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Taiwanese Eyes on the Modern: Cold War Dance Diplomacy And
Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Tsung-Hsin Lee, M.A. Graduate Program in Dance Studies The Ohio State University 2020 Dissertation Committee Hannah Kosstrin, Advisor Harmony Bench Danielle Fosler-Lussier Morgan Liu Copyrighted by Tsung-Hsin Lee 2020 2 Abstract This dissertation “Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980” examines the transnational history of American modern dance between the United States and Taiwan during the Cold War era. From the 1950s to the 1980s, the Carmen De Lavallade-Alvin Ailey, José Limón, Paul Taylor, Martha Graham, and Alwin Nikolais dance companies toured to Taiwan under the auspices of the U.S. State Department. At the same time, Chinese American choreographers Al Chungliang Huang and Yen Lu Wong also visited Taiwan, teaching and presenting American modern dance. These visits served as diplomatic gestures between the members of the so-called Free World led by the U.S. Taiwanese audiences perceived American dance modernity through mixed interpretations under the Cold War rhetoric of freedom that the U.S. sold and disseminated through dance diplomacy. I explore the heterogeneous shaping forces from multiple engaging individuals and institutions that assemble this diplomatic history of dance, resulting in outcomes influencing dance histories of the U.S. and Taiwan for different ends. I argue that Taiwanese audiences interpreted American dance modernity as a means of embodiment to advocate for freedom and social change. -
RIJF FREE Shows
FRIDAY • JUNE 20 • 9PM FRIDAY • JUNE 21 • 9PM 7PM -%$%3+) :8IFCPE THIRDWORLD FRIDAY • JUNE 20 • 9PM FRIDAY • JUNE 21 • 9PM NFE;<IC8E; -!24). 7PM 7PM UIF!LFOUVDLZ! JOE J F L C @ M < IFBEIVOUFST SKATALITES 7//$ BONAMASSA East Ave. & Chestnut St. Stage East Ave. & Alexander St. Stage C I T Y O F R OCH ES T E R F R E E O U T D OO R S T AGES FRIDAY • JUNE 13 SATURDAY • JUNE 14 SUNDAY • JUNE 15 MONDAY • JUNE 16 TUESDAY • JUNE 17 WEDNESDAY • JUNE 18 THURSDAY • JUNE 19 FRIDAY • JUNE 20 SATURDAY • JUNE 21 RIJF ESM JAZZ EASTMANTHEATRE SCHOLARSHIPS CONCERT SERIES DEE DEE FEA T URI N G Ticketed BRIDGEWATER JOE & PAT JAZZ Founding Sponsor All Shows 8PM “A MALIAn Journey” LABARBERA “GillespiANA” ROCHESTER JAZZ + SPECIAL FREE FRANK SINATRA JR. GUEST FILMS A TRIBUTE TO @ THE & ORCHESTRASINATRA DIZZY GILLESPIE FREE AL GREEN Founding Sponsor “SINATRA SINGS SINATRA” RICHARD BONA BAND DIRECTED BY JEFF TYZIK PHILHARMONIC BOZ SCAGGS KILBOURN HALL Club Pass or $25 6PM & 10PM JOHN SCOFIELD LOU DONALDSON SLIDE HAMPTON DAVID MURRAy’s JOE LOCKE THE SLIDING CATHERINE AL FOSTER QUARTET THE BAD PLUS TRIO QUARTET & FRIENDS BLACK SAINT QUARTET “Force oF Four” HAMMERS RUSSELL MAX OF EASTMAN PLACE Club Pass or $20 6:15PM & 10PM AMINA FIGAROVA SEXTET TRIO EAST DHARMA JAZZ SACHAL VASANDANI JACKY TERRASSON ROBI BOTOS TRIO TIERNEY SUTTON BAND BILLy’s BAND BARBARA DENNERLEIN MONTAGE Club Pass or $20 DAVID LIEBMAN JAKE SHIMABI- TAYLOR EIGSTI & CAROLYN 6PM & 10PM RACHEL Z ROBIN MCKELLE HOWARD ALDEN QUARTET KURO JULIAN LAGE BLAKE TARTARE WONDERLAND SUPERGENEROUS HIGH FIDELITY -
Wednesdays with Wynton Episode 12
Wednesdays with Wynton - Episode 12 Wednesdays with Wynton on Instagram Live Episode 12 – June 17, 2020 00:01 Madelyn Gardner: Hi everyone, welcome back to Wednesdays with Wynton. My name is Madelyn Gardner, I am the External Comms manager, at Jazz Lincoln Center and thank you for once again joining us for our weekly Instagram Live with the one and only Wynton Marsalis. So Wynton will be joining us in just a moment. And before he hops on, I wanna remind you that once again, as you know it is Wednesday, that means we're releasing another video from Jazz Lincoln Center's vault. Today we released a video from the JLCO and Wynton Marsalis celebrating all things Dizzy. So, this specific concert is a JLCO with Wynton featuring percussionist, Roman Diaz, vocalist Brandie Sutton, who dig deep into the musical world of Dizzy. So while we wait, Wynton will be joining in just a moment, why don't you comment where you're tuning in from and what your favorite Dizzy's tune is and we'll get Wynton on right now. [pause] 01:04 MG: Hi Wynton! 01:04 Wynton Marsalis: What's going on? What are you talking about, Madelyn? What's happening? 01:07 MG: We're talking about this wonderful concert we released from the vault today. First of all, looking sharp, you're looking great, Wynton. I like the suit. 01:15 WM: Thank you. Alright. 01:16 MG: And we're talking about the vault concert we released today, celebrating the great, great trumpeter, Dizzy. -
Jazzletter PO Box 240, Ojai CA
Gene Lees Jazzletter PO Box 240, Ojai CA. 93024-0240 April 1999 Vol. 18 No. 4 There is a widespread competence in young players, but they are The Immortal joker ofien as interchangeable as the parts on a GM pickup. They may Part Three be accomplished at the technical level, but too many are no more individual than Rich Little doing impressions. It is impossible in our time to perceive how Beethoven’s music The flatted fiflh chord and the minor-seventh-flat-five chord was perceived in his. This is true of artists generally We can were not new in westem music, but as composer Hale Smith points deduce it from the outrage visited on them by critics — Nicolas out, they were probably, for Monk and other jazz musicians, Slonirnsky’s Lexicon ofMusical Invective is a fascinating compen- discoveries, and thus became personal vocabulary. dium of such writings — but we can never actually feel the _ As" composers explored what we call western music over these original impact. last centuries, they expanded the vocabulary but they did not Even knowing how original Louis Annstrong was, we can invent, or re-invent it. However, this expansion, particularly in the never perceive him the way the thunderstruck young musicians of Romantic music of the nineteenth century, appeared to be.inven- his early days did. By the time many of us became aware of him, tion. Thus too with jazz, when Parker and Gillespie entered with Joe Glaser, his manager had manipulated him into position as an such éclat on the scene. -
The Glenville Mercury Vol
o.~ i~ · -- .._,... ' t· The Glenville Mercury Vol. XXX\'!, o. 6 Glenville State College, Glenville, W. Va. Wednesday, December 16, 1964 -------------------------------------- Eighteen GSC Students 'The Smallest One" Will Be Included tn :Program Highlighting the campus Christ of his father, must get rid of his Selected For 'Whos Who' mas scene will be an all-campus sm all lop-eared donkey because it holiday assembly tomorrow, Dec. is of no use. They boy tries des Eighteen GSC students were re PATSY CONLEY is secretary from Key West , Florida, is presi 17, at 10 :10 a.m. in the a uditori perately to sell his donkey. but no cently notified that they have of the student government asso dent ol Delta Zeta Sorority. um. During this hour no classes one wants to purchase the ani been selected to have their ciation, and a member of Delta will meet, and all campus build mal. Finally, he finds a young NILA ROLLINS is president of ings w ilt be closed. man and woman who want the names appear in the 1964-65 edi· Zeta Sorority. Alpha Rho Tau, a member of the donkey-people whom the s mall tion of "Who's Who Among Stu MARY DIANE DAVIS sings in Baptist Student Fellowship, presi Following a long Christmas tra boy is proud to have own his frail dents in American Colleges and dition, President Daniel Banks Universities ·• Among those stu the GSC choir, is president of dent of the Literary Society, animal. M.E.N.C., and a member ol Del counselor in Women's Hall, and Wilburn will read the Advent dents selected are thirteen sen ta Zeta Sorority. -
Dizzy Gillespie and the Big Band: GILLESPIANA (Verve V6-8394)
JAMU 20150422-2 –Dizzy Gillespie-Lalo Schifrin suites (ukázky) Dizzy Gillespie and His Orchestra: A PORTRAIT OF DUKE ELLINGTON (Verve V6-8386) A1 In A Mellow Tone 3:44 A2 Things Ain't What They Used To Be 4:50 A3 Serenade To Sweden 4:23 A4 Chelsea Bridge 2:34 A5 Upper Manhatten Medical Group 3:05 A6 Do Nothin' Till You Hear From Me 2:38 B1 Caravan 5:18 B2 Sophisticated Lady 3:19 B3 Johnny Come Lately 3:35 B4 Perdido 4:47 B5 Come Sunday 2:56 Trumpet – Dizzy Gillespie Trombone – Bennie Green French Horn – Joe Singer, Ray Alonge, Richard Berg Tuba – Jay McAllister Flute – Robert DiDomenica Woodwind – Ernest Bright, John Murtaugh, Paul Richie, Stan Webb Vibraphone – George Devens Piano, Celeste – Hank Jones Bass – George Duvivier Drums – Charlie Persip Arranged By – Clare Fisher Recorded on 27-28 April, 1960 in NYC. Dizzy Gillespie and the Big Band: GILLESPIANA (Verve V6-8394) A1 Prelude 5:52 A2 Blues 11:16 A3 Panamericana 4:39 B1 Africana 7:31 B2 Toccata 12:01 Trumpet – Clark Terry, Dizzy Gillespie, Ernie Royal, Joe Wilder, John Frosk Trombone – Britt Woodman, Frank Rehak, Paul Faulise, Urbie Green Horns – Al Richman, Gunther Schuller, James Buffington, Julius Watkins, Morris Secon, William Lister Tuba – Don Butterfield Saxophone – Leo Wright Piano, Written-By, Arranged By – Lalo Schifrin Bass – Art Davis Drums – Chuck Lampkin Bongos – Jack Del Rio Congas – Candido Timbales, Timpani – Willie Rodriguez Recorded November 14-15, 1960 in New York Dizzy Gillespie and the Big Band: CARNEGIE HALL CONCERT (Verve V6-8423) A1 Manteca 6:22 A2 This Is -
The Real Ambassadors: Jazz Greats, Jazz Diplomacy and The
Jazz from A to Z “The Real Ambassadors: Jazz Greats, Jazz Diplomacy and the Globalization of Jazz” NCHE National Conference 2014 Break-out Session Created By Professor Rodney Whitaker, Michigan State University Marcie Hutchinson, Arizona State University Goals of Jazz from A to Z Enrich the historical and cultural knowledge of students and teachers through an integrated study of both jazz music and American/World history. Develop and maintain historical thinking in history classes and activities. Empower students and teachers with skills and knowledge of jazz in its historical context so as to have a meaningful experience with works of music. Enhance student musical performances. Objectives of Jazz from A to Z History students will create projects for Arizona History Day based on Jazz from A to Z’s season theme of “Breaking Boundaries.” The historical topics of the projects must also directly relate to the NHD theme of “Rights and Responsibilities in History.” Students will be evaluated using the National History Day rubric. Student jazz bands will perform at the Essentially Ellington Regional Festival March 5-6, 2014 at Mesa Arts Center and be evaluated using Jazz at Lincoln Center’s Essentially Ellington competition rubric. Teachers will compose a lesson plan that integrates jazz, the Cold War and historical thinking in their curriculum. Objectives of the Educator Workshops After actively listening to musical excerpts, participants will be able to identify and differentiate characteristics of big band swing, bebop and cool jazz using the essential elements of jazz. Participants will assess the significance of important jazz innovators. Participants will explain the paradoxical nature of jazz artists as cultural ambassadors after analyzing The Real Ambassadors as a primary source in its historical context. -
Alvin Ailey's Embodiment of African American Culture
DeFrantz.00 FM 10/20/03 2:50 PM Page ii Alvin Ailey’s Embodiment of African American Culture 1 2004 DeFrantz.00 FM 10/20/03 2:50 PM Page iii DANCING REVELATIONS THOMAS F. DEFRANTZ DeFrantz.00 FM 10/20/03 2:50 PM Page iv 1 Oxford New York Auckland Bangkok Bogotá Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Singapore Taipei Tokyo Toronto Copyright © 2004 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data DeFrantz, Thomas Dancing revelations : Alvin Ailey’s embodiment of African American culture / Thomas F. DeFrantz. p. cm. Includes bibliographical references and index. ISBN 0-19-515419-3 1.Ailey, Alivn. 2. Dancers—United States—Biography. 3.Choreographers— United States—Biography. 4.Alvin Ailey American Dance Theater. 5.African American dance. I. Title. GV1785.A38 D44 2003 792.8'028'092—dc21 2002156670 Credits: Photographs: frontispiece and pages 5, 8, 19, 47, 63, 95, 101 courtesy and copyright by Jack Mitchell; cover illustration and pages 11, 12,courtesy and copyright by J. -
Entire Issue (PDF)
E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 114 CONGRESS, FIRST SESSION Vol. 161 WASHINGTON, TUESDAY, SEPTEMBER 15, 2015 No. 132 House of Representatives The House met at 3 p.m. and was last day’s proceedings and announces et ID: FEMA-2015-0001] [Internal Agency called to order by the Speaker pro tem- to the House his approval thereof. Docket No.: FEMA-8395] received September pore (Mr. ROONEY of Florida). Pursuant to clause 1, rule I, the Jour- 2, 2015, pursuant to 5 U.S.C. 801(a)(1)(A); Added by Public Law 104-121, Sec. 251; to the f nal stands approved. Committee on Financial Services. DESIGNATION OF THE SPEAKER f 2724. A letter from the Chief Counsel, PRO TEMPORE FEMA, Department of Homeland Security, PLEDGE OF ALLEGIANCE transmitting the Department’s final rule — The SPEAKER pro tempore laid be- The SPEAKER pro tempore. The Suspension of Community Eligibility (Staf- fore the House the following commu- Chair will lead the House in the Pledge ford County, NH, et al.) [Docket ID: FEMA- nication from the Speaker: 2015-0001] [Internal Agency Docket No.: of Allegiance. FEMA-8397] received September 8, 2015, pur- WASHINGTON, DC, The SPEAKER pro tempore led the suant to 5 U.S.C. 801(a)(1)(A); Added by Pub- September 15, 2015. Pledge of Allegiance as follows: lic Law 104-121, Sec. 251; to the Committee on I hereby appoint the Honorable THOMAS J. Financial Services. ROONEY to act as Speaker pro tempore on I pledge allegiance to the Flag of the United States of America, and to the Repub- 2725. -
Jazz Horn Top
99 Historically Significant Jazz Recordings with Horn compiled by Dr. Steven Schaughency Large Ensemble, Big Band recordings group leader name of original recording horn player(s) Brubeck, Dave Time Changes ??? Davis, Miles The Complete Birth of the Cool Junior Collins, Gunther Schuller, Sandy Siegelstein Davis, Miles Porgy and Bess Willie Ruff, Gunther Schuller, Julius Watkins Evans, Gil New Bottle, Old Wine Julius Watkins Evans, Gil The Gil Evans Orchestra Plays the John Clark, Peter Gordon Music of Jimi Hendrix Evans, Gil Strange Fruit John Clark Ferguson, Maynard The Blues Roar Ray Alonge, Jimmy Buffington Ferguson, Maynard Conquistador Don Corrado, Brooks Tillotson Gillespie, Dizzy Gillespiana/Carnegie Hall Concert John Barrows, Dick Berg, Jimmy Buffington, Al Richman, Gunther Schuller, Julius Watkins Gruntz, George Blues’n Dues et cetera John Clark, Jerry Peel Johnson, J. J. The Brass Orchestra Bob Carlisle, John Clark, Chris Komer, Marshall Sealy Jones, Quincy The Great Wide World of Quincy Julius Watkins Jones Jones, Quincy The Quintessence Jimmy Buffington, Ray Alonge, Earl Chapin, Julius Watkins Jones, Thad New Life Ray Alonge, Jimmy Buffington, Earl Chapin, Peter Gordon, Julius Watkins Jones, Thad Suite for Pops Ray Alonge, Jimmy Buffington, Earl Chapin, Peter Gordon, Julius Watkins Kaye, Joel New York Neophonic Orchestra Ray Alonge, Dick Berg, Virginia Benz, John Clark, Dale Cleavenger, Ed Dieck, Francisco Donaruma, Sheldon Henry, Brooks Tillotson, Greg Williams Kenton, Stan Adventures in Jazz Mellophoniums: Dwight Carver, -
Lalo Schifrin Biography
Lalo Schifrin Lalo Schifrin is a true Renaissance artist. As a pianist, composer and conductor, he is equally at home conducting a symphony orchestra, performing at an international jazz festival, scoring a film or television show, or creating works for Placido Domingo or the London Philharmonic. As a young man in his native Buenos Aires, Lalo Schifrin received classical training from Juan Carlos Paz, Enrique Barenboim, Mariano Drago and his father, Luis Schifrin, a pioneer of the Philharmonic Orchestra of Buenos Aires and for 35 years the concertmaster of the Teatro Colon. While studying in Paris in the early 1950's, Lalo Schifrin led a double life. He never told the jazz musicians with whom he jammed all Saturday night on the Left Bank that early Sunday mornings he would go to listen to Olivier Messiaen improvise on the organ during the mass at the Church of the Trinite. Nor did Messiaen, whose classical lectures Schifrin attended at the Conservatory, know of his nightly jazz forays. When Schifrin returned to Buenos Aires in the mid-50's, he formed his own big concert band. It was during a performance of this band that Dizzy Gillespie heard Schifrin play and asked him to become the pianist and arranger of the Gillespie Band. In 1958, Schifrin moved to the United States and thus began a remarkable career. "Music, to me, is a matter of growth, development and rejuvenation", says the prolific composer. His music is a synthesis of all the twentieth century's techniques, and his early love for jazz and rhythm are strong attributes of his style. -
Hawaii Marine November 4
HAWAII tainnegeten.' 2.-A111111811r MarineServing MCAS Vol. 22 No. 43 Kaneohe Bay, 1st MEB, Camp H.M. Smith and Marine Barracks. November 4, 1993 Bonus programs held up in Congress reenlistment authority during the Joint Public Affairs Office first quarter of FY -94 may extend their enlistment into January 1994 Editor's note: A significant or until bonus authority is portion of this article was written restored," the ALMAR states. by Sgt. Matt Hevczi of Marine Only Marines considered to be Corps Base Camp Pendleton, in "Zone A" are eligible for an FY- Calif 94 bonus. Zone A refers to Marines For Marines entitled fiscal year with less than six years of time - 1994 selective reenlistment in -service. bonuses, the word from A few Marines, however, are headquarters is either wait, or re- quickly approaching their six-year enlist now and just hope for the zone - the service limit and could best. miss their bonus opportunity. The bonus programs are They are facing a tough choice ... currently being held up in the only choice if they're looking Congress. Marines in any of the for cash. 43 military occupational specialties They must reenlist before that offer reenlistment cash won't passing their six-year mark and be able to guarantee their money hope for the authorization bill's until the Department of Defense retroactive clause. Should the budget is passed for FY-94. clause fail to make it into the bill, "It's like having money in the Burke said Marines would be able bank, but not being able to spend to make an appeal to the Board it," said Capt.