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CATALOGUE WELCOME to NAXOS JAZZ LEGENDS and NAXOS NOSTALGIA, Twin Compendiums Presenting the Best in Vintage Popular Music
NAXOS JAZZ LEGENDS/NOSTALGIA CATALOGUE WELCOME TO NAXOS JAZZ LEGENDS AND NAXOS NOSTALGIA, twin compendiums presenting the best in vintage popular music. Following in the footsteps of Naxos Historical, with its wealth of classical recordings from the golden age of the gramophone, these two upbeat labels put the stars of yesteryear back into the spotlight through glorious new restorations that capture their true essence as never before. NAXOS JAZZ LEGENDS documents the most vibrant period in the history of jazz, from the swinging ’20s to the innovative ’40s. Boasting a formidable roster of artists who forever changed the face of jazz, Naxos Jazz Legends focuses on the true giants of jazz, from the fathers of the early styles, to the queens of jazz vocalists and the great innovators of the 1940s and 1950s. NAXOS NOSTALGIA presents a similarly stunning line-up of all-time greats from the golden age of popular entertainment. Featuring the biggest stars of stage and screen performing some of the best- loved hits from the first half of the 20th century, this is a real treasure trove for fans to explore. RESTORING THE STARS OF THE PAST TO THEIR FORMER GLORY, by transforming old 78 rpm recordings into bright-sounding CDs, is an intricate task performed for Naxos by leading specialist producer-engineers using state-of-the-art-equipment. With vast personal collections at their disposal, as well as access to private and institutional libraries, they ensure that only the best available resources are used. The records are first cleaned using special equipment, carefully centred on a heavy-duty turntable, checked for the correct playing speed (often not 78 rpm), then played with the appropriate size of precision stylus. -
Selected Observations from the Harlem Jazz Scene By
SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan. -
[email protected] Theo Wujcik: Cantos
FOR IMMEDIATE RELEASE CONTACT: Lashonda Curry 727-896-266, ext. 236 813-447-1752 (c) [email protected] Theo Wujcik: Cantos Brings to Life Epic Literary Work A series by the late, prominent Ybor City artist features larger-than-life paintings inspired by Dante’s Inferno ST. PETERSBURG, Fla. (March 29, 2019) – One of Tampa Bay’s best-known artists, Theo Wujcik (1936-2014), spent a decade creating a series drawn from the dark and profound literary classic, Dante’s Inferno. Now, those extraordinary paintings are the theme for Theo Wujcik: Cantos, a special exhibition organized by the Museum of Fine Arts, St. Petersburg and inspired by two works in its collection. Gates of Hell (1987) and Canto II (1997) are centered around Inferno, the first part of the epic poem Divine Comedy by Italian poet Dante Alighieri (1265–1321). The painting Gates of Hell was acquired by the MFA in 2017, but has never been publicly shown at a museum in the Tampa Bay area until now. Other art institutions that own Wujcik’s work include the Art Institute of Chicago; Detroit Institute of Arts; Museum of Modern Art, NY; National Gallery of Art, Washington, D.C. and San Francisco Museum of Modern Art. The exhibition is on view April 13 through June 2, 2019. Addressing select cantos from the poem, the 10 paintings on view—many of them epically scaled— range from 1987–1997, and showcase Wujcik’s literal and symbolic interpretation of the captivating journey of Dante through Hell, guided by the ancient Roman poet Virgil. Many artists have been inspired by the moral drama of Dante’s Inferno, including English poet and painter William Blake (1757–1827) and French illustrator Gustave Doré (1832–1883). -
Protecting Our Wate R USF Researchers Find Solutions for Healthy Water Around the World First Look
THE OFFICIAL MAGAZINE of the USF ALUMNI ASSOCIATION SPRING 2017 UNIVERSITY of SOUTH FLORIDA System Protecting our Wate r USF researchers find solutions for healthy water around the world First Look 2 UNIVERSITY of SOUTH FLORIDA Photos: KATY HENNIG MA ’16 Photos: KATY FOSSIL RECORD TO PRESERVE THE HEALTH OF OUR WATERWAYS for the future, we must understand their past, says Professor Emeritus Albert Hine, PhD. To unravel the geologic history of Florida and Tampa Bay, Hine dug back over 700 million years. His surprising results have been documented in his book, The Geological History of Florida – the Major Events that Formed the Sunshine State, and an award-winning multi-media project, Tampa Bay Water Story, produced by Katy Hennig, MA ’16. “In one of our projects, we discovered buried freshwater lake sediments in Tampa Bay,” Hine says. “From about 20,000 years ago to about 10,000 years ago, Tampa Bay was partly a freshwater lake. The best record of early humans in Florida, what they ate and how they lived, is right there slightly beneath the seafloor of the bay.” Hine, who specializes in geological oceanography, collects and uses fossils to help tell the story of Florida’s land and water. “Our appreciation for beauty helps remind us of the importance of protecting our natural environment,” he says. PHOTOS: Albert Hine holds a fossilized tooth from a Megalodon, or giant shark, found in the center of the Florida peninsula. A fossilized Ammonite shell, an ancient geologic relative to the contemporary nautilus mollusc, reveals the beauty and patterns of the mathematical Fibonacci Sequence. -
Robert Morris, Minimalism, and the 1960S
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
Wavelength (October 1981)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 10-1981 Wavelength (October 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (October 1981) 12 https://scholarworks.uno.edu/wavelength/12 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Pipes of Pan Presents ... A best seller. versus the best. icro-Acoustics Bose 301 FRM-3dx *33QOOper patr. *34900per pair Compare these two speakers, and you'd probably expect the one on the left - with the lower price - to be the better seller. You'd be right ... but is it the better value? Before you aecide, it pays to consider how much more a little more money will bu~: Comfare bass. The new FRM-3dx uses a twin-ducted enclosure with thicker cabine panels and larger cubic volume for rich, full bass. Compare highs. The new FRM-3dx1s unique Vari-AxiSTM control system, damped isolated tweeter suspension and rim-damped cone give lifelike h1ghs. Compare warranties. The new FRM-3dx is warrantied twice as long. The Micro-Acoustics new FRM-3dx. When you compare, there's really no com parison. Quality worth a 10-year warranty Micro-Acoustics Reg. $349.00 Bose 301" FRM·3dx Tweeter One, fixed. One, rotatable, rim·damped. Tweeter Attached Isolated from SALE NOW directly to baffle. -
Tamarind Homage to Lithography Preface by William S
Tamarind homage to lithography Preface by William S. Lieberman. Introduction by Virginia Allen Author Museum of Modern Art (New York, N.Y.) Date 1969 Publisher Distributed by New York Graphic Society, Greenwich, Conn. Exhibition URL www.moma.org/calendar/exhibitions/1869 The Museum of Modern Art's exhibition history—from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art Tamarind:Homage to Lithography Tamarind: Homage to Lithography Preface by William S. Lieberman Introduction by Virginia Allen 4- The Tamarind Lithography Workshop has almost single- handedly revived the difficult medium of lithography in the past decade. It has provided not only the materials but also the environment that fosters the delicate collaboration be tween artist and printer. Such an environment and indeed even the materials were almost nonexistent in the United States before June Wayne and the Ford Foundation agreed on the importance of providing them. Since Tama rind opened its doors in 1960 it has provided fellowships for numerous artists and printers, most of whom have con tinued their exploration of lithography after leaving Tama rind. The author describes this unique Workshop and also gives a brief history of lithography in Europe and in the United States. Included is a list which catalogs part of the promised gift to The Museum of Modern Art of the Kleiner, Bell and Company Collection of Tamarind Impressions. The author, Virginia Allen, former curator of Tamarind, is now Assistant to William S. -
Storyville Films 60003
Part 2 of a survey: Content of all Storyville Films DVD series Storyville Films 60003. “Harlem Roots, Vol. 1” - The Big Bands. Duke Ellington Orch. I Got It Bad And That Ain’t Good (2:54)/Bli Blip (2:50)/Flamingo (3:01)/Hot Chocolate (Cottontail) (3:06)/Jam Session (C Jam Blues) (2:50). Cab Calloway Orch.: Foo A Little Ballyhoo (2:48)/Walkin’ With My Honey (2:35)/Blow Top Blues (2:36)/I Was There When You Left Me (2:43)/We The Cats Shall Hep Ya (2:36)/Blues In The Night (3:12)/The Skunk Song (2:59)/Minnie The Moocher (3:01)/Virginia, Georgia And Caroline (2:57). Count Basie Orch.: Take Me Back Baby (2:39)/Air Mail Special (2:51). Lucky Millinder Orch.: Hello Bill (2:56)/I Want A Big Fat Mama (3:01)/Four Or Five Times (2:33)/Shout Sister, Shout 2:40). All are Soundies. DVD produced in 2004. TT: 0.57. Storyville Films 60013. “Harlem Roots, Vol. 2” - The Headliners. Fats Waller Rhythm: Honeysuckle Rose (2:52)/Your Feet’s Too Big /Ain’t Misbehavin’ (2:59)/The Joint Is Jumpin’ (2:46). Louis Armstrong Orch.: When It’s Sleepy Time Down South (3:07)/Shine (2:52)/I’ll Be Glad When You’re Dead You Rascal You (2:45)/Swinging On Nothing (2:53). Louis Jordan Tympany Five: Five Guys Named Mo (2:44)/Honey Chile (2:41)/GI Jive (2:36)/If You Can‘t Smile And Say Yes (2:45)/Fuzzy Wuzzy (2:49)/Tillie (2:26)/Caldonia (2:50)/Buzz Me (2:48)/Down, Down, Down (3:01)/Jumpin’ At The Jubilee (2:34). -
The Many Faces of “Dinah”: a Prewar American Popular Song and the Lineage of Its Recordings in the U.S
View metadata, citation and similar papers at core.ac.uk brought to you by CORE The Many Faces of “Dinah” The Many Faces of “Dinah”: A Prewar American Popular Song and the Lineage of its Recordings in the U.S. and Japan Edgar W. Pope 「ダイナ」の多面性 ──戦前アメリカと日本における一つの流行歌とそのレコード── エドガー・W・ポープ 要 約 1925年にニューヨークで作曲された「ダイナ」は、1920・30年代のアメリ カと日本両国におけるもっとも人気のあるポピュラーソングの一つになり、 数多くのアメリカ人と日本人の演奏家によって録音された。本稿では、1935 年までに両国で録音されたこの曲のレコードのなかで、最も人気があり流 行したもののいくつかを選択して分析し比較する。さらにアメリカの演奏家 たちによって生み出された「ダイナ」の演奏習慣を表示する。そして日本人 の演奏家たちが、自分たちの想像力を通してこの曲の新しい理解を重ねる中 で、レコードを通して日本に伝わった演奏習慣をどのように応用していった かを考察する。 1. Introduction “Dinah,” published in 1925, was one of the leading hit songs to emerge from New York City’s “Tin Pan Alley” music industry during the interwar period, and was recorded in the U.S. by numerous singers and dance bands during the late 1920s and 1930s. It was also one of the most popular songs of the 1930s in Japan, where Japanese composers, arrangers, lyricists and performers, inspired in part by U.S. records, developed and recorded their own versions. In this paper I examine and compare a selection of the American and Japanese recordings of this song with the aim of tracing lines ─ 155 ─ 愛知県立大学外国語学部紀要第43号(言語・文学編) of influence, focusing on the aural evidence of the recordings themselves in relation to their recording and release dates. The analysis will show how American recordings of the song, which resulted from complex interactions of African American and European American artists and musical styles, established certain loose conventions of performance practices that were conveyed to Japan and to Japanese artists. It will then show how these Japanese artists made flexible use of American precedents, while also drawing influences from other Japanese recordings and adding their own individual creative ideas. -
Guide to the Milt Gabler Papers
Guide to the Milt Gabler Papers NMAH.AC.0849 Paula Larich and Matthew Friedman 2004 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Personal Correspondence, 1945-1993..................................................... 5 Series 2: Writings, 1938 - 1991............................................................................... 7 Series 3: Music Manuscripts and Sheet Music,, 1927-1981.................................. 10 Series 4: Personal Financial and Legal Records, 1947-2000............................... -
Chapter Outline
CHAPTER SIX: “IN THE MOOD”: THE SWING ERA, 1935–1945 Chapter Outline I. Swing Music and American Culture A. The Swing Era: 1935–45 1. Beginning in 1935, a new style of jazz-inspired music called “swing” transformed American popular music. 2. Initially developed in the late 1920s by black dance bands in New York, Chicago, and Kansas City 3. The word “swing” (like “jazz,” “blues,” and “rock ’n’ roll”) derives from African American English. a) First used as a verb for the fluid, rocking rhythmic momentum created by well-played music, the term was used by extension to refer to an emotional state characterized by a sense of freedom, vitality, and enjoyment. b) References to “swing” and “swinging” are common in the titles and lyrics of jazz records made during the 1920s and early 1930s. c) Around 1935, the music industry began to use “swing” as a proper noun—the name of a defined musical genre. 4. Between 1935 and 1945, hundreds of large dance orchestras directed by celebrity bandleaders dominated the national hit parade: 1 CHAPTER SIX: “IN THE MOOD”: THE SWING ERA, 1935–1945 a) Benny Goodman b) Tommy Dorsey c) Duke Ellington d) Count Basie e) Glenn Miller 5. These big bands appeared nightly on radio, their performances transmitted coast to coast from hotels and ballrooms in the big cities. 6. Their music was featured on jukeboxes. 7. Many of the bands crisscrossed the country in buses, playing for dances and concerts at local dance halls, theaters, and colleges. 8. The big bands were essentially a big-city phenomenon, a symbol of sophistication and modernity. -
WILLIAM PACHNER Chronologymuseum of American Art and Featured in American Craft Magazine
Linda Nguyen Lopez (b. 1981 California) received a BFA from é California State University of Chico and MFA from the University of Colorado at Boulder. She has exhibited her work in New Zealand, Italy, and throughout United States including Robischon Gallery, Denver; Jane Hartsook Gallery at Greenwich House Pottery, New York; Center for Emerging Visual Artist, Philadelphia and the Long Beach Museum of Art, Long Beach. In 2015, Lopez was included in the State of the Art Exhibition at Crystal Bridges WILLIAM PACHNER CHRONOLOGYMuseum of American Art and featured in American Craft Magazine. CHRONOLOGY Leaves Esquire to enlist in the Army, but is rejected three times. Is determined to participate in the war effort, 1915 so makes anti-fascist illustrations for magazines such as Birth of Vilem (William) Pachner, son of Anna and Josef Collier’s, Cosmopolitan, and Redbook. Pachner, in Brtnice, then Austro-Hungarian Empire, Czecho- slovakia from 1919 until 1992, which on January 1, 1993, 1944 peacefully split into the Czech Republic and Slovakia. Receives citation for Meritorious Service from the National War Fund. 1920 Has first solo exhibition at the Barry Stephens Gallery in New Rides in the cabin of a locomotive, a ride arranged by his York. grandfather, Leopold. Injures left eye while sharpening a pencil. 1945 Receives confirmation that his entire family has been exter- 1920s minated by the Nazis. Moves to Woodstock, New York and Doesn’t excel in academic subjects, but some of his teachers buys a house from Juliana Force, Director of the Whitney allow him to pass because of his drawings.