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MCA-700 Midline/Reissue Series
MCA 700 Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan MCA-700 Midline/Reissue Series: By the time the reissue series reached MCA-700, most of the ABC reissues had been accomplished in the MCA 500-600s. MCA decided that when full price albums were converted to midline prices, the albums needed a new number altogether rather than just making the administrative change. In this series, we get reissues of many MCA albums that were only one to three years old, as well as a lot of Decca reissues. Rather than pay the price for new covers and labels, most of these were just stamped with the new numbers in gold ink on the front covers, with the same jackets and labels with the old catalog numbers. MCA 700 - We All Have a Star - Wilton Felder [1981] Reissue of ABC AA 1009. We All Have A Star/I Know Who I Am/Why Believe/The Cycles Of Time//Let's Dance Together/My Name Is Love/You And Me And Ecstasy/Ride On MCA 701 - Original Voice Tracks from His Greatest Movies - W.C. Fields [1981] Reissue of MCA 2073. The Philosophy Of W.C. Fields/The "Sound" Of W.C. Fields/The Rascality Of W.C. Fields/The Chicanery Of W.C. Fields//W.C. Fields - The Braggart And Teller Of Tall Tales/The Spirit Of W.C. Fields/W.C. Fields - A Man Against Children, Motherhood, Fatherhood And Brotherhood/W.C. Fields - Creator Of Weird Names MCA 702 - Conway - Conway Twitty [1981] Reissue of MCA 3063. -
My Life and Death by Alexandra Canarsie Deathalexandra Life by My and My Life and Death by Alexandra Canarsie Deathalexandra Life by My and by Alexandra Canarsie
Young adult fiction www.peachtree-online.com O’KEEFE ISBN 1-56145-387-0 / $7.95 My Life and Death My Life andMy by Life AlexandraDeath Canarsie My Life andMy by Life AlexandraDeath Canarsie by Alexandra Canarsie None of this would have happened, I suppose, if I had a normal hobby like skateboarding or hanging out at malls. But I don’t do things like that. A NOVEL I go to the funerals of strangers. Weird, huh? BY SUSAN HEYBOER O’KEEFE Praise for MY LIFE AND DEATH BY ALEXANDRA CANARSIE: The unexpected twists and turns of the plotmake this coming-of-age novel a strong first offering for young adults. —School Library Journal Allie?s great voice and smart characters are a winning combination—The Horn Book Guide The most remarkable aspect of this novel is Allie?s voice. Her character rings clear as a teenager who covers up her hurt and bewilderment with sarcasm and a stony faade of disinterest. —VOYA My Life and Death by Alexandra Canarsie With a wit as sharp as barbed wire and a mouth light-years faster than her good sense, Allie’s not at all surprised she hasn’t been made homecoming queen. So what? She’s way too smart for the pack mentality. Besides, she’s barely SUSAN HEYBOER O’KEEFE is the author emptied her suitcase and her mother of more than a dozen books for children, is already itching to move again. including ONE HUNGRY MONSTER and DEATH BY EGGPLANT. MY LIFE AND DEATH But when Allie stumbles onto the BY ALEXANDRA CANARSIE is Susan’s first novel funeral of a boy her own age, she is for young adults. -
2008-2009 Bill Witt
2008-2009 Title 1 Schools Required to Offer Supplemental Educational Services (SES) Title I schools that have not made Adequate Yearly Progress (AYP) for three or more consecutive years are required by the No Child Left Behind Act of 2001 (NCLB) to offer free tutoring to eligible students. District Name School Name Phase Academy for Business and Technology Academy for Business and Technology High 4 School Academy of Oak Park Academy of Oak Park - High School 5 Aisha Shule/WEB Dubois Prep. Academy Aisha Shule/WEB Dubois Prep. Academy 2 School School Benton Harbor Area Schools Hull Middle School 6 Buena Vista School District Buena Vista High School 4 Ricker Middle School 5 Casa Richard Academy Casa Richard Academy 4 Casman Alternative Academy Casman Alternative Academy 3 Center for Literacy and Creativity Center for Literacy and Creativity 2 Cesar Chavez Academy Cesar Chavez High School 2 Detroit Academy of Arts and Sciences Detroit Academy of Arts and Sciences High 2 School Detroit City School District Barbara Jordan Elementary 5 Barbour Magnet Middle School 8 Beckham, William Academy 6 Boykin Continuing Ed. Center 5 Boynton Elementary-Middle School 2 Central High School 5 Chadsey High School 5 Cleveland Middle School 8 Cody High School 5 Columbus Middle School 6 Communication and Media Arts HS 3 Cooley High School 5 Cooley North Wing 2 Courtis Elementary School 5 Crockett High School 4 Crosman Alternative High School 5 Denby High School 5 Detroit High School for Technology 2 Douglass Academy 4 Drew Middle School 8 Page 1 of 3 District -
Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
2XHDST1094.Pdf
here is no more challenging role in music than that of the solo performer. To succeed in this field of creative endeavour requires a high level of confidence, prodigious technical expertise and, where jazz is concerned, a rare continuity of inspiration. TEarl Hines had all of these qualities, and more. As in the case of the other jazz masters, when you listen to the extemporisations of “Fatha” Hines, you are not simply hearing music of a most elevated order – you are listening to a virtuoso who shaped the course of jazz history, a man who single-handedly (a highly inappropri- ate metaphor in one sense) changed the role of the piano in jazz and brought his unique influence to bear on a multitude of musicians. When Stanley Dance produced these sides in New York, Hines was in his 69th year and had more than half a century of music—making behind him. He was in ebullient form, attacking the music with all the weapons in his pianistic armoury. As the basis for his free-ranging, sometimes quixotic, improvisations, he chose six songs whose music was composed by Harold Arlen, a most gifted writer who was responsible for some of the more sophisticated popular songs of the thirties and forties. But, in truth, the real composer here is Hines himself. Where Teddy Wilson or a Tommy Flanagan would play songs like this and tailor their improvisations accord- ing to the cloth of the original composition, Hines takes up the Arlen jacket, turns it inside out, and gives it a brilliantly patterned lining, brass buttons, a velvet collar, gold braid and a florid buttonhole. -
Cashbox Subscription: Please Check Classification;
July 13, 1985 NEWSPAPER $3.00 v.'r '-I -.-^1 ;3i:v l‘••: • •'i *. •- i-s .{' *. » NE RIAA CERTIFICATIONS ANNOUNCED R.E.M. AFFILIATES LIVE-AID Crass Roots Audience Blossoms TWORK, GEAR FOR Story on Page 13 WEHIND THE BULLETS: TEARS FOR FEARS #1 MTV AWARDS ENTER NEXT PHASE GUEST EDITORIAL: AL KOOPER SUBSCRIPTION ORDER: PLEASE ENTER MY CASHBOX SUBSCRIPTION: PLEASE CHECK CLASSIFICATION; RETAILER ARTIST I NAME VIDEO JUKEBOXES DEALER AMUSEMENT GAMES COMPANY TITLE ONE-STOP VENDING MACHINES DISTRIBUTOR RADIO SYNDICATOR ADDRESS BUSINESS HOME APT. NO. RACK JOBBER RADIO CONSULTANT PUBLISHER INDEPENDENT PROMOTION CITY STATE/PROVINCE/COUNTRY ZIP RECORD COMPANY INDEPENDENT MARKETING RADIO OTHER: NATURE OF BUSINESS PAYMENT ENCLOSED SIGNATURE DATE USA OUTSIDE USA FOR 1 YEAR I YEAR (52 ISSUES) $125.00 AIRMAIL $195.00 6 MONTHS (26 ISSUES) S75.00 1 YEAR FIRST CLASS/AIRMAIL SI 80.00 01SHBCK (Including Canada & Mexico) 330 WEST 58TH STREET • NEW YORK, NEW YORK 10019 ' 01SH BOX HE INTERNATIONAL MUSIC / COIN MACHINE / HOME ENTERTAINMENT WEEKLY VOLUME XLIX — NUMBER 5 — July 13, 1985 C4SHBO( Guest Editorial : T Taking Care Of Our Own ^ GEORGE ALBERT i. President and Publisher By A I Kooper MARK ALBERT 1 The recent and upcoming gargantuan Ethiopian benefits once In a very true sense. Bob Geldof has helped reawaken our social Vice President and General Manager “ again raise an issue that has troubled me for as long as I’ve been conscience; now we must use it to address problems much closer i SPENCE BERLAND a part of this industry. We, in the American music business do to home. -
American Music Review the H
American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLII, Number 2 Spring 2013 Invisible Woman: Vi Redd’s Contributions as a Jazz Saxophonist By Yoko Suzuki, University of Pittsburgh The story of alto saxophonist Vi Redd illustrates yet another way in which women jazz instrumentalists have been excluded from the dominant discourse on jazz history. Although she performed with such jazz greats as Count Basie, Max Roach, Dizzy Gillespie, and Earl Hines, she is rarely discussed in jazz history books except for those focusing specifically on female jazz musicians. One reason for her omission is that jazz historiography has heavily relied on commercially produced recordings. Despite her active and successful career in the 1960s, Redd released only two recordings as a bandleader, in 1962 and 1964. Reviews of these recordings, along with published accounts of her live performances and memories of her fellow musicians illuminate how Redd’s career as a jazz instrumentalist was greatly shaped by the established gender norms of the jazz world. Elvira “Vi” Redd was born in Los Angeles in 1928. Her father, New Orleans drummer Alton Redd, worked with such jazz greats as Kid Ory, Dexter Gordon, and Wardell Gray. Redd began singing in church when she was five, and started on alto saxophone around the age of twelve, when her great aunt gave her a horn and taught her how to play. Around 1948 she formed a band with her first husband, trumpeter Nathaniel Meeks. She played the saxophone and sang, and began performing professionally. -
Put Your Money Where Your Heart Is
PUT YOUR MONEY WHERE YOUR HEART IS. We know giving back is an important piece of your financial plan because it’s an important part of our business plan, too. Associated Bank colleagues have volunteered more than 73,000 hours, and 1% of all our profits go back to local charities. So whatever your goals are for giving back to the place you love, our wealth management team will help you fulfill them. AssociatedBank.com/Wealth-Management Associated Bank, N.A. Member FDIC. (9/20) P02003 #MFF2021 #MFF2021 Annual Fund Milwaukee Film began in 2009 as primarily a film festival that occurred for Hello Film Fans! 11 days. Today, we operate 365 days a year as one of the nation’s leading nonprofit institutions dedicated to film, culture, and community. It’s appropriate that, for our first-ever spring Milwaukee We are committed to enriching, educating, and entertaining our community through film Film Festival, the significance of the season is stronger presentations, signature events, and year-round education programs for all ages. Our incredibly than it’s ever been. generous Annual Fund supporters provide us the visionary support we need to fulfill our mission Our world is opening up, and our thoughts are once again wandering and continue to thrive. beyond the confines of anxiety and isolation that have defined the past 14 months. Though we’re not yet to the point of safely welcoming crowds to a packed house at the Oriental Theatre, we can envision a time in the not-too-distant future when that will be happening again. -
Jazz and Radio in the United States: Mediation, Genre, and Patronage
Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition. -
Central Florida Future, Vol. 24 No. 68, July 29, 1992
University of Central Florida STARS Central Florida Future University Archives 7-29-1992 Central Florida Future, Vol. 24 No. 68, July 29, 1992 Part of the Mass Communication Commons, Organizational Communication Commons, Publishing Commons, and the Social Influence and oliticalP Communication Commons Find similar works at: https://stars.library.ucf.edu/centralfloridafuture University of Central Florida Libraries http://library.ucf.edu This Newsletter is brought to you for free and open access by the University Archives at STARS. It has been accepted for inclusion in Central Florida Future by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation "Central Florida Future, Vol. 24 No. 68, July 29, 1992" (1992). Central Florida Future. 1144. https://stars.library.ucf.edu/centralfloridafuture/1144 OPINIONp. 4 FEATURES p. 7 SPORTSp. 8 Looking for investment Uve thrills Orlando with Fonner UCF hurler Jon advice? See G.G. Allin gift of 'Mental Jewelry' Henry plays for Rays .. entra uture Serving The University of Central Florida Since 1968 • Vol. 24, No. 68 WEDNESDAY July 29, ·1992 _ · . ,· 8 p~ges · Early registration good for sOme, bad for others , by Rosibel Monserrate He also noted that, outside ofa tempo- "Registration is a good system," Bush smoothly, in part because of the new rary computer shutdown on the first day said. "It works but it won't work without classes," said Dr. Stuart Lilie, dean of CENTRAL FLORIDA FUTURE ofearlyregistrationbecause ~======~~ classes." undergraduate studies. "Ifnecessary we of changes made in the soft- More than 100 new may add a few more when we see where • ware, no major problems "It sucks." classes have been added the demand is." surfaced during the regis- to facilitate students' A great portion of the new classes tration period. -
Through the Iris TH Wasteland SC Because the Night MM PS SC
10 Years 18 Days Through The Iris TH Saving Abel CB Wasteland SC 1910 Fruitgum Co. 10,000 Maniacs 1,2,3 Redlight SC Because The Night MM PS Simon Says DK SF SC 1975 Candy Everybody Wants DK Chocolate SF Like The Weather MM City MR More Than This MM PH Robbers SF SC 1975, The These Are The Days PI Chocolate MR Trouble Me SC 2 Chainz And Drake 100 Proof Aged In Soul No Lie (Clean) SB Somebody's Been Sleeping SC 2 Evisa 10CC Oh La La La SF Don't Turn Me Away G0 2 Live Crew Dreadlock Holiday KD SF ZM Do Wah Diddy SC Feel The Love G0 Me So Horny SC Food For Thought G0 We Want Some Pussy SC Good Morning Judge G0 2 Pac And Eminem I'm Mandy SF One Day At A Time PH I'm Not In Love DK EK 2 Pac And Eric Will MM SC Do For Love MM SF 2 Play, Thomas Jules And Jucxi D Life Is A Minestrone G0 Careless Whisper MR One Two Five G0 2 Unlimited People In Love G0 No Limits SF Rubber Bullets SF 20 Fingers Silly Love G0 Short Dick Man SC TU Things We Do For Love SC 21St Century Girls Things We Do For Love, The SF ZM 21St Century Girls SF Woman In Love G0 2Pac 112 California Love MM SF Come See Me SC California Love (Original Version) SC Cupid DI Changes SC Dance With Me CB SC Dear Mama DK SF It's Over Now DI SC How Do You Want It MM Only You SC I Get Around AX Peaches And Cream PH SC So Many Tears SB SG Thugz Mansion PH SC Right Here For You PH Until The End Of Time SC U Already Know SC Until The End Of Time (Radio Version) SC 112 And Ludacris 2PAC And Notorious B.I.G. -
Snapshot of U.S. Department of Education Office of Safe And
Snapshot of U.S. Department of Education Office of Safe and Healthy Students (OSHS) Safe and Supportive Schools (S3) Grant to Michigan Department of Education TOTAL AMOUNT AWARDED TO MICHIGAN (2010-2014): $5,997,018 MI S3 PROGRAM SUMMARY The Michigan Safe and Supportive Schools (MI S3) grant primarily sought to improve staff and student wellness and reduce high rates of drug- and violence-related behavior in 22 schools across 21 school districts. MI S3 worked with participating districts and schools to help them collect and interpret annual survey, discipline, incident, and administrative data to choose and implement interventions for each school’s specific population and need. The MI S3 grant placed a unique focus on staff and student wellness efforts to improve school climate and student outcomes. Grant activities also paid special attention to improving school safety in Michigan’s high-need schools, particularly through empowering “meaningful student involvement” at youth engagement conferences and promoting restorative justice practices that yielded increased instructional contact time. MI S3 also successfully engaged other State education offices in efforts to make school climate and culture a priority for school improvement. GOAL OF THE SAFE AND SUPPORTIVE SCHOOLS PROGRAM S3 grantees reported annually on the number of participating schools with: • A decreased percentage of students who reported alcohol use in the past 30 days; • A decreased percentage of students who reported harassment or bullying on school property; • Improvement of school safety scores (as defined by each grantee); and • A decrease in the number of suspensions for violence without injury. These measures were defined by the Department of Education to fulfill the Government Performance and Results Act (GPRA) which requires federal grantees to track and report their progress.