How America Invented Rock and Roll (And What That Teaches Us Today) Written for and Presented on Underground Media Productions January 14Th, 2021

Total Page:16

File Type:pdf, Size:1020Kb

How America Invented Rock and Roll (And What That Teaches Us Today) Written for and Presented on Underground Media Productions January 14Th, 2021 How America Invented Rock and Roll (And What That Teaches Us Today) Written for and Presented on Underground Media Productions January 14th, 2021 - Speaker: Larry Kuperman Why Am I Here Tonight? (Or Why Is This Night Different from All Other Nights?) Before I begin my presentation, I would like to thank Acacia Dietz for hosting this and to salute Jeff Schoep for making this possible. Jeff and I are so different and yet I will always value his friendship and empathy and view him as a living symbol of redemption, proof that America is about second chances. Okay, now onto the immediate reason that I am speaking tonight. On January 6th, 2021 we all watched our American Capitol be defaced. With all the terrible events of that day, the most striking images were of my fellow Americans wearing on their shirts “Camp Auschwitz” and “6 Million Weren’t Enough.” I was so angry, so enraged that I wanted to….teach them that their hatred was misplaced and based in part on ignorance of our shared history. Yes, I know that they hate me, hate my family, hate my children. They view all things made by people like me as tainted, unclean, and defiling the purity that they long for. I wonder if they knew that included in the things made by “mud people” like me is that most American form of music, Rock and Roll. This is the story of how that came about. Before I tell you that story, I’d like to ask that you think about, visualize, a map of the world. Look at how small the Middle East is. Now zoom in even closer and look at Israel. See that little dot that is Jerusalem? That is place that the Arabs call Al-Quds, the Holy One. Ask yourself by what coincidence this place, this tiny bit of land, brought forth Moses, Jesus, and Muhammed. And you’ll have to listen to the end to have that question answered. Our American Story The history of Black and Jews in America goes back a lot further than people realize. In 1619, the San Juan Bautista1, a Portuguese ship, left Angola in Africa to cross the Middle Passage to the New World with 350 slaves on board. By the time the ship docked at Veracruz, Mexico on August 30th, only 147 remained alive and on board. Fifty had been taken by English pirates aboard the ship the White Lion and would be exchanged for food and supplies at the English colony of Point Comfort in Virginia. 1 1619 in America: 400 years ago, Africans arrived in Virginia (usatoday.com) A year after the arrival of the first Africans in America, the Pilgrims would arrive on board the Mayflower. Not to belabor the point but let’s remember who was here first. The Pilgrims were among a number of groups who came to America seeking the freedom to worship as they saw fit. Among the other groups that would follow were Jews fleeing the Inquisition. Europe was not a hospitable place for Jews. In fact, the word “ghetto” originally referred to a specific place to that section of Venice where Jews were segregated.2 But it was generally a place where Jews could survive. Jews had lived peacefully in Spain and Portugal for hundreds of years. Beginning in 1492, under royal edicts, both Jews and Muslims were told that they must either convert to Christianity or leave. Even if they chose to stay, they were called Marranos and were under suspicion. Most Jews accepted conversion, sometime practicing Jewish rites in secret. Others fled. Holland, which was a Spanish colony, was one destination. Brazil, that was originally under Dutch authority, was another. Although it has since been renamed the Rua dos Judeus (Street of the Jews) in Recife, Brazil was the site of the Kahal Zur Israel Synagogue, built in 1636. South America was not to be the final destination. Joachim Gans, born in Prague, Bohemia, was recruited by Sir Walter Raleigh as a mining expert. He had helped develop a new process for the smelting of copper. He arrived in America in 1585, settling in the Virginia territory. He didn’t stay long, returning to England in 1586. But he was the first. 2 Venetian Ghetto - Wikipedia In 1654, Jacob Barsimson, an agent of the Dutch Jewish community arrives at the Dutch colony of New Amsterdam, to make ready. Later that same year a group of 23 Jews from Recife in Brazil flee the Portuguese aboard the Sainte Catherine. Barsimson meets them. But they are not welcomed. Dutch Governor Peter Stuyvesant called them “the deceitful race, the hateful enemies and blasphemers of the name of Christ…” and has them thrown in prison. But he has made a mistake. His employer, the Dutch West India Company, has Jewish investors who order him to “let my people go.” I am paraphrasing, but you get the idea. Jews have arrived in what would become the United States 120 years before the Declaration of Independence. I have spoken about this before. Jews, in particular Haym Salomon, supported the American Revolution as this was our home. Our Un-Civil War Slavery spread throughout the Americas. The insidious practice was not confined to the British or to the colonies that would become the United States. The Portuguese, the Spanish, the Dutch, the Danish, and the French all were involved. They established outposts on the African coast, bought enslaved people from local leaders, and transported them to Europe and the Western Hemisphere with little regard for human life. It is estimated that over 12 million Africans were taken from their homes, with 1.2 to 2.4 million dying during the passage and millions more dying in what were called “seasoning camps.”3 It would be great if I could say that Jews did not participate in the slave trade, but that wouldn’t be true. Also untrue is the myth that Jews dominated the trade. By 3 Atlantic slave trade - Wikipedia and large Jews were as guilty, no more and no less, as other people of European descent. In the years after the Revolution, the American city with the largest Jewish population was Charleston, South Carolina. The charter of that fair city guaranteed freedom of expression to “Jews, heathens, and dissenters.“ Jews were accepted in a way that they had not been in Europe. And outside of the ghetto life, they began to mingle with their neighbors. Some members of Congregation Beth Elohim began to notice that the services attended by their Christian neighbors were in English. And were shorter. And had organ music! They petitioned the congregation to adopt these traits. When they were rejected, they formed their own congregation, the Reform Society of Israelites and Reform Judaism was born. Now bear in mind that South Carolina was in that part of the country where slavery was prevalent. We don’t have evidence of it, but it is logical that in some households the Passover Seder meal, the Jewish celebration of the flight from slavery in the land of Egypt, was served by African slaves. Again, there is a myth that Jews were particularly engaged in the slave trade. There are meticulous records of the sale and purchase of slaves and Jewish owners were in about the same proportion as non-Jewish.4 When the Civil War broke out Jews fought on both sides. About 12,000 Jews in all were engaged in the war, with three-fourths (about 9000) fighting for the Union. The remainder fought for the Confederacy. Ft. Myers, Florida, is named after Abraham Myers, the quartermaster general for the South5. Judah P. Benjamin served as first the Secretary of War and then the Secretary of State for the Confederacy. After the war he would flee the United States.6 While I have said that Jews were, by and large, accepted in America, that was not always the case. In 1862, Union Major-General Ulysses S. Grant issued General Order No. 11 expelling all Jews from his district: Tennessee, Mississippi, and Kentucky. President Lincoln would countermand that order in 1863. 4 Project MUSE - Jews, Slaves, and the Slave Trade: Setting the Record Straight (review) (jhu.edu) 5 QM General Abraham C Myers Story – The Virtual Museum of Southwest Florida Jewish History (jewishhistorysouthwestflorida.org) 6 Judah P. Benjamin - Wikipedia What About the Music? The point so far is to set the stage that Blacks and Jews were here in America from the very earliest days and that we had shed our blood to gain the freedoms that we enjoy today. But let’s get to the music. In the city of New Orleans there is a park named after Louis Armstrong and in this park there is place called Congo Square. The French slave- owners in the days before the Civil War allowed the slaves to meet there, giving them freedom from their labors. They celebrated by playing their traditional music and doing their traditional dances. Soon Europeans began coming to the park to watch and listen. A thing happened then. The slaves began to play African songs on the musical instruments of the Europeans and to mix the two styles of music. This gave rise to the New Orleans Second Line and to American Jazz. Early performers who helped popularize this style of music included Mahalia Jackson, Jelly Roll Morton and of course, Louis Armstrong. Things were changing for American Jews as well. The first Jewish settlers came from Spain and Portugal, the Sephardim. They were soon joined by Western European Jews from Holland, France and Germany.
Recommended publications
  • Court Review: the Journal of the American Judges Association American Judges Association
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Court Review: The Journal of the American Judges Association American Judges Association 2015 Court Review: The Journal of the American Judges Association 51:3 (2015)- Whole Issue Follow this and additional works at: https://digitalcommons.unl.edu/ajacourtreview "Court Review: The Journal of the American Judges Association 51:3 (2015)- Whole Issue" (2015). Court Review: The Journal of the American Judges Association. 526. https://digitalcommons.unl.edu/ajacourtreview/526 This Article is brought to you for free and open access by the American Judges Association at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Court Review: The Journal of the American Judges Association by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Court ReviewVolume 51, Issue 3 THE JOURNAL OF THE AMERICAN JUDGES ASSOCIATION TABLE OF CONTENTS EDITORS BOOK REVIEW Judge Steve Leben Kansas Court of Appeals 90 Writing Like the Best Judges Professor Eve Brank Steve Leben University of Nebraska MANAGING EDITOR Charles F. Campbell National Center for State Courts ARTICLES ASSOCIATE EDITOR Justine Greve 94 Weddings, Whiter Teeth, Judicial-Campaign Speech, and More: Kansas Court of Appeals Civil Cases in the Supreme Court’s 2014-2015 Term EDITORIAL BOARD Todd E. Pettys Kelly Lynn Anders Kansas City, Missouri 106 Making Continuous Improvement a Reality: Judge Karen Arnold-Burger Kansas Court of Appeals Achieving High Performance in the Ottawa County, Michigan, Circuit and Probate Courts Pamela Casey, Ph.D. Brian J. Ostrom, Matthew Kleiman, Shannon Roth & Alicia Davis National Center for State Courts Judge B.
    [Show full text]
  • Ralph W. Judd Collection on Cross-Dressing in the Performing Arts
    http://oac.cdlib.org/findaid/ark:/13030/kt487035r5 No online items Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. ONE National Gay and Lesbian Archives 909 West Adams Boulevard Los Angeles, California 90007 Phone: (213) 741-0094 Fax: (213) 741-0220 Email: [email protected] URL: http://www.onearchives.org © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Finding Aid to the Ralph W. Judd Coll2007-020 1 Collection on Cross-Dressing in the Performing Arts Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Collection number: Coll2007-020 ONE National Gay and Lesbian Archives Los Angeles, California Processed by: Michael P. Palmer, Jim Deeton, and David Hensley Date Completed: September 30, 2009 Encoded by: Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Descriptive Summary Title: Ralph W. Judd collection on Cross-Dressing in the Performing Arts Dates: 1848-circa 2000 Collection number: Coll2007-020 Creator: Judd, Ralph W., 1930-2007 Collection Size: 11 archive cartons + 2 archive half-cartons + 1 records box + 8 oversize boxes + 19 clamshell albums + 14 albums.(20 linear feet). Repository: ONE National Gay and Lesbian Archives. Los Angeles, California 90007 Abstract: Materials collected by Ralph Judd relating to the history of cross-dressing in the performing arts. The collection is focused on popular music and vaudeville from the 1890s through the 1930s, and on film and television: it contains few materials on musical theater, non-musical theater, ballet, opera, or contemporary popular music.
    [Show full text]
  • Jacques Brel Is Alive and Well and Living in Paris
    Otterbein University Digital Commons @ Otterbein 1986 Summer Theatre Productions 1981-1990 7-2-1986 Jacques Brel is Alive and Well and Living in Paris Otterbein University Theatre and Dance Department Follow this and additional works at: https://digitalcommons.otterbein.edu/summer_production_1986 Part of the Acting Commons, Dance Commons, and the Theatre History Commons Recommended Citation Otterbein University Theatre and Dance Department, "Jacques Brel is Alive and Well and Living in Paris" (1986). 1986 Summer Theatre. 2. https://digitalcommons.otterbein.edu/summer_production_1986/2 This Book is brought to you for free and open access by the Productions 1981-1990 at Digital Commons @ Otterbein. It has been accepted for inclusion in 1986 Summer Theatre by an authorized administrator of Digital Commons @ Otterbein. For more information, please contact [email protected]. TWENTIETH ANNIVERSARY SEASON WITH SPONSORSHIP BY BANK ONE, OF OOLUMBUS, NA and support of the Ohio Arts Oouncil Jacques Brel is Alive and Well and Living in Paris Production Conception, English Lyrics, Additional Material by ERIC BLAU and MORT SHUMAN Based on Brel’s Lyrics & Comentary Music by JACQUES BREL Featuring Equity Guest Artist TRACY DODRILL Scenery ondLighting by Professional Guest Artist D MARTYN BOOKWALTER July 2,3, 5, 6, 8-12, 1986 Director: ROBERT HEnUERINGTON Choreographer: SUSAN VAN PELT Musical Director: KENNETH KLESZYNSKI Costume Designer: MICHAEL S. SLANE OHERBEIN SUMMER THEATRE Otterbein College • Wester/ille Ohio Air Conditioned Arena Theatre in Campus Center Presents Our 20th Anniversary Season With Sponsorship from Bank One, Columbus, NA and with Support of the Ohio Arts Council Ah, Wilderness! June 24-29 Eugene O’Neill’s romantic comedy starts our 20th anniversary season with an evening that promises to be warm, tender, and delightfully funny as we take a nostalgic look at an average American family at the turn of the century.
    [Show full text]
  • From Commerce to Art: American Women Photographers 1850--1900 Denny, Margaret H
    From commerce to art: American women photographers 1850--1900 Denny, Margaret H.. Proquest Dissertations And Theses 2010. Section 0799, Part 0377 468 pages; [Ph.D. dissertation].United States -- Illinois: University of Illinois at Chicago; 2010. Publication Number: AAT 3431211. 'Imprints of their being': The photographs of Hansel Mieth and Otto Hagel Linssen, Dalia Habib. Proquest Dissertations And Theses 2010. Section 0017, Part 0377 402 pages; [Ph.D. dissertation].United States - - Massachusetts: Boston University; 2010. Publication Number: AAT 3430399. The Narrative Document: Lewis Hine and "Social Photography" Quick, Kathy A.. Proquest Dissertations And Theses 2010. Section 0024, Part 0377 171 pages; [Ph.D. dissertation].United States -- Rhode Island: Brown University; 2010. Publication Number: AAT 3430074. Japanism and the American aesthetic interior, 1867--1892: Case studies by James McNeill Whistler, Louis Comfort Tiffany, Stanford White, and Frank Lloyd Wright Roberts, Ellen E.. Proquest Dissertations And Theses 2010. Section 0017, Part 0377 316 pages; [Ph.D. dissertation].United States - - Massachusetts: Boston University; 2010. Publication Number: AAT 3430422. The buffoon men: Classic Hollywood comedians and masculinity Balcerzak, Scott Daniel. Proquest Dissertations And Theses 2008. Section 0070, Part 0900 253 pages; [Ph.D. dissertation].United States -- Florida: University of Florida; 2008. Publication Number: AAT 3425471. Exhibiting Cinema: The Moving Image in Art After 1990 Balsom, Erika. Proquest Dissertations And Theses 2010. Section 0024, Part 0900 417 pages; [Ph.D. dissertation].United States -- Rhode Island: Brown University; 2010. Publication Number: AAT 3430048. 1 Afterimages and afterthoughts about the afterlife of film: A memory of resistance Cammaer, Gerda Johanna. Proquest Dissertations And Theses 2009. Section 0228, Part 0900 285 pages; [Ph.D.
    [Show full text]
  • 2018–2019 Annual Report
    18|19 Annual Report Contents 2 62 From the Chairman of the Board Ensemble Connect 4 66 From the Executive and Artistic Director Digital Initiatives 6 68 Board of Trustees Donors 8 96 2018–2019 Concert Season Treasurer’s Review 36 97 Carnegie Hall Citywide Consolidated Balance Sheet 38 98 Map of Carnegie Hall Programs Administrative Staff Photos: Harding by Fadi Kheir, (front cover) 40 101 Weill Music Institute Music Ambassadors Live from Here 56 Front cover photo: Béla Fleck, Edgar Meyer, by Stephanie Berger. Stephanie by Chris “Critter” Eldridge, and Chris Thile National Youth Ensembles in Live from Here March 9 Daniel Harding and the Royal Concertgebouw Orchestra February 14 From the Chairman of the Board Dear Friends, In the 12 months since the last publication of this annual report, we have mourned the passing, but equally importantly, celebrated the lives of six beloved trustees who served Carnegie Hall over the years with the utmost grace, dedication, and It is my great pleasure to share with you Carnegie Hall’s 2018–2019 Annual Report. distinction. Last spring, we lost Charles M. Rosenthal, Senior Managing Director at First Manhattan and a longtime advocate of These pages detail the historic work that has been made possible by your support, Carnegie Hall. Charles was elected to the board in 2012, sharing his considerable financial expertise and bringing a deep love and further emphasize the extraordinary progress made by this institution to of music and an unstinting commitment to helping the aspiring young musicians of Ensemble Connect realize their potential. extend the reach of our artistic, education, and social impact programs far beyond In August 2019, Kenneth J.
    [Show full text]
  • “Amarillo by Morning” the Life and Songs of Terry Stafford 1
    In the early months of 1964, on their inaugural tour of North America, the Beatles seemed to be everywhere: appearing on The Ed Sullivan Show, making the front cover of Newsweek, and playing for fanatical crowds at sold out concerts in Washington, D.C. and New York City. On Billboard magazine’s April 4, 1964, Hot 100 2 list, the “Fab Four” held the top five positions. 28 One notch down at Number 6 was “Suspicion,” 29 by a virtually unknown singer from Amarillo, Texas, named Terry Stafford. The following week “Suspicion” – a song that sounded suspiciously like Elvis Presley using an alias – moved up to Number 3, wedged in between the Beatles’ “Twist and Shout” and “She Loves You.”3 The saga of how a Texas boy met the British Invasion head-on, achieving almost overnight success and a Top-10 hit, is one of triumph and “Amarillo By Morning” disappointment, a reminder of the vagaries The Life and Songs of Terry Stafford 1 that are a fact of life when pursuing a career in Joe W. Specht music. It is also the story of Stafford’s continuing development as a gifted songwriter, a fact too often overlooked when assessing his career. Terry Stafford publicity photo circa 1964. Courtesy Joe W. Specht. In the early months of 1964, on their inaugural tour of North America, the Beatles seemed to be everywhere: appearing on The Ed Sullivan Show, making the front cover of Newsweek, and playing for fanatical crowds at sold out concerts in Washington, D.C. and New York City.
    [Show full text]
  • Race, Youth, and the Everyday Rebellion of Rock and Roll, Cleveland, Ohio, 1952-1966
    Cleveland State University EngagedScholarship@CSU ETD Archive 2010 The Only Common Thread: Race, Youth, and the Everyday Rebellion of Rock and Roll, Cleveland, Ohio, 1952-1966 Dana Aritonovich Cleveland State University Follow this and additional works at: https://engagedscholarship.csuohio.edu/etdarchive Part of the History Commons How does access to this work benefit ou?y Let us know! Recommended Citation Aritonovich, Dana, "The Only Common Thread: Race, Youth, and the Everyday Rebellion of Rock and Roll, Cleveland, Ohio, 1952-1966" (2010). ETD Archive. 714. https://engagedscholarship.csuohio.edu/etdarchive/714 This Thesis is brought to you for free and open access by EngagedScholarship@CSU. It has been accepted for inclusion in ETD Archive by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. THE ONLY COMMON THREAD: RACE, YOUTH, AND THE EVERYDAY REBELLION OF ROCK AND ROLL, CLEVELAND, OHIO, 1952-1966 DANA ARITONOVICH Bachelor of Arts in Communications Lake Erie College May, 2006 submitted in partial fulfillment of requirements for the degree MASTER OF ARTS IN HISTORY at the CLEVELAND STATE UNIVERSITY May, 2010 This thesis has been approved for the Department of HISTORY and the College of Graduate Studies by _____________________________________________ Thesis Chairperson, Dr. Karen Sotiropoulos ___________________________ Department & Date _____________________________________________ Dr. David Goldberg ___________________________ Department & Date _____________________________________________ Dr. Thomas Humphrey ___________________________ Department & Date THE ONLY COMMON THREAD: RACE, YOUTH, AND THE EVERYDAY REBELLION OF ROCK AND ROLL, CLEVELAND, OHIO, 1952-1966 DANA ARITONOVICH ABSTRACT This thesis is a social and cultural history of young people, race relations, and rock and roll music in Cleveland between 1952 and 1966.
    [Show full text]
  • Watch Cadillac Records Online Free
    Watch Cadillac Records Online Free Unanswered and bacillary John always incarnate glossarially and teds his burletta. Attackable Kyle overbid her hickory so Germanically that Aldwin amalgamate very shipshape. Aggravated Danie expertising hoarsely. Which Side of History? Get unlimited access with current Sense Media Plus. Watch Cadillac Records 200 Online PrimeWire. The concert to contact you can easily become a cookie value is arrested and selling records not allowed symbols! Beyonc sings All hunk Could Do Is shortage in neither movie Cadillac Records. The record label, a watch online free online or comments via email to? Online free online go to? We have a watch cadillac records online free. Born in this action, it is a video now maybe it with a past and wanted a netflix, i saw the blues guitarist muddy waters. Notify me of new comments via email. Cadillac records repelis, most of titles featured on peacock has turned to keep their desire for a sect nobody ever see when the princess and stevie wonder vs. Centennial commemorative plate that artists. Is cadillac men and watch cadillac records family. You watch cadillac records follows fours childhood friends who desires him shouting a record label, and follow this review helpful guides for. Wonder boy he thinks about being left strand of the ramp about many life? Please enable push notification permissions for free online, and phil chess records full movie wanting to find out of moral integrity, because leonard as chuck berry. Your blog cannot read this is very different shows and he supported browsers in love and selling records on the actors and watch cadillac records online free! Sam died of old age.
    [Show full text]
  • Aristocrat/Chess Records by Frank Daniels
    Aristocrat/Chess Records by Frank Daniels When Aristocrat Records began in early April, 1947, the firm had several partners. The label was going to feature all sorts of musicians – not just pop, or country, or jazz. By September they hired Leonard Chess to help sell their singles, and by the end of the year several of the partners had gone away. The musicians’ union strike in 1948 probably drove some of the others away, so that by 1949 Evelyn Aron and Leonard Chess were basically running the show by themselves. Aron joined Art Spiegel that year in forming American Distributing, and Phil Chess wound up joining Leonard. By spring, 1950, they were preparing for a name change to Chess Records. As if they were foretelling the future, some of the greatest artists on the label were in their blues stable – including the always- noteworthy Muddy Waters, the father of (modern) Chicago blues. Muddy had recorded unreleased material for Columbia and had just released one record for Ballen’s 20th Century label, the B-side of a single. That had been a primitive version of his song, “Mean Red Spider,” a record that would be rerecorded for Aristocrat. As soon as his first Aristocrat single hit (in February, 1948), Muddy was a blues legend. When Aristocrat morphed into Chess, right away he released the song that gave the Rolling Stones their name (7/15/50). Aristocrat Records had plenty of talent on the label, but their blues artists piqued the most interest, and these were the artists that Chess was most interested in promoting.
    [Show full text]
  • “Bo Diddley” and “I'm a Man” (1955)
    “Bo Diddley” and “I’m a Man” (1955) Added to the National Registry: 2011 Essay by Ed Komara (guest post)* Bo Diddley While waiting in Bo Diddley’s house to conduct an interview for the February 12, 1987 issue of “Rolling Stone,” journalist Kurt Loder noticed a poster. “If You Think Rock and Roll Started With Elvis,” it proclaimed, “You Don’t Know Diddley.” This statement seems exaggerated, but upon listening to Diddley’s April 1955 debut 78 on Checker 814, “Bo Diddley” backed with “I’m A Man,” it becomes apt, perhaps even understated. Bo Diddley (1928-2008) described his own place in music history to Loder. “People wouldn’t even bother with no stuff like ‘Bo Diddley’ and ‘I’m A Man’ and stuff like that ten years earlier [circa 1945] or even a year earlier [1954]. Then Leonard and Phil Chess decided to take a chance, and suddenly a whole different scene, a different kind of music, came in. And that was the beginning of rock and roll.” The composer credit for Checker 814 reads “E. McDaniels,” and there begins the tale. Bo Diddley was born Ellas Otha Bates in McComb, Mississippi on December 30, 1928 to a teenage mother and her local boyfriend. He was raised, however, by his maternal first cousin, Gussie McDaniel, to whom he was taken to Chicago, and given her surname McDaniel. He grew up on the South Side of the city, where he learned violin, trombone and, at age 12, the guitar. Before long, he was playing for change on the local streets.
    [Show full text]
  • Jacques Brel Is Alive and Well and Living in Paris
    Taylor University Pillars at Taylor University Taylor Theatre Playbills Campus Events 10-12-1977 Jacques Brel is Alive and Well and Living in Paris Follow this and additional works at: https://pillars.taylor.edu/playbills Part of the Acting Commons, Dance Commons, Higher Education Commons, Playwriting Commons, and the Theatre History Commons Recommended Citation "Jacques Brel is Alive and Well and Living in Paris" (1977). Taylor Theatre Playbills. 183. https://pillars.taylor.edu/playbills/183 This Book is brought to you for free and open access by the Campus Events at Pillars at Taylor University. It has been accepted for inclusion in Taylor Theatre Playbills by an authorized administrator of Pillars at Taylor University. For more information, please contact [email protected]. T"Sl* Unirrers,tu, Th"*tt* Prssenls sBb {Nry? u And Uell $rin Pqris nnl -( L'"ttt"e, Thrnt're, October"' la,13, lL} * 15, tgll JACQUES BREL IS ALIVE AND WELL AI{D LIVING TN PARIS Produced by the Communication and Theatre Arts Department DirectorfDesigner: Ollie Hubbard OLLIE HUBBARD is beginning his second year as the Director of Theatre for the Communication arrd Theatre Arts Department at Taylor. Last year Mr. Hubbard designed the set for the Homecoming Weekend play THE MOUSETRAP, directed and desisned BRIGADOON and directed and desisned DOCTOR FAUSTUS which was also toured as a Religious Drama. He will be directing Bertolt Brecht's GALILEC in February and designer and technical director for the April production, A DOLL'S HOUSE. Mr. Hubbard is presently completing his dessertation in Theatre Arts at Kent State University.
    [Show full text]
  • 2011 – Cincinnati, OH
    Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers.
    [Show full text]