Milestones in Apollo Theater History
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												Aretha Franklin's Gendered Re-Authoring of Otis Redding's
Popular Music (2014) Volume 33/2. © Cambridge University Press 2014, pp. 185–207 doi:10.1017/S0261143014000270 ‘Find out what it means to me’: Aretha Franklin’s gendered re-authoring of Otis Redding’s ‘Respect’ VICTORIA MALAWEY Music Department, Macalester College, 1600 Grand Avenue, Saint Paul, MN 55105, USA E-mail: [email protected] Abstract In her re-authoring of Otis Redding’s ‘Respect’, Aretha Franklin’s seminal 1967 recording features striking changes to melodic content, vocal delivery, lyrics and form. Musical analysis and transcription reveal Franklin’s re-authoring techniques, which relate to rhetorical strategies of motivated rewriting, talking texts and call-and-response introduced by Henry Louis Gates, Jr. The extent of her re-authoring grants her status as owner of the song and results in a new sonic experience that can be clearly related to the cultural work the song has performed over the past 45 years. Multiple social movements claimed Franklin’s ‘Respect’ as their anthem, and her version more generally functioned as a song of empower- ment for those who have been marginalised, resulting in the song’s complex relationship with feminism. Franklin’s ‘Respect’ speaks dialogically with Redding’s version as an answer song that gives agency to a female perspective speaking within the language of soul music, which appealed to many audiences. Introduction Although Otis Redding wrote and recorded ‘Respect’ in 1965, Aretha Franklin stakes a claim of ownership by re-authoring the song in her famous 1967 recording. Her version features striking changes to the melodic content, vocal delivery, lyrics and form. - 
												
												New York Theatrical
JULY 12. 1980 10-T- HE CAROLINA TIMES SAT., New York Theatrical Over $2,200 in prize money King Jr.'s National Black will.be awarded to winners in Touring Circuit offerings, fter the Harlem YMCA All Stars Washington, "boogie woogie Contest, "sponsored by Ken-tac- ky landscapes" will travel to Cried Chicken and to be Philadelphia, Detroit and held In neighborhood parks Chicago. At present, there are ANNIVERSARY GIFT Ran- and at Downing Stadium no plans for NYC. Thomas B: Shrop- dall's Island on July 19-2- 0. shire Senior Vice Black (left), Top male and female winners Tribute to the President of the Miller (? will receive $500 and '80, held at the prizes Designer Brewing Company i." , one-we- ek two to the Fashion Institute of trips for presented copies ol Bahamas. Deadline for entries Technology, was the third an- commissioned Erints is July 14 and entry blanks can nual event sponsored by to celebrate be picked up at any Kentucky Harvey's Bristol Cream and a the brewer's 125th an- Com- the rv .; Fried Chicken store. celebration of niversary to John H. 18 of black petition for those years and achievements Sengstacke, president up will be in a basketball designers, past and future. of the National "shoot-out- ", push-up- s, chaired the even- broad Naomi Sims Newspaper Publishers jump, obstacle course and ing's program which honored Association at the one-mi- le run. designers Ed Austin, Jeffrey association's recent Carl Banks, Stephen Burrows, convention in Chicago. "Sesame Place," a "21st Davis, James Daughterty, Jon century" play park pioneering Haggins, Keven & Robert, Ar- a new concept in family enter- thur McGee, Lelartd Paul tainment will open in Bucks Michael, Harold Stone, County, Pa., the end of July. - 
												
												Donald Mckayle's Life in Dance
ey rn u In Jo Donald f McKayle’s i nite Life in Dance An exhibit in the Muriel Ansley Reynolds Gallery UC Irvine Main Library May - September 1998 Checklist prepared by Laura Clark Brown The UCI Libraries Irvine, California 1998 ey rn u In Jo Donald f i nite McKayle’s Life in Dance Donald McKayle, performer, teacher and choreographer. His dances em- body the deeply-felt passions of a true master. Rooted in the American experience, he has choreographed a body of work imbued with radiant optimism and poignancy. His appreciation of human wit and heroism in the face of pain and loss, and his faith in redemptive powers of love endow his dances with their originality and dramatic power. Donald McKayle has created a repertory of American dance that instructs the heart. -Inscription on Samuel H. Scripps/American Dance Festival Award orld-renowned choreographer and UCI Professor of Dance Donald McKayle received the prestigious Samuel H. Scripps/American Dance Festival WAward, “established to honor the great choreographers who have dedicated their lives and talent to the creation of our modern dance heritage,” in 1992. The “Sammy” was awarded to McKayle for a lifetime of performing, teaching and creating American modern dance, an “infinite journey” of both creativity and teaching. Infinite Journey is the title of a concert dance piece McKayle created in 1991 to honor the life of a former student; the title also befits McKayle’s own life. McKayle began his career in New York City, initially studying dance with the New Dance Group and later dancing professionally for noted choreographers such as Merce Cunningham, Martha Graham, Sophie Maslow, and Anna Sokolow. - 
												
												Where Stars Are Born and Legends Are Made™
Where Stars are Born and Legends are Made™ The Apollo Theater Study Guide is published by the Education Program of the Apollo Theater in New York, NY | Volume 2, Issue 1, November 2010 If the Apollo Theater could talk, imagine the stories it could tell. It The has witnessed a lot of history, and seen a century’s worth of excitement. The theater itself has stood proudly on 125th Street since 1914, when it started life as a burlesque house for whites only, Hurtig & Seamon’s New Burlesque Theater. Dancers in skimpy costumes stripped down to flesh-colored leotards, and comics told bawdy jokes – that is, until then New York City Mayor Fiorello H. LaGuardia made the decision to close down burlesque houses all over the city. When the doors of the burlesque theaters were padlocked, the building was sold. By S ul the time it reopened in 1934, a new name proclaimed itself from the marquee: the 125th Street Apollo Theatre. From the start, the Apollo was beloved by Harlemites, and immediately of became an integral part of Harlem life. When the Apollo first opened, Harlem boasted a lot of theaters and clubs. But many didn’t admit black audiences. Though the musicians who played in the clubs were black, the audiences were often white; the country still had a lot to American learn about integration. But the Apollo didn’t play primarily to whites. As soon as it opened its doors, black residents of Harlem streamed in themselves to enjoy the show. In the early years, the Apollo presented acts in a revue format, with a variety of acts on each bill. - 
												
												No Beethoven
No Beethoven No Beethoven An Autobiography & Chronicle of Weather Report by Peter Erskine edited by Rick Mattingly book design by Kio Griffith photography by Shigeru Uchiyama, Peter Erskine & others Front cover photograph: Shigeru Uchiyama Back cover photograph: Norman Seeff, courtesy of CBS Records © 2013 Peter Erskine FUZZ/E/BOOKS Fuzzy Music LLC Exclusive Worldwide Distribution by Alfred Music All Rights Reserved. Printed in USA. ISBN-10: 0-9892530-1-5 ISBN-13: 978-0-9892530-1-7 ALL RIGHTS RESERVED. This book contains material protected under International and Federal Copyright Laws and Treaties. Any unauthorized reprint or use of this material is prohibited. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including printing/photocopying, recording, or by any information storage and retrieval system without express written permission from the author/publisher. “I ain’t afraid of no Beethoven.” – Joe Zawinul to Peter Erskine, circa 1979 About the Author Peter Erskine has played the drums since age four and is known for his versatility and love of working in different musical contexts. He appears on 600 albums and film scores, and has won two Grammy Awards, plus an Honorary Doctorate from the Berklee School of Music. Thirty albums have been released under his own name or as co-leader. He has played with the Stan Kenton and Maynard Ferguson Big Bands, Weather Report, Steps Ahead, Joni Mitchell, Steely Dan, Diana Krall, Kenny Wheeler, The Brecker Brothers, The Yellowjackets, Pat Metheny and Gary Burton, John Scofield, et al, and has appeared as a soloist with the London, Los Angeles, Chicago, Frankfurt Radio, Scottish Chamber, Royal Opera House, BBC Symphony and Berlin Philharmonic Orchestras. - 
												
												Morningside Heights Upper West Side Central Park
Neighborhood Map ¯ Manhattanville Salem United 601 Junior High School 499 431 429 401 305 299 Methodist Church 199 101 99 1 555 W 129 Street W 129 Street W 129 Street W 129 Street Harlem Village Manhattanville National Jazz Museum Green 556 Health Center St. Nicholas in Harlem Edward P. Bowman 2168 3219 Sheltering Arms 30 29 25 Park 368 369 Broadway 601 2401 2406 Amsterdam Bus Depot 2094 3200 Playground Park Rev. Linnette C. Williamson Metropolitan Church of Memorial Park St. Nicholas Baptist Church Jesus Christ of Collyer Brothers 401 Unity Park 12 439 399 301 Playground South 101 Latter-day Saints Park W 126 Street 567 11 St. Nicholas Houses Amsterdam Avenue Amsterdam W 128 Street W 128 Street W 128 Street Convent Avenue St. Nicholas Avenue Old Broadway Blvd Douglass Frederick 559 M2 1361 14 LTD M2 3181 M3 499 M10 LTD 5 6 Maysles 2066 M3 M10 348 M2 Documentary 2160 M2 St. Andrew’s 1 Center 125 St Bx15 Episcopal Church M104 M101 299 201 W 125 StreetBx15 LTD 401 399 363 357 349 301 199 101 99 1 LTD Terrace Nicholas St. M101 W 127 Street W 127 Street W 127 Street M11 LTD Bx15 M100 M104 Bx15 M101 439 LTD M11 04 1 501 M100 M M101 M7 M104 M104 M102 M7 167 166 327 332 2130 2133 2358 2359 Clayton M102 2050 George Bruce 499 3170 William B. Williams 8 Avenue 8 Library Avenue 5 Washington Community Avenue Lenox 401 399 349 Garden Garden 299 201 199 101 99 1 Malcolm X Boulevard W 126 Street W 126 Street W 126 Street Broadway General Grant Houses Adam Clayton Powell, Jr. - 
												
												Mayodan High School Yearbook, "The Anchor"
» :-.i.jV Digitized by the Internet Archive in 2013 http://archive.org/details/anchor1958mayo ^he eAncko ,,: ^ . 1958 CHARLOTTE GANN - Editor-in-Chief SHIRLEY EASTER Assistant Editor MILDRED WHITE Sales Manager BETTY S. WILKINS Advertising MONTSIE ALLRED Class Editor FRANKIE CARLTON Picture Editor ROGER TAYLOR Art Editor UDELL WESTON Sports Editor JIMMY GROGAN Feature Editor foreword The Senior Class of '58 presents this ANCHOR as a token of our appreciation to all who have helped us progress through the past years, especially our parents, teach- ers, fellow students, and Mr. Duncan. success, It is our sincere hope that your lives may be filled with happiness and and that you will continue to manifest a spirit of loyalty to Mayodan High School. SHIRLEY EASTER CHARLOTTE GANN ^Dedication To our parents, who, in the process of rearing us, have picked us up when we have fallen, pushed us when we needed pushing, and have tried to understand o u r problems when on one else would listen to us! Because of their faithfulness, understanding, and undying love, for which we feel so deeply grateful, we dedicate to them our annual, the ANCHOR of 1958. The Seniors ^iicfk Oc/tocl faculty Not Pictured HATTIE RUTH HYDER ELLIOTT F. DUNCAN VIOLET B. SULEY B. S., A. S. T. C. A. B., U. N. C. A. B., Wisconsin University Home Economics Principal Biology Not Pictured OTIS J. STULTZ IRMA S. CREWS HENRY C. M. WHITAKER B. A., Elon College B. A., Winthrop College A. B., High Point College Business Administration A. B., High Point College Spanish, Social Studies, Band Mathematics, English MAUD G. - 
												
												Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. - 
												
												The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS - 
												
												JUKEBOX JAZZ by Ian Muldoon* ______
JUKEBOX JAZZ by Ian Muldoon* ____________________________________________________ n 1955 Bill Haley’s Rock Around the Clock was the first rock and roll record to become number one on the hit parade. It had made a stunning introduction in I the opening moments to a film called Blackboard Jungle. But at that time my favourite record was one by Lionel Hampton. I was not alone. Me and my three jazz loving friends couldn’t be bothered spending hard-earned cash on rock and roll records. Our quartet consisted of clarinet, drums, bass and vocal. Robert (nickname Orgy) was learning clarinet; Malcolm (Slim) was going to learn drums (which in due course he did under the guidance of Gordon LeCornu, a percussionist and drummer in the days when Sydney still had a thriving show scene); Dave (Bebop) loved the bass; and I was the vocalist a la Joe (Bebop) Lane. We were four of 120 RAAF apprentices undergoing three years boarding school training at Wagga Wagga RAAF Base from 1955-1957. Of course, we never performed together but we dreamt of doing so and luckily, dreaming was not contrary to RAAF regulations. Wearing an official RAAF beret in the style of Thelonious Monk or Dizzy Gillespie, however, was. Thelonious Monk wearing his beret the way Dave (Bebop) wore his… PHOTO CREDIT WILLIAM P GOTTLIEB _________________________________________________________ *Ian Muldoon has been a jazz enthusiast since, as a child, he heard his aunt play Fats Waller and Duke Ellington on the household piano. At around ten years of age he was given a windup record player and a modest supply of steel needles, on which he played his record collection, consisting of two 78s, one featuring Dizzy Gillespie and the other Fats Waller. - 
												
												The Twist”—Chubby Checker (1960) Added to the National Registry: 2012 Essay by Jim Dawson (Guest Post)*
“The Twist”—Chubby Checker (1960) Added to the National Registry: 2012 Essay by Jim Dawson (guest post)* Chubby Checker Chubby Checker’s “The Twist” has the distinction of being the only non-seasonal American recording that reached the top of “Billboard’s” pop charts twice, separately. (Bing Crosby’s “White Christmas” topped the holiday tree in 1942, 1945, and 1947). “The Twist” shot to No. 1 in 1960, fell completely off the charts, then returned over a year later like a brand new single and did it all over again. Even more remarkable was that Checker’s version was a nearly note-for- note, commissioned mimicry of the original “The Twist,” written and recorded in 1958 by R&B artist Hank Ballard and released as the B-side of a love ballad. Most remarkable of all, however, is that Chubby Checker set the whole world Twisting, from Harlem clubs to the White House to Buckingham Palace, and beyond. The Twist’s movements were so rudimentary that almost everyone, regardless of their level of coordination, could maneuver through it, usually without injuring or embarrassing themselves. Like so many rhythm and blues songs, “The Twist” had a busy pedigree going back decades. In 1912, black songwriter Perry Bradford wrote “Messin’ Around,” in which he gave instructions to a new dance called the Mess Around: “Put your hands on your hips and bend your back; stand in one spot nice and tight; and twist around with all your might.” The following year, black tunesmiths Chris Smith and Jim Burris wrote “Ballin’ the Jack” for “The Darktown Follies of 1913” at Harlem’s Lafayette Theatre, in which they elaborated on the Mess Around by telling dancers, “Twist around and twist around with all your might.” The song started a Ballin’ the Jack craze that, like nearly every new Harlem dance, moved downtown to the white ballrooms and then shimmied and shook across the country. - 
												
												Alvin Ailey American Dance Theater's Ailey Ascending
FOR IMMEDIATE RELEASE Ailey Contacts: Christopher Zunner: [email protected] / 212-405-9028 Lauren Morrow: [email protected] / 212-405-9079 ALVIN AILEY AMERICAN DANCE THEATER’S AILEY ASCENDING 60th ANNIVERSARY CELEBRATION INCLUDES A LANDMARK SEASON AT NEW YORK CITY CENTER NOVEMBER 28 – DECEMBER 30 Five-Week Holiday Engagement Features World Premieres of Ronald K. Brown’s The Call and Rennie Harris’ Lazarus, Company Premiere of Wayne McGregor’s Kairos, New Production of Robert Battle’s Juba, and Timeless Ailey Program of Rarely Seen Works by Alvin Ailey Multimedia Work Becoming Ailey Brings Presence of Legendary Founder Back to the Stage Tickets starting at $29 are on sale now! November 6, 2018 (NEW YORK CITY) — Alvin Ailey American Dance Theater, New York City Center’s Principal Dance Company, returns to the theater’s stage from November 28 – December 30, 2018 for a milestone season. During the Company’s Ailey Ascending 60th Anniversary celebration, Artistic Director Robert Battle leads Ailey’s 32 extraordinary dancers during this five-week holiday engagement that will elevate a legacy of excellence in artistry with premieres by some of today’s most revered and prolific choreographers, including world premieres by Rennie Harris and Ronald K. Brown; a company premiere by Wayne McGregor; a new production of by Robert Battle; the return of a recent premiere by Jessica Lang, and special performances of rarely seen works by Alvin Ailey himself. The New York City Center season launches on Wednesday, November 28th with a 60th Anniversary Opening Night Gala benefit performance, followed by a party at the New York Hilton Grand Ballroom.