ALABAMA Alabama Jazz and Blues Federation Address: P.O. Box
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Introduction
NOTES INTRODUCTION 1. Nathanael West, The Day of the Locust (New York: Bantam, 1959), 131. 2. West, Locust, 130. 3. For recent scholarship on fandom, see Henry Jenkins, Textual Poachers: Television Fans and Participatory Culture (New York: Routledge, 1992); John Fiske, Understanding Popular Culture (New York: Routledge, 1995); Jackie Stacey, Star Gazing (New York: Routledge, 1994); Janice Radway, Reading the Romance (Chapel Hill: University of North Carolina, 1991); Joshua Gam- son, Claims to Fame: Celebrity in Contemporary America (Berkeley: Univer- sity of California Press, 1994); Georganne Scheiner, “The Deanna Durbin Devotees,” in Generations of Youth, ed. Joe Austin and Michael Nevin Willard (New York: New York University Press, 1998); Lisa Lewis, ed. The Adoring Audience: Fan Culture and Popular Media (New York: Routledge, 1993); Cheryl Harris and Alison Alexander, eds., Theorizing Fandom: Fans, Subculture, Identity (Creekskill, N.J.: Hampton Press, 1998). 4. According to historian Daniel Boorstin, we demand the mass media’s simulated realities because they fulfill our insatiable desire for glamour and excitement. To cultural commentator Richard Schickel, they create an “illusion of intimacy,” a sense of security and connection in a society of strangers. Ian Mitroff and Warren Bennis have gone as far as to claim that Americans are living in a self-induced state of unreality. “We are now so close to creating electronic images of any existing or imaginary person, place, or thing . so that a viewer cannot tell whether ...theimagesare real or not,” they wrote in 1989. At the root of this passion for images, they claim, is a desire for stability and control: “If men cannot control the realities with which they are faced, then they will invent unrealities over which they can maintain control.” In other words, according to these authors, we seek and create aural and visual illusions—television, movies, recorded music, computers—because they compensate for the inadequacies of contemporary society. -
Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N. -
In 1925, Eight Actors Were Dedicated to a Dream. Expatriated from Their Broadway Haunts by Constant Film Commitments, They Wante
In 1925, eight actors were dedicated to a dream. Expatriated from their Broadway haunts by constant film commitments, they wanted to form a club here in Hollywood; a private place of rendezvous, where they could fraternize at any time. Their first organizational powwow was held at the home of Robert Edeson on April 19th. ”This shall be a theatrical club of love, loy- alty, and laughter!” finalized Edeson. Then, proposing a toast, he declared, “To the Masquers! We Laugh to Win!” Table of Contents Masquers Creed and Oath Our Mission Statement Fast Facts About Our History and Culture Our Presidents Throughout History The Masquers “Who’s Who” 1925: The Year Of Our Birth Contact Details T he Masquers Creed T he Masquers Oath I swear by Thespis; by WELCOME! THRICE WELCOME, ALL- Dionysus and the triumph of life over death; Behind these curtains, tightly drawn, By Aeschylus and the Trilogy of the Drama; Are Brother Masquers, tried and true, By the poetic power of Sophocles; by the romance of Who have labored diligently, to bring to you Euripedes; A Night of Mirth-and Mirth ‘twill be, By all the Gods and Goddesses of the Theatre, that I will But, mark you well, although no text we preach, keep this oath and stipulation: A little lesson, well defined, respectfully, we’d teach. The lesson is this: Throughout this Life, To reckon those who taught me my art equally dear to me as No matter what befall- my parents; to share with them my substance and to comfort The best thing in this troubled world them in adversity. -
The Recordings
Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr. -
Pretty Swimming"
LOCAL AND GLOBAL MERMAIDS: THE POLITICS OF "PRETTY SWIMMING" By LAURA MICHELLE THOMAS B.A. (Psychology), The University of British Columbia, 1996 B.A. (History), The University of British Columbia, 1999 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Educational Studies) We accept this tresis as conforming to the required standard THkjJNJrVERSITY OF BRITISH COLUMBIA September 2001 © Laura Michelle Thomas, 2001 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department The University of British Columbia Vancouver, Canada DE-6 (2/88) Abstract This thesis considers the perceived athleticism of synchronized swimming by looking at the implications of representations of Esther Williams and "pretty swimming" in popular culture, the allocation of space for women's sport in a local public swimming pool, and an inaugural championship event. Focusing on the first British Columbia (BC) synchronized swimming championships, which were held on February 5, 1949 at Crystal Pool in Vancouver, it shows that images of synchronized swimming as "entertainment" facilitated the development of a new arena of competition for BC women, but that this was accompanied, in effect, by a trivialization of the accomplishments of organizers and athletes. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
July 2020 AFM LOCAL 47
AFM LOCAL 47 July 2020 online FINDING A NEW RHYTHM What will returning to work look like for musicians amid COVID-19? General Membership Meeting Local 47 General Election July 27 via Zoom - open to all members Nominating petitions available Aug.st 1 online - Official monthly electronic magazine of the ISSN: 2379-1322 American Federation of Musicians Local 47 - Publisher: Editor: Gary Lasley AFM Local 47 Managing Editor/Layout/ 3220 Winona Ave. Graphics: Linda A. Rapka Burbank CA 91504 Advertising Manager: 323.462.2161 Dan Walding www.afm47.org Message From the Editor Please be aware that AFM Local 47 will not be publishing a print Overture Magazine in July or October due to cost-saving mea- sures surrounding COVID-19, but that we continue to publish our digital e-magazine Overture Online the first of each month, as well as communicate with members via email blasts and our Local 47 Beat email newsletter. During these difficult times we're doing everything we can to help our members get back to work safely while also maintain- ing vital services to our members. In order to better serve you, we are looking at every possible way to cut costs and save on administrative expenses here at our Local 47 offices. One sim- ple yet effective step all members can take to help us cut down expenses is to add your current email address to your Directory profile. This will allow us to ensure that you receive timely up- dates from Local 47 in the most cost-effective way possible. Please update your Directory profile with your current email and notification preferences by filling out the update form at afm47.org/directory or call 323.462.2161. -
CFP-125 9-18-14.Pdf
75¢ COLBY Thursday September 18, 2014 Volume 125, Number 146 Serving Thomas County since 1888 10 pages FFREEREE PPRESSRESS Speaker looks back to era of protesters By Sam Dieter of Denver, where students occupied a shanty town Colby Free Press on campus. [email protected] Dr. Sheila Schroeder, an associate professor at the university’s Department of Media, Film and Jour- A Colorado professor told students at Colby Com- nalism Studies, said she has been working on a film munity College on Tuesday that she had to search about 1960s-era protests at her school for several through dusty old boxes and storage areas to find film and photos of 1970 protests at the University See “SPEAKER,” Page 2 Art show judge teaches in McCook Rick Johnson, who grew up in media. His paintings were shown the Nebraska landscape he says in the Fred Simon Gallery exhibi- has been the inspiration in most of tion in 2013 and his most recent his art work, has agreed to judge showing was at the Governor’s Colby’s High Plains Art Club Mansion Exhibition in Lincoln. show, which will be open Oct. 18 This year, his Highlands Solo and 19 in the gymnasium at Heart- Exhibition was staged in Dallas TESSA HILL/Gem 4-H historian land Christian School. and he also had a painting in the Amanda Leica picked up trash while her father, Joe Leija, trimmed tall weeds Sept. 7 when the Johnson, a lifelong resident of Museum of Nebraska Art “Spirit” Gem 4-H Club cleaned up the area behind the Gem firehouse. -
Gil Fuller and the Monterey Jazz Festival Orchestra
Gil Fuller Night Flight mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Night Flight Country: US Released: 1966 Style: Big Band MP3 version RAR size: 1759 mb FLAC version RAR size: 1890 mb WMA version RAR size: 1965 mb Rating: 4.2 Votes: 632 Other Formats: VOC APE ASF MOD AHX XM MMF Tracklist A1 Tin Tin Deo 2:52 A2 I'm In The Mood For Love 3:35 A3 Night Flight 2:58 A4 Our Man Flint 2:55 A5 Seesaw 2:40 A6 Batucada Surgiu 2:20 B1 17 Mile Drive 4:08 B2 A Patch Of Blue 2:40 B3 Latin Lady (From "Angel City Suite") 4:34 B4 Blues For A Debutante 2:32 B5 Sweets For My Sweet 2:30 B6 Wild Chestnuts 2:16 Credits Alto Saxophone, Flute – Gabe Baltazar, James Moody Alto Saxophone, Tenor Saxophone – Clifford Scott Art Direction – Woody Woodward Baritone Saxophone – Bill Hood Baritone Saxophone, Bass Clarinet – Bill Green* Bass – Chuck Berghofer Congas, Bongos – Francisco Aguabella Drums – Chuck Flores Engineer – Henry Lewy, Lanky Linstrot French Horn – Alan Robinson, Gale Robinson , Sam Cassano Leader – Gil Fuller Liner Notes – Tom Reed Organ – George Semper Photography By [Cover] – Ken Kim Photography By [Inside, Back] – Art Adams* Piano – Mike Wofford Producer – Richard Bock Tenor Saxophone, Clarinet – Ira Schulman Trombone – Bob Enevoldsen, Ernie Tack, Lou Blackburn Trumpet – Al Porcino, Conte Candoli, Jimmy Zito*, Melvin Moore Barcode and Other Identifiers Rights Society: ASCAP / BMI Matrix / Runout: PJ-10101-2-SIDE 1 1 A1 Matrix / Runout: PJ 10101 SIDE 2 / 1 A2 Other versions Category Artist Title (Format) Label Category Country Year -
MGM: Hollywood's Greatest Backlot a Lavish Illustrated History of Ho
MGM: Hollywood's Greatest Backlot A Lavish Illustrated History of Ho... http://www.mgmbacklot.info/ AUTHORS BIBLIOGRAPHY EVENTS LETTERS PREVIEW QUIZ Once upon a time, long ago, there existed a vast and magical empire, ruled by money and power and fueled by imagination, talent and ambition. This magical place was not a work of fiction and its location was not a far away mountain top or a remote tropical island. It was found in Culver City, California and was known through out the world as Metro-Goldwyn Mayer Studios. 1 of 23 6/27/14, 5:12 PM MGM: Hollywood's Greatest Backlot A Lavish Illustrated History of Ho... http://www.mgmbacklot.info/ Through the M-G-M gates passed the greatest stars of filmdom from the Silent Era (Buster Keaton, Lon Chaney, Ramon Novarro, John Gilbert, Norma Shearer, Greta Garbo, and Marion Davies) to the Golden Era, (Jean Harlow, Joan Crawford, Clark Gable, Lana Turner, James Stewart, Judy Garland, Mickey Rooney, Hedy Lamarr, Fred Astaire, Ava Gardner and Elizabeth Taylor) and beyond (Debbie Reynolds, Glenn Ford, Rod Taylor, Elvis Presley, George Hamilton, and Doris Day). 2 of 23 6/27/14, 5:12 PM MGM: Hollywood's Greatest Backlot A Lavish Illustrated History of Ho... http://www.mgmbacklot.info/ The finest creative artists of show business, the world’s most beautiful women, kings and queens, presidents and princes, titans of industry, the great and the near-great from all nations and generations of movie lovers from around the world found their way to this Movieland institution. As the premiere movie factory, M-G-M Studios was a self-sufficient, self proclaimed “city within a city” built on six separate lots and spread across 185 fenced and gated acres. -
Swimming Pools, Movie Stars and Manifest Destiny Julie Anne Pattee
A Ceiling of Blue: Swimming Pools, Movie Stars and Manifest Destiny Julie Anne Pattee Department of Art History and Communication Studies McGill University, Montreal December 2010 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts in Communication Studies. © Julie Anne Pattee 2010 Table of Contents Introduction........................................................................................................................1 Chapter 1: La Maladie Imaginaire.....................................................................................4 1.1 The Medicalization and Militarization of the Public Sphere.......................................4 1.2 Disciplining Bodies and Dunking Fools ...................................................................12 1.3 Swimming Pools, Modernism and the Idea of Modern Culture................................14 Chapter 2: 1900-1920......................................................................................................18 2.1 The Million Dollar Mermaid and the Bathing Beauties...........................................18 2.2 Swimming Pools, Status Symbols and Masculinity..................................................22 2.3 Swimming Pools and Forces beyond our Control....................................................23 Chapter 3: 1921-1930......................................................................................................26 Chapter 4: Fallen Angels and the Butterfly ...................................................................35 -
Download the 2019 Directory of Jazz Societies
ALABAMA Alabama Jazz and Blues Federation Address: P.O. Box 11121 Montgomery, AL 36111 E-Mail: [email protected] Facebook: https://www.facebook.com/pages/Alabama-Jazz-Blues- Federation/322614877351?sk=timeline&ref=page_internal Year Established: 1990 Purpose: To preserve and perpetuate jazz and blues Events: Concerts and jam sessions, Labor Day Jazz Festival, Jazz on the grass, River Jam, up to 10 concerts a year, musician clinics and workshops Educational Programs/Services: Support music students at Baldwin Magnet School Mystic Order of the Jazz Obsessed (MOJO) Address: PO Box 748, Mobile, AL 36601-0748 Web: http://www.mojojazz.org Contact Name: Kevin Lee Title: President Year Established: 2001 Members: 100 Purpose: To encourage the performance, promotion, preservation and perpetuation of America’s original art form—jazz. MOJO will promote more playing of and publicity for jazz, coalesce support for existing local jazz, conduct jazz education programs for youth and adults, report to members news of jazz developments and MOJO activities, and produce jazz events. Events: Monthly MOJO Jazz Jambalaya, 4th Monday. “Info-tainment” featuring jazz musicians, education program focusing on jazz artist or group, light jambalaya dinner. Education programs/services: Visiting jazz scholars, jazz education & art exhibitions Affiliations: Mobile Arts Council, American Federation of Jazz Societies Tennessee Valley Jazz Society- Huntsville (TVJS) Address: 604 Jordan Lane, Huntsville, Alabama 35816 Phone: (256) 604-8172 E-Mail: [email protected] 1 Web: http://tvjs.webs.com/ Facebook: https://www.facebook.com/TennesseeValleyJazzSociety Contact Name: Howard Bankhead Title: Executive Director Year Established: 1981 Purpose: To promote and present jazz and jazz education through educational and entertaining programs and events Members: 180+ Meetings: Quarterly and as needed Newsletter/Periodical Name: Jazzgram Frequency: Quarterly Area Served: Northern Alabama, South Central Tennessee Affiliations/Collaborations: W.C.