAINST THE ODDS: THE ARTISTS OF THE HARLEM RENAISSANCE (VHS) The period of the 1920s and ‘30s known as the Harlem Renaissance encompassed an extraordinary outburst of creativity by African American visual artists. -
October 8, 1969 Hurricane Camille Disaster Fund
SOUTHERN YACHT CLUB NEW ORLEANS, LOUISIANA 70124 f>ATftlCK 0. 8Rll&OIEH G.S. ,Rl!DRlCHS. JI'. 'POUNDED 1948 ANO P. O. !Ma l4DJO O. J. YOUNG J. Fl SH IE" NATHANf ft. c. cuinll NEW ORLEANS~~ .t03 N. ROADWAY, WDT KND NEW ORLBANS, LA. 70tU HURRICANE CAMILLE DISASTER FUND October 8, 1969 Dear Commodore: On the night of August 17. 1969. Hurricane Camille drove in from the Gulf of Mexico and obliterated the Mississippi and Alabama Coast. destroying five of our fellow yacht clubs. I am sure that in the past such a hurricane has destroyed maybe one or two other yacht clubs. but never in the history of yacht racing have five clubs been destroyed in one evening. Three of these clubs were completely destroyed and now are only a clean spot of ground. The only way you can tell that anything was there before is the fact that there is no grass on the ground where they once stood. Two of the other yacht clubs were torn apart to such a degree that they will have to be completely rebuilt. The support of you and your club and its members is desperately need ed to help rebuild these clubs. The completely destroyed clubs were the Pass Christian Yacht Club. The Gulfport Yacht Club and The Biloxi Yacht Club. The two other c1lJb9 most completely destroyed were the Bay-Waveland Yacht Club an4, Yacht Club. We at the New Crleans Yacht Club and The So~ survived this Hurricane with little or no damage: thereto try to do something to help our neighbors.