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Bill Drafting Template
1 State of Arkansas 2 91st General Assembly 3 Regular Session, 2017 SR 13 4 5 By: Senator Irvin 6 7 SENATE RESOLUTION 8 HONORING JIMMY DRIFTWOOD FOR HIS CONTRIBUTIONS TO 9 FOLK MUSIC AND TO THE STATE OF ARKANSAS. 10 11 12 Subtitle 13 HONORING JIMMY DRIFTWOOD FOR HIS 14 CONTRIBUTIONS TO FOLK MUSIC AND TO THE 15 STATE OF ARKANSAS. 16 17 WHEREAS, Mr. Jimmy Driftwood was born James Corbitt Morris in Timbo, 18 Arkansas, on June 20, 1907, and died on July 12, 1998, in Fayetteville, 19 Arkansas; and was a prolific folk singer and songwriter, along with his 20 father, Neil Morris; and 21 22 WHEREAS, Jimmy Driftwood wrote over 6,000 folk songs, and is most 23 famous for “The Battle of New Orleans” and “Tennessee Stud“; and learned to 24 play guitar on his grandfather’s homemade instrument, which he used 25 throughout his career, noting that the neck was made from fence rail, the 26 sides from an old ox yoke, and the head and bottom from the headboard of his 27 grandmother’s bed; and 28 29 WHEREAS, Jimmy Driftwood received a degree in education from Arkansas 30 State Teacher’s College, now the University of Central Arkansas, married 31 Cleda Johnson in 1936, and began writing poetry and music; enjoyed his 32 teaching career in Arkansas and began a family; wrote songs during his 33 teaching career to help teach his students history in an entertaining manner; 34 and wrote his famous “The Battle of New Orleans” in 1936 to help his class 35 become interested in the event; and 36 *KLC253* 03-06-2017 14:08:28 KLC253 SR13 1 WHEREAS, it was not until the -
Myra Hess Had to Wait for Her Ultimate Breakthrough in Her English Homeland; for This Reason, She Initially Had to Earn Her Living by Teaching
Hess, Myra Irene Scharrer. However, Myra Hess had to wait for her ultimate breakthrough in her English homeland; for this reason, she initially had to earn her living by teaching. Her first major success abroad was her debut in Amster- dam, where she performed Schumann's Piano Concerto in A minor, Op. 54 with the Concertgebouw Orchestra un- der Willem Mengelberg in 1912. In 1922 followed her de- but in New York, where she was celebrated with equal en- thusiasm. Her career advanced rapidly from that point onwards, and she rose to the position of one of the most successful pianists in her homeland during the ensuing years. During the 1930s, she undertook extended concert tours throughout all of Europe, including the Scandinavi- an countries, Czechoslovakia, Hungary, Rumania, Tur- key, Yugoslavia, Germany, France and Holland. At the be- ginning of the Second World War, when all of London's concert halls were closed, she founded the legendary "Lunchtime Recitals" at the National Gallery, offering the London public a broad spectrum of high-quality pro- grammes with both young and established musicians. She herself performed at the National Gallery 146 times. The concerts were held without interruption until 10 Ap- Die Pianistin Myra Hess ril 1946. In 1941 Myra Hess was honoured with the title "Dame Commander of the Order of the British Empire" Myra Hess for her special efforts on behalf of musical life in her ho- meland. After the Second World War, the meanwhile fa- * 25 February 1890 in Hampstead (im heutigen mous pianist regularly gave concerts in her native count- Londoner Stadtbezirk Camden), England ry and in the USA, where she enjoyed great popularity. -
Literary, Subsidiary, and Foreign Rights Agents
Literary, Subsidiary, and Foreign Rights Agents A Mini-Guide by John Kremer Copyright © 2011 by John Kremer All rights reserved. Open Horizons P. O. Box 2887 Taos NM 87571 575-751-3398 Fax: 575-751-3100 Email: [email protected] Web: http://www.bookmarket.com Introduction Below are the names and contact information for more than 1,450+ literary agents who sell rights for books. For additional lists, see the end of this report. The agents highlighted with a bigger indent are known to work with self-publishers or publishers in helping them to sell subsidiary, film, foreign, and reprint rights for books. All 325+ foreign literary agents (highlighted in bold green) listed here are known to work with one or more independent publishers or authors in selling foreign rights. Some of the major literary agencies are highlighted in bold red. To locate the 260 agents that deal with first-time novelists, look for the agents highlighted with bigger type. You can also locate them by searching for: “first novel” by using the search function in your web browser or word processing program. Unknown author Jennifer Weiner was turned down by 23 agents before finding one who thought a novel about a plus-size heroine would sell. Her book, Good in Bed, became a bestseller. The lesson? Don't take 23 agents word for it. Find the 24th that believes in you and your book. When querying agents, be selective. Don't send to everyone. Send to those that really look like they might be interested in what you have to offer. -
Ben Cook Appoints Magnus Ribbeklint As General Manager, Atlantic Records Uk
2017-10-24 16:06 CEST BEN COOK APPOINTS MAGNUS RIBBEKLINT AS GENERAL MANAGER, ATLANTIC RECORDS UK Ribbeklint joins Atlantic UK having worked as General Manager of Warner Music Sweden, as well as Vice President, Marketing, Warner Music Nordics. A widely-respected leader in his field, Ribbeklint has been instrumental in guiding the company through the evolving digital landscape, with an innate understanding of the streaming era. Ben Cook - “Magnus is a brilliant creative and digital strategist. He shares our love of great music, our passion for artist development and our resolute focus on the future. Throughout the Nordic transition to streaming his foresight and expertise helped transform Warner Music Sweden into a global leader in social media, content and digital marketing. He joins us at a pivotal time for the UK industry. I’m confident he’ll help keep Atlantic at the leading edge of music’s on- going evolution - as we continue to find innovative new ways to release and campaign our amazing artists. I look forward to him being a key player in the already impressive force that makes up Atlantic UK.” Magnus Ribbeklint - “Jag vill tackaJonas Siljemark och hela det nordiska Warner- teamet för deras support. Det har varit ett stort privilegium att arbeta med dem de senaste fem åren. Jag har haft nöjet att få arbeta med några av de största artisterna I en tid när Norden har varit pionjärer i en grundläggande förvandling av musikindustrin. Jag har haft äran att jobba med svenska artister som Håkan Hellström, Laleh, Little Jinder, Lykke Li, Miriam Bryant, Måns Zelmerlöw, Nause, Otto Knows, Rhys och Sabina Ddumba, liksom nordiska stjärnor som Alma, Christopher och Julie Bergan. -
BILLBOARD COUNTRY UPDATE [email protected]
Country Update BILLBOARD.COM/NEWSLETTERS NOVEMBER 25, 2019 | PAGE 1 OF 20 INSIDE BILLBOARD COUNTRY UPDATE [email protected] Lady A’s Country Artists As Emotionally Torn Ocean Sails >page 4 By Impeachment As Their Fan Base “Old Town” Rode November Lee Greenwood might need to rewrite “God Bless the U.S.A.” in the current climate, and it’s particularly discouraging that Awards Nearly three years into a divisive presidency, the 53rd annual they have a difficult time even settling on reality. >page 10 Country Music Association Awards coincided with the start of “It’s he said/she said,” said LOCASH’s Chris Lucas. “I don’t impeachment hearings on Nov. 13. Judging from the reaction know who to believe or what to believe. There’s two sides, and of the genre’s artists, the opening line in Greenwood’s chorus — the two sides have figured out how to work [the media].” “I’m proud to be an Cash’s father, The Word From American” — is still Johnny Cash, was Garth Brooks a prominent belief. an outspoken sup- >page 11 But “I’m frustrated porter of inclusive to be an American” values, challeng- is hard on its heels as ing the ruling class Still In The Swing: a replacement. in his 1970 single An unscientific “What Is Truth.” Asleep At 50 LOCASH RAY CASH red-carpet poll of Just two years later, >page 11 the creative com- Rosanne cam- munity about the hearings found a wide range of awareness, paigned as a teenager for Democrat George McGovern in his from Rosanne Cash, who said she was “passionate” about bid to unseat Richard Nixon in the White House, and she has Makin’ Tracks: watching them, to a slew of artists who barely knew they were consistently stood up for progressive policies and politicians Tenpenny, Seaforth happening. -
MAHANI TEAVE Concert Pianist Educator Environmental Activist
MAHANI TEAVE concert pianist educator environmental activist ABOUT MAHANI Award-winning pianist and humanitarian Mahani Teave is a pioneering artist who bridges the creative world with education and environmental activism. The only professional classical musician on her native Easter Island, she is an important cultural ambassador to this legendary, cloistered area of Chile. Her debut album, Rapa Nui Odyssey, launched as number one on the Classical Billboard charts and received raves from critics, including BBC Music Magazine, which noted her “natural pianism” and “magnificent artistry.” Believing in the profound, healing power of music, she has performed globally, from the stages of the world’s foremost concert halls on six continents, to hospitals, schools, jails, and low-income areas. Twice distinguished as one of the 100 Women Leaders of Chile, she has performed for its five past presidents and in its Embassy, along with those in Germany, Indonesia, Mexico, China, Japan, Ecuador, Korea, Mexico, and symbolic places including Berlin’s Brandenburg Gate, Chile’s Palacio de La Moneda, and Chilean Congress. Her passion for classical music, her local culture, and her Island’s environment, along with an intense commitment to high-quality music education for children, inspired Mahani to set aside her burgeoning career at the age of 30 and return to her Island to found the non-profit organization Toki Rapa Nui with Enrique Icka, creating the first School of Music and the Arts of Easter Island. A self-sustaining ecological wonder, the school offers both classical and traditional Polynesian lessons in various instruments to over 100 children. Toki Rapa Nui offers not only musical, but cultural, social and ecological support for its students and the area. -
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach. -
Guide to the Martin Williams Collection
Columbia College Chicago Digital Commons @ Columbia College Chicago CBMR Collection Guides / Finding Aids Center for Black Music Research 2020 Guide to the Martin Williams Collection Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cmbr_guides Part of the History Commons, and the Music Commons Columbia COLLEGE CHICAGO CENTER FOR BLACK MUSIC RESEARCH COLLECTION The Martin Williams Collection,1945-1992 EXTENT 7 boxes, 3 linear feet COLLECTION SUMMARY Mark Williams was a critic specializing in jazz and American popular culture and the collection includes published articles, unpublished manuscripts, files and correspondence, and music scores of jazz compositions. PROCESSING INFORMATION The collection was processed, and a finding aid created, in 2010. BIOGRAPHICAL NOTE Martin Williams [1924-1992] was born in Richmond Virginia and educated at the University of Virginia (BA 1948), the University of Pennsylvania (MA 1950) and Columbia University. He was a nationally known critic, specializing in jazz and American popular culture. He wrote for major jazz periodicals, especially Down Beat, co-founded The Jazz Review and was the author of numerous books on jazz. His book The Jazz Tradition won the ASCAP-Deems Taylor Award for excellence in music criticism in 1973. From 1971-1981 he directed the Jazz and American Culture Programs at the Smithsonian Institution, where he compiled two widely respected collections of recordings, The Smithsonian Collection of Classic Jazz, and The Smithsonian Collection of Big Band Jazz. His liner notes for the latter won a Grammy Award. SCOPE & CONTENT/COLLECTION DESCRIPTION Martin Williams preferred to retain his writings in their published form: there are many clipped articles but few manuscript drafts of published materials in his files. -
No More Black and Blue
ARIADNE: A Social Art Network Violence Against Women AgainstViolence.ART Volume 14 Number 4 April 2008 418-436 © 2008 Sage Publications 10.1177/1077801208314832 No More Black and Blue http://vaw.sagepub.com hosted at Women Against Violence Against http://online.sagepub.com Women and the Warner Communications Boycott, 1976–1979 Carolyn Bronstein DePaul University In the mid-1970s, Women Against Violence Against Women (WAVAW), the first national feminist organization to protest mediated sexual violence against women, pressured the music industry to cease using images of violence against women in its advertising. This article presents a case study of WAVAW’s national boycott of Warner Communications, Inc. and documents the activists’ successful consumer campaign. The study reveals that media violence was central to feminist organizing efforts, and that WAVAW and related organizations helped establish a climate of concern about vio- lence that motivated scientific research on the relationship between exposure to media violence and subsequent aggression. Keywords: advertising; grassroots organizing; media violence; music industry rom high above the storied Sunset Strip on a glorious June day, a bound and Fbruised woman on a billboard gazed down at the citizens of Los Angeles. She was the centerpiece of a new advertising campaign for the Rolling Stones’s 1976 album Black and Blue, part of a national promotion by Atlantic Records that featured print ads, radio spots, and in-store displays. At 14 by 48 feet, she dominated the busy sky- line, and traffic snarled up and down the boulevard as drivers slowed to get a better look. The woman wore a lacy white bodice, strategically ripped to display her breasts. -
Extract from Chapter Four: When You Grow Up, Little Lady
Extract From Chapter Four: When You Grow Up, Little Lady In the summer of 1934, Lew took the band on the road again, and they played to sell-out audiences in Manchester, Edinburgh, Glasgow, Portsmouth and Nottingham, where Tiny Winters recalled that „people were scrambling for autographs in the interval, it was a near-riot. It really did bring home to us how people felt about the band.‟ When Al Bowlly sang, the dancers stopped dancing, and clustered ten-deep in front of the band-stand. In Bradford, he left the stage during an instrumental number, and was besieged by girls. He couldn‟t fight his way back to the microphone in time for his next vocal, and the band had to fill in for 32 bars. In that same year, Bowlly went to the USA, with Bill Harty, to sing with a new Ray Noble band. Alan Kane became the band‟s regular vocalist, while Jock Jacobson took over the drummer‟s stool. Albert Harris joined as guitarist, and Stanley Black was now on piano. In February 1935 the new band opened at the Hollywood Restaurant in Piccadilly. In March, trumpeter Nat Gonella left, to launch his career as a band-leader, with a smaller jazzier ensemble - The Georgians. Tommy McQuater took his place. At the Holborn Empire, Lew Stone made his debut as a comedian, with a languidly elegant rendering of the comedy song „Algernon Whifflesnoop John‟, complete with monocle, and supported by trumpeter Alfie Noakes as his obsequious butler. His deadpan vocal delivery also enhanced „The Gentleman Obviously Doesn‟t Believe‟, „Knock Knock‟, and most memorably „I‟ll be-BBCing You‟. -
[email protected] 1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master Interview Was Provided by the Nati
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ORRIN KEEPNEWS NEA Jazz Master (2011) Interviewee: Orrin Keepnews (March 2, 1923 – March 1, 2015) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: December 10, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 20 pp. Orrin Keepnews: I wonder if you didn’t—or you could do it when you come back, make sure you didn’t get to show off Lennie. Anthony Brown: The dog? Keepnews: The dog. I remember right now the one strain she couldn’t remember to put in there. He’s part Jack Russell. Brown: Okay. That’s it. Okay so we’ll go from the room tone. Keepnews: Okay so. Brown: Oh we haven’t got it yet. Keepnews: We don’t have it? Brown: Just talk to it. Go ahead. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Keepnews: (Laughs) Brown: Today is December 10th, 2010. This is the Smithsonian/ NEA Jazz Masters Award interview with Orrin Keepnews at his house in El Cerrito, California. And it is a foggy day outside, but a lot of warmth in this house. Good afternoon Orin Keepnews. Keepnews: Good afternoon. Brown: We’re no strangers and so this is, for quite a joy, and a privilege. We’ve done several projects together, well let me just say we’ve done a few projects together, of which I’m very proud. Again, its an honor to be able to conduct this interview with you, to be able to share this time with you so that you could help the listening audience, and the historians, understand—further understand your contribution to this music since our last interview, which was in 1997. -
Jazzflits 01 09 2003 - 01 09 2021
1 19de JAARGANG, NR. 361 16 AUGUSTUS 2021 IN DIT NUMMER: 1 BERICHTEN 5 JAZZ OP DE PLAAT Eve Beuvens, Steve Cole, Flat Earth Society Orchestra, Ben van de Dungen, Gerry Gibbs e.a. EN VERDER (ONDER MEER): 10 Lee Morgan (Erik Marcel Frans) 16 Europe Jazz Media Chart Augustus 18 J AAR JAZZFLITS 01 09 2003 - 01 09 2021 NR. 362 KOMT 13 SEPT. UIT ONAFHANKELIJK JAZZPERIODIEK SINDS 2003 BERICHTEN CORONA-EDITIE FESTIVAL GENT JAZZ TREKT 20.000 BEZOEKERS In de tien dagen dat Gent Jazz ‘Back to Live’ duurde (van 9 tot en met 18 juli), passeerden zo’n twintigdui- zend mensen de festivalkassa. Van- wege de coronacrisis was op het laatste moment een speciale editie van het jaarlijkse zomerfestival in elkaar gezet met veel Belgische mu- sici. Maar ook de pianisten Monty Alexander, Tigran Hamasyan en ac- cordeonist Richard Galliano kwamen naar Gent. Festivaldirecteur Ber- trand Flamang sprak na afloop van een succesvol evenement. Cassandra Wilson tijdens het North Sea Jazz Festival 2015. (Foto: Joke Schot) Flamang: “In mei leek het er nog op dat deze editie niet zou doorgaan. Maar op CASSANDRA WILSON, STANLEY CLARKE twee maanden tijd zijn we erin geslaagd EN BILLY HART BENOEMD TOT NEA JAZZ MASTER om een coronaveilig evenement op po- ten te zetten.” Bezoekers konden zich Drummer Billy Hart, Bassist Stanley Clarke en zangeres niet vrij bewegen. Ze zaten per bubbel Cassandra Wilson zijn Benoemd tot NEA Jazz Master aan stoelen en tafels onder een giganti- 2022. Saxofonist Donald Harrison ontvangt de A.B. Spell- man NEA Jazz Masters Fellowship for Jazz Advocacy.