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Fact Sheet 2009
Wynton Marsalis FACT SHEET 2009 Wynton Marsalis, is the Artistic Director of Jazz at Lincoln Center since its inception in 1987, in addition to performing as Music Director of the Jazz at Lincoln Center Orchestra since it began in 1988, has: Early Life . Born on October 18, 1961, in New Orleans, Louisiana, the second of six sons to Ellis and Dolores Marsalis . At age 8, performed traditional New Orleans music in the Fairview Baptist Church band led by legendary banjoist Danny Barker . At age 12, began studying the trumpet seriously and gained experience as a young musician in local marching, jazz and funk bands and classical youth orchestras . At age 14, was invited to perform the Haydn Trumpet Concerto with the New Orleans Philharmonic . At age 17 became the youngest musician ever to be admitted to Tanglewood’s Berkshire Music Center and was awarded the school’s prestigious Harvey Shapiro Award for outstanding brass student . 1979 Entered The Juilliard School in New York City to study classical trumpet . 1979 Sat in with Art Blakey and the Jazz Messengers to pursue his true love, jazz music. 1980 Joined the band led by acclaimed master drummer Art Blakey . In the years to follow, performed with Sarah Vaughan, Dizzy Gillespie, Gerry Mulligan, John Lewis, Sweets Edison, Clark Terry, Sonny Rollins and countless other jazz legends Acclaimed Musician, Composer, Bandleader . 1982 Recording debut as a leader . 1983 Became the first and only artist to win both classical and jazz GRAMMY® Awards in one year . 1984 Won classical and jazz GRAMMY® Awards for a second year . -
Supporting Online Material
Supplementary Materials for Distinct regimes of particle and virus abundance explain face mask efficacy for COVID-19 Yafang Cheng†,*, Nan Ma*, Christian Witt, Steffen Rapp, Philipp Wild, Meinrat O. Andreae, Ulrich Pöschl, Hang Su†. * These authors contributed equally to this work. † Correspondence to: H.S. ([email protected]) and Y.C. ([email protected]) This PDF file includes: Supplementary Text S1 to S6 Figs. S1 to S7 Tables S1 to S7 1 Supplementary Text S1. Scenarios in Leung et al. (2020) Leung et al. (2020) reported an average of 5 to 17 coughs during the 30-min exhaled breath collection for virus-infected participants (10). Taking the particle size distribution given in Fig. 2, we calculate that one person can emit a total number of 9.31e5 to 2.72e6 particles in a 30 min sampling period. Note that particles > 100 µm were not considered here, and the volume concentrations of particles in the “droplet” mode (2.44e-4 mL, with 4.29e-5 to 2.45e-3 mL in 5% to 95% confidence level) overwhelm those in the “aerosol” mode (7.68e-7 mL, with 3.37e-7 to 5.24e-6 mL in 5% to 95% confidence level). S2. Virus concentration in Leung et al. (2020) Many samples in Leung et al. (2020) return a virus load signal below the detection limit (10). Thus we adopted an alternative approach, using the statistical distribution, i.e., percentage of positive cases, to calculate the virus concentration. Assuming that samples containing more than 2 viruses (Leung et al., 2020 used 100.3# as undetectable values in their statistical analysis) can be detected and the virus number in the samples follows a Poisson distribution, the fraction of positive samples (containing at least 3 viruses) can be calculated with pre-assumed virus concentration per particle volume. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 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]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation 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 Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
Here Is a Printable
Ryan Leach is a skateboarder who grew up in Los Angeles and Ventura County. Like Belinda Carlisle and Lorna Doom, he graduated from Newbury Park High School. With Mor Fleisher-Leach he runs Spacecase Records. Leach’s interviews are available at Bored Out (http://boredout305.tumblr.com/). Razorcake is a bi-monthly, Los Angeles-based fanzine that provides consistent coverage of do-it-yourself punk culture. We believe in positive, progressive, community-friendly DIY punk, and are the only bona fide 501(c)(3) non-profit music magazine in America. We do our part. An Oral History of The Gun Club originally appeared in Razorcake #29, released in December 2005/January 2006. Original artwork and layout by Todd Taylor. Photos by Edward Colver, Gary Leonard and Romi Mori. Cover photo by Edward Colver. Zine design by Marcos Siref. Printing courtesy of Razorcake Press, Razorcake.org he Gun Club is one of Los Angeles’s greatest bands. Lead singer, guitarist, and figurehead Jeffrey Lee Pierce fits in easily with Tthe genius songwriting of Arthur Lee (Love), Chris Hillman (Byrds), and John Doe and Exene (X). Unfortunately, neither he nor his band achieved the notoriety of his fellow luminary Angelinos. From 1979 to 1996, Jeffrey manned the Gun Club ship through thick and mostly thin. Understandably, the initial Fire of Love and Miami lineup of Ward Dotson (guitar), Rob Ritter (bass), Jeffrey Lee Pierce (vocals/ guitar) and Terry Graham (drums) remains the most beloved; setting the spooky, blues-punk template for future Gun Club releases. At the time of its release, Fire of Love was heralded by East Coast critics as one of the best albums of 1981. -
Universality and Diversity in Human Song Samuel A. Mehr1,2*, Manvir
This is a provisionally accepted manuscript. The published version will differ from it substantially. Please cite it as: Mehr, S. A., Singh, M., Knox, D., Ketter, D. M., Pickens-Jones, D., Atwood, S., Lucas, C., Egner, A., Jacoby, N., Hopkins, E. J., Howard, R. M., Hartshorne, J. K., Jennings, M. V., Simson, J., Bainbridge, C. M., Pinker, S., O'Donnell, T. J., Krasnow, M. M., & Glowacki, L. (forthcoming). Universality and diversity in human song. Science . Universality and diversity in human song Samuel A. Mehr 1,2*, Manvir Singh 3*, Dean Knox 4, Daniel M. Ketter 6,7, Daniel Pickens-Jones 8, Stephanie Atwood 2, Christopher Lucas 5, Alena Egner 2, Nori Jacoby 10, Erin J. Hopkins 2, Rhea M. Howard 2, Timothy J. O’Donnell 11, Steven Pinker 2, Max M. Krasnow 2, and Luke Glowacki 12* 1 Data Science Initiative, Harvard University 2 Department of Psychology, Harvard University 3 Department of Human Evolutionary Biology, Harvard University 4 Department of Politics, Princeton University 5 Department of Political Science, Washington University in St. Louis 6 Eastman School of Music, University of Rochester 7 Department of Music, Missouri State University 8 Portland, Oregon 9 Department of Psychology, University of California at Los Angeles 10 Max Planck Institute for Empirical Aesthetics 11 Department of Linguistics, McGill University 12 Department of Anthropology, Pennsylvania State University *Correspondence to [email protected] (S.A.M.), [email protected] (M.S.), and [email protected] (L.G.) Abstract What is universal about music across human societies, and what varies? We built a corpus of ethnographic text on musical behavior from a representative sample of the world’s societies and a discography of audio recordings of the music itself. -
Girls Like Us: Linder
Linder Sterling is a British These include her 13-hour artist and performer whose NICOLE EMMENEGGER improvised dance perfor- career spans the 1970s WORDS mance piece Darktown Cake- B Manchester punk scene to Y walk and her most recent her current collaborations work, The Ultimate Form, a with Tate St. Ives and The 'performance ballet' inspired Hepworth Centre in north- at the photographed by Barbara Hepworth, fea- west England. turing dancers from North- PORTRAITS PORTRAITS ern Ballet and costumes by She has worked in a variety B arbara Pam Hogg. of mediums – from music H B Y DEVIN (as singer/songwriter/gui- Ives St. Tate Museum in epworth We met at the The Barbican B tarist for post-punk band LAIR Centre in London on a crisp Ludus) and collage (using March morning, just days a steady scalpel to splice after the opening of her first pornographic images into big retrospective at Le Musée feminist statements), to her d’Art Moderne in Paris. current durational works. Linder 18 19 Nicole Emmenegger: First off, thank you for send- Yes, I used to have this fascination for the mid-fifties. People ing through the preparatory text about you and your I know at every age seem to have this fascination about the work. It ended up being ten pages in 10-point font! culture that you were born into, climbed into. It’s your own personal etymology and you have to go back and work it Linder: How strange, I don’t even enjoy writing! out. It’s good detective work. It makes sense and how lucky for you that 1976 was such a great year. -
Juilliard Jazz Orchestra Wynton Marsalis , Conductor
Tuesday Evening, April 3, 2018, at 7:30 The Juilliard School presents Juilliard Jazz Orchestra Wynton Marsalis , Conductor A Tribute to Blue Note Records JACKIE MCLEAN , arr. Wynton Marsalis Appointment in Ghana MCCOY TYNER , arr. Chris Crenshaw Search for Peace WOODY SHAW , arr. Victor Goines The Moontrane HORACE SILVER , arr. Carlos Henriquez Señor Blues Intermission JOE HENDERSON , arr. Ted Nash Inner Urge HORACE SILVER , arr. David Berger Peace WAYNE SHORTER , arr. Ted Nash Fee-Fi-Fo-Fum DEXTER GORDON , arr. Sherman Irby Ernie’s Tune WAYNER SHORTER , arr. Wynton Marsalis Free for All Performance time: approximately 1 hour and 30 minutes, including one intermission Juilliard gratefully acknowledges the Talented Students in the Arts Initiative, a collaboration for the Doris Duke Charitable Foundation and the Surdna Foundation, for their generous support of Juilliard Jazz. The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Meet the Artist more than 25 of America’s top academic institutions including Columbia, Harvard, Howard, Princeton, and Yale. His creativity has been celebrated the world over. In 1997 he became the first jazz artist to be awarded the Pulitzer Prize in Music for his Z E N I oratorio Blood on the Fields . In 2001 he T R A was appointed Messenger of Peace by M E O Kofi Annan, secretary-general of the J Wynton Marsalis United Nations, and in 2005 Mr. -
On Art and Life Ebook, Epub
ON ART AND LIFE PDF, EPUB, EBOOK John Ruskin | 112 pages | 02 Sep 2004 | Penguin Books Ltd | 9780141018959 | English | London, United Kingdom On Art and Life PDF Book He mines his private life without apology. Lost your password? He writes:. Caroler 1 Pamela Jones Namespaces Article Talk. Was this review helpful to you? Since time immemorial, art has existed as long as man has. I use myself and my personal life and as a narrative and, um Writers: Joe Swanberg , Joe Swanberg created by. It is a huge part of our culture, which shapes our ideas, and vice versa, and provides us with a deeper understanding of emotions, self-awareness, and more. Philosophy Creativity Creativity series Nietzsche. A middle aged graphic novelist who mines his personal life for material gets a taste of his own medicine when he meets a photography student. Remember me Log in. Added to Watchlist. Your world is shouting out to you, revealing something intrinsically glorious about itself. Be Curious — Leeds, Leeds. In this way the fusion between the Apollonian and the Dionysian can transform the self, creating an artist and a lover of life. Pay attention to music. Through art, we gain a better understanding of cultures, history and tradition; as well as help people in the present build better and more complete lives. From Wikipedia, the free encyclopedia. He believed that classical thinkers such as Socrates destroyed this harmony of reason and emotion by solely concentrating on the rational or logical aspect the Apollonian , with little regard for the role of the passions the Dionysian. -
Download Booklet
120699bk Bechet 3 22/5/03 11:09 am Page 2 6. One O’Clock Jump 2:25 14. Save It Pretty Mama 2:51 Personnel (Count Basie) (Don Redman–Paul Denniker–Joe Davis) Victor 27204, mx BS 046833-1 Victor 27240, mx BS 053434-1 16 November 1938: Sidney Bechet, clarinet, 6 September 1940 (tracks 13-15): Rex Stewart, Recorded 5 February 1940, New York Recorded 6 September 1940, Chicago soprano sax; Ernie Caceres, baritone sax; Dave cornet; Sidney Bechet, clarinet, soprano sax; Bowman, piano; Leonard Ware, electric guitar; Earl Hines, piano; John Lindsay, bass; Baby 7. Preachin’ Blues 3:02 15. Stompy Jones 2:47 (Sidney Bechet) (Duke Ellington) Henry Turner, bass; Zutty Singleton, drums Dodds, drums Bluebird B 10623, mx BS 046834-1 Victor 27240, mx BS 053435-1 5 February 1940: Sidney Bechet, clarinet, soprano 8 January 1941: Henry Allen, trumpet; J. C. Recorded 5 February 1940, New York Recorded 6 September 1940, Chicago sax; Sonny White, piano; Charlie Howard, Higginbotham, trombone; Sidney Bechet, 8. Shake It And Break It 2:54 16. Coal Black Shine 2:43 electric guitar; Wilson Myers, bass; Kenny clarinet; James Tolliver, piano; Wellman Braud, (Friscoe Lou Chicha–H. Quaill Clarke) (John Reid-Sidney Bechet) Clarke, drums bass; J. C. Heard, drums Victor 26640, mx BS 051222-1 Victor 27386, mx BS 058776-1 4 June 1940: Sidney de Paris, trumpet; Sandy 28 April 1941: Gus Aiken, trumpet; Sandy Recorded 4 June 1940, New York Recorded 8 January 1941, New York Williams, trombone; Sidney Bechet, clarinet, Williams, trombone; Sidney Bechet, soprano sax; 9. -
VJM 189 Hugo Van Der Laan
103 Early Blues/ In the Mornin', Session 10-006 E+ 104 Policy Blues/ I don't Know, Session 10-014 E- looks E+ but spots of light swish Hugo van der Laan 105 The Mississippi Mudder Sweet Jelly Rollin' Baker Man, De 7207 EE+/E 106 Alice Moore Too Many Men/ Don't Deny Me Baby Decca 7369 E- Van Beuningenstraat 53 D 107 Hand in Hand Women/ Doggin' Man Blues Decca 7380 EE+ 2582 KK Den Haag 108 Red Nelson Black Gal Stomp/ Jailhouse Blues the Netherlands BB 7918 E/EE+ 109 Joe Pullum Black Gal No. 4/ Robert Cooper, West Dallas Drag No. 2, buff Bluebird 5947 E- [email protected] light label damage sA/ large lipstick trace sB 105 J.H. Shayne Mr Freddy's Rag/ Chestnut Street Boogie Circle 1011 E-E 106 Pine Top Smith Brunswick album B-1102 E- Pinetop's Blues/ Boogie Woogie, Br 80008 E- Piano Blues 78’s for auction. Packing and air mail is 15 Euro, anywhere, for any I'm Sober Now/ Jump steady Blues amount of records. Payments by Eurotransfer, Bank transfer and Paypal. Br 80009 E- second masters Grading is aural, how they play with a ‘0028 stylus. E+ is the highest grade. 106 Speckled Red with Mandoline, Guitar, Try Me One More Time/ Louise Baltimore Blues, BB 8012E+ 107 Johnny Temple New Vicksburg Blues/ Louise Louise Blues 100 Albert Ammons' Rhytm Kings, Jammin' the Boogie/ Bottom Blues Decca 7244 E-/V+E- pdig restored audible 5' 12" Commodore 1516 E 108 Jinks Lee Blues/ Sundown Blues, BB 8913 E- 101 Leroy Carr with Scrapper Blackwell, My Woman's Gone Wrong/ looks V I Ain't Got No Money Now, Vo 02950 E- 106 Hociel Thomas with Mutt Carey sA, Go Down -
Karaoke Mietsystem Songlist
Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind. -
MERCURIAL MIXING DJ Harvey Brings the White Isle to Your Living Room with His Comp for the Newly-Founded Pikes Records
MUSIC MERCURIAL MIXING DJ Harvey brings the White Isle to your living room with his comp for the newly-founded Pikes Records... p.146 DON’T STOP THE MUSIC The latest tracks reviewed p.122 FOR THE LONGEST TIME The best albums of October p.142 PHAT COMPTROLLER The compilations to gobble up this month p.146 Pic: DAN REID djmag.com 121 HOUSE BEN ARNOLD QUICKIES Urulu The Armadillo EP [email protected] Amadeus Records 8.0 Taylor Freels, aka Urulu, drops some first-rate balearic house music in the gently marvellous 'The Nautlus', while the busted-up beats of 'Cold Ravioli' will warm the soul. Dudley Strangeways & Luke Black MONEY Split EP Chord Records Iron Curtis SHOT! 7.5 Lights EP Proceed directly to 'Even Tides' from Dudley Hudd Traxx Strangeways here, via Luke Black's Chord 9.0 Records. It crunches and shuffles in all the right This is flawless work from places. Iron Curtis — aka Nürnberg- native Johannes Paluka — Gina Breeze delivered on the inimitable, from Scotland's Lord Of The own vinyl-only offshoot 22 After Dark EP Huddersfield-founded Hudd Isles and Frank T Butters are Digit LTD; a message of unity Classic Music Company Traxx. 'Lights', being the title excellent too. layered over bass thick enough 7.5 track here, is indeed a peak- to stand your spoon up in. Cracking debut on Luke Solomon and Derrick time colossus, all string stabs Felix Da Housecat Appleblim pulls out a brilliantly Carter's Classic from Homoelectric's very own and spine tingles.