DOCSLIB.ORG

Ladyslipper Catalog

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ladyslipper Catalog Ladyslipper Catalog -i. "•:>;;;-•, •iy. ?_.*.-• :':.-:xv«> -»W ' | 1 \ aw/ Resource Guide • Recordings WfiMEl by OCT . 8 1991 Women ll__y_i_iU U L_ . • 1992 Table of Contents Ordering Information 2 Native American 44 Order Blank 3 Jewish 46 About Ladyslipper 4 Calypso 47 Musical Month Club 5 Country 48 Donor Discount Club 5 Folk * Traditional 49 Gift Order Blank 6 Rock 55 Gift Certificates 6 R&B * Rap * Dance 59 Free Gifts 7 Gospel 60 Be A Slipper Supporter 7 Blues 61 Ladyslipper Mailing List 8 Jazz 62 Ladyslippers Top 40 8 Classical 63 Especially Recommended New Titles 9 Spoken 65 Womens Spirituality * New Age 10 Babyslipper Catalog 66 Recovery 22 "Mehn's Music" 70 Women's Music * Feminist Music 23 Videos 72 Comedy 35 Kids'Videos 76 Holiday 35 Songbooks, Posters, Grab-Bag 77 International: African 38 Jewelry, Books 78 Arabic * Middle Eastern 39 Resources 80 Asian 39 Calendars, T-Shirts, Cards 8J Celtic * British Isles 40 Extra Order Blank 85 European 43 Readers' Comments 86 Latin American 43 Artist Index 86 MAIL: Ladyslipper, PO Box 3124-R, Durham, NC 27715 ORDERS: 800-634-6044 M-F 9-6 Ordering Info CUSTOMER SERVICE: 919-683-1570 M-F 9-6 FAX: 919-682-5601 Anytime! . PAYMENT: Orders can be prepaid or charged (we BACK-ORDERS AND ALTERNATIVES: If we are CHARGE CARD ORDERS: are processed as prepaid don't bill or ship C.O.D. except to stores, libraries and temporarily out of stock on a title, we will automati­ orders, just like checks with your entire order billed schools). Make check or money order payable to cally back-order it unless you include alternatives up front. Ladyslipper, Inc. and mail to PO Box 3124-R, Durham (should be same-priced titles). Listing alternatives will NC 27715. International money order in U.S. dollars give you faster service. If we back-order for you, you FORMAT: Each description states which formats are required from foreign countries including Canada. may contact us at any time to instead choose a sub­ available. LP = record, CS = cassette, CD = com­ stitute, credit or refund. Your packing slip will serve pact disc. Some recordings are available only on LP PHONE ORDERS AND INQUIRIES: You may charge as your only back-order notice. If the recording should or only on cassette, as indicated in the description. Mastercard and Visa orders by phone on our toll-free become unavailable, we'll send you credit or refund. If you order, for instance, a title which is only available line: 1-800-634-6044. For all other inquiries, please All back-orders are" shipped ground. as a cassette, and you check the LP box, you will be call 919-683-1570. We can take your call Monday sent the cassette, and any returns will be at your own through Friday 9:00 a.m. to 6:00 p.m. Eastern time. ADDITIONAL ORDERS: If you've used your order expense. SO PLEASE ORDER CAREFULLY! For charge orders: please have your order blank filled blanks, use a plain sheet of paper, and indicate stock out, your charge card handy, and please read us your #, title, format, page number, quantity and price; add LP's: are an endangered species. Please indicate on charge number very carefully! If you are calling to postage/handling, give your name and address, and the order which formats (if any) you will accept as inquire about your order, please have a copy of your enclose payment. substitutes for LPs. Many LP titles which are still avail­ filled-out order blank on hand. able as we go to press will probably be out of print GIFT ORDERS: We'll be glad to send your gift orders within the next 12 months. FAX ORDERS: You may fax your charge order; our directly. You may enclose your own gift card; please fax line is 919-682-5601. indicate whether you'd like us to enclose a catalog. If you don't specify, we'll send one. POSTAGE & HANDLING CUSTOMER #: For faster service please have your DOMESTIC & APO RATES: Most shipments by Spe­ 6-digit customer number ready. If this is your first RECEIVING: You should receive your shipment within cial 4th Class Mail. For UPS or FIRST CLASS (our order, we'll need the last 3 digits of your social security 2-6 weeks from the time we receive your order if you choice), add $1.00 in addition to amounts below For number to create your unique customer #. have specified special fourth class; 1-3 weeks for UPS SECOND DAY AIR, add $6.00 in addition to UPS; less than a week for Second Day Air. Please amounts below. (No UPS ground to Alaska or Hawaii; SHOPPING IN PERSON: You are invited to visit our notify us if you have not received a shipment or a add $9.00 for air.) Listening Room and to shop at our Durham location, back-order notice after that time has elapsed. For items to the SAME address, add: 613 Vickers Ave., anytime you are passing through 1 item 2.75 4 items 5.75 North Carolina! We are open Monday through Friday SECOND DAY AIR SHIPMENTS: Second day air 2 items 3.75 5 items 6.25 9:00 a.m. to 6:00 p.m., and in the fall we will have means two days in transit from date shipped, not date 3 i'ems 4.75 6 items 6.75 some additional weekend hours; please call ahead ordered. We will give priority to second day air ship­ for our fall schedule at (919) 683-1570. 7 or more items: Add 50e (to 6.75) for EACH addi­ ments, and we usually ship within 48 hours unless tional item over 6 (send 7.25 for the item is out of stock, but cannot guarantee arrival 7 items, 7.75 for 8 items, etc.) NC SALES TAX: North Carolina residents must in­ date. Best to phone in second day air shipments. All Orders over $100 to the same address: Free postage clude 6% sales tax. back-orders are shipped ground. and handling (USA only) by Special 4th Class. Add RETURNS: Occasionally recordings are damaged in CATALOG EXPIRATION AND PRICES: We will honor $1.00 for UPS, and $6.00 for UPS Second Day Air. some way. We hope you never receive a defective prices in this catalog (except in cases of dramatic CANADIAN & INTERNATIONAL RATES: item from us, but if you do, please return it with an increase) until September. After that, when our new Payment in US dollars via international bank money explanation of the problem and we'll replace it im­ catalog will be in circulation, these prices are subject order, postal money order, or Mastercard or Visa ONLY. mediately with another copy of the same title. Sorry, to change. SURFACE RATES AIR RATES we are unable to swap opened recordings for other BOUNCED CHECKS: $15.00 service charge on all 1 item 5.75 Each item 9.75 titles. returned checks. Each add. item ...1.75 Canada: each item. 5.75 2 1992 Ladyslipper Catalog MAIL: Ladyslipper, PO Box 3124-R, Durham, NC 27715 ORDERS: 800-634-6044 M-F 9-6 CUSTOMER SERVICE: (919-683-1570 M-F 9-6 1992 Order Blank FAX: 919-682-5601 Anytime! FOR FASTER SERVICE: Copy # from your address label here Have you ordered from us before?. Is this a new address? . Your name: PHONE .DATE ORDERED Ship to: Home address: Street Address Zip Zip Customer # or last 3 digits of Social Security # METHOD OF PAYMENT: We recommend phoning in orders and requesting UPS or UPS Second Day Air for rush orders during December, and other rush orders through the year. We DVisa D Check • Money Order • MasterCard cannot guarantee arrival dates, but will work hard to get rush orders processed and shipped as soon as possible. Please help us by giving us 3 weeks after Account No receiving your order to get it to its destination. Expiration Date D Check here if this is a holiday gift. Requested arrival date: Signature FORMAT: CHECK ONE* TITLE/ ARTIST PAGE PRICE TOTAL STOCK# LP CS CD Other QTY EACH I have enclosed payment for shipment by D Special Fourth Class D UPS or First Class • UPS Second Day Air subtotal Q DO D DO NOT send a catalog with this order. (°Uf aSd add^xfrlVostogef (9ive St. address) Donor Discount & new subtotal Send D Ladyslipper Credit Slip D Refund if items ordered and alternatives are no longer available + NC residents: 6% sales tax If any of the titles I'm ordering in • Cassette D CD D LP are out of stock, please substitute the same title in + postage/handling (see below) • Cassette u CD. (Any format substitutions OK for charge orders. For check orders, same- or lower-priced substitutions only; we'll send you a credit slip if lower-priced.) + UPS or AIR surcharge + donation PLEASE LIST ALTERNATIVES BELOW ... This will help us fill your order faster. = GRAND TOTAL They will only be sent if we are out of your first choice. PLEASE INCLUDE AT LEAST ONE FOR EACH PRICE BRACKET ORDERED. POSTAGE & HANDLING Forma :Chec One* STOCK# TITLE/ ARTIST PAGE PRICE DOMESTIC & APO RATES: Most shipments by Spe­ LP CS CD cial 4th Class Mail. For UPS or FIRST CLASS (our # choice), add $1.00 in addition to amounts below. For UPS SECOND DAY AIR, add $6.00 in addition to amounts below. (No UPS ground to Alaska or Hawaii; add $9.00 for air.) For items to the SAME address, add: 1 item 2.75 4 items 5.75 2 items 3.75 5 items 6.25 • Some items are available only in one format.
Load more

Recommended publications
  • Barbara Hammer, 70 Years Old, Hands the Camera to Gina Carducci, a Young Queer Film- Maker
    Generations is a film about mentoring and passing on the tradi- tion of personal experimental filmmaking. Barbara Hammer, 70 years old, hands the camera to Gina Carducci, a young queer film- maker. Shooting during the last days of Astroland at Coney Is- land, New York, the filmmakers find that the inevitable fact of ageing echoes in the architecture of the amusement park and in the emulsion of the film medium itself. Editing completely sep- arately both picture and sound, the filmmakers join their films in the middle when they’ve finished, making a true generational and experimental experiment. In a time when digital dominates the art domain, a DIY aesthet- ic is embraced by Gina Carducci, a young thirty-year-old filmmak- er who hand processes 16mm film and a seventy-year-old pioneer of queer experimental cinema, Barbara Hammer. Hammer invites Carducci to collaborate on a new film, Generations. Barbara Hammer Celebrating Hammer’s spontaneous shooting style and dense ed- Maya Deren’s Sink iting montage with Carducci’s studied cinematography, the two filmmakers, generations apart in age, shoot the last days of Astro- land in Coney Island, New York. The aged but vibrant amusement Eine Hommage an die Mutter des amerikanischen Avantgarde- park, characteristic of the 70-year-old Hammer, is a fitting envi- films. Der Film beschwört durch Gespräche mit WeggefährtInnen ronment for the photoplay of the two Bolex filmmakers. und ZeitgenossInnen den Geist einer überlebensgroßen Person. Teiji Itos Familie, Carolee Schneemann und Judith Malvina schwe- Inspired by the revolutionary Shirley Clarke film,Bridges Go ben durch Derens Wohnorte und erinnern sich an kleinste Details Round (1953), where Clarke printed the same footage twice us- der architektonischen und persönlichen Innenräume.
    [Show full text]
  • Barbara Hammer – Technology of Touch Chapter 2
    !1 ! The concerns of O’Neill’s first 15 years of filmmaking — the graphic qualities of the image, the role of stasis in the context of a time-based art form, and the process-based applications of technology in making art — are writ large in the second phase of his career, in which he shifted to 35mm for a series of extraordinarily accomplished feature-length films. In these films, which include Water and Power (1989) and Decay of Fiction (2002), the sketch- based experimentation of his earlier work is supplanted with a symphonic form that seeks to unify its disparate elements into a thematically cohesive whole, often with more pronounced political engagement. In both phases of his career, O’Neill has used the optical printer to experiment with form, which is often linked to art historical ideas about design, process, and perspective. This stands in contrast to Barbara Hammer, whose own innovative use of the printer is tied directly to its capacity to provide an emotionally accurate representation of her personal feelings and desires. ! Barbara Hammer: The Technology of Touch If ever there were a meta-film about optical printing, materiality, and the marginalization of the avant-garde filmmaker, Barbara Hammer’s Endangered (1988) is it. An urgent warning about the precarious position of experimental filmmakers, light, and life on planet Earth, this fragile film begins with an off-kilter double exposure of Hammer working steadily on her optical printer while snowflakes, depicted as particles of light energy, swirl around her silhouette. In a series of traveling mattes, boxes-within-boxes expand and contract, dividing abstract patterns of light into discontinuous fragments.
    [Show full text]
  • Eat Like a Republican and You Won't Get AIDS
    TRANSMISSIONS: THE JOURNAL OF FILM AND MEDIA STUDIES 2017, VOL.2, NO. 1, PP. 150-160. Andrzej Pitrus Jagiellonian University Eat like a Republican and you won’t get AIDS - a conversation with Barbara Hammer Andrzej Pitrus: In 2009 I had the honor to speak to Jonas Mekas. Many people consider him the father of American avant-garde. Do you agree? Barbara Hammer: I don’t agree. Should I tell you why? Yes, sure. I think Jonas Mekas did a lot to contribute to avant-garde film in the United States and internationally, but in terms of American avant-garde, I think we have to look to Maya Deren, and even before – to James Sibley Watson, his Fall of the House of Usher in 1928. His Lot in Sodom was shown,—I was shocked to read this—in Times Square in 1933 without any censorship at all. Before Mekas there were many American experimental filmmakers, but he was a person promoted their works. Of course I asked Jonas: “Do you feel more Lithuanian or American?” He answered “No, I’m not American, I’m from New York. When I go outside the city, I’m a foreigner again.” I also asked him for his definition of experimental film and he said: “There’s no such thing! Scientists make experiments, I don’t really believe that there’s something like experimental film”. It was a difficult conversation in a way. I wonder if you agree with him? I definitely think there’s something like experimental film. In Sanctus (1990), which is composed of moving x-rays of a human body that Dr.
    [Show full text]
  • JUMP CUT the Films of Barbara Hammer Countercurrencies of A
    JUMP CUT A REVIEW OF CONTEMPORARY MEDIA The films of Barbara Hammer Counter­currencies of a lesbian iconography by Jacquelyn Zita from Jump Cut, no. 24-25, March 1981, pp. 31-32 copyright Jump Cut: A Review of Contemporary Media, 1981, 2005 Initially the lesbian body has no meaning. The presumption of difference is a cultural artifact, composed of signs and images that have been bartered for the meaning of a lesbian's experience and the use of her body. The currency for the most part has belonged to men, as has the exchange. The body named carried the burden of a language not its own and a shameful silence imposed by those who signified its meaning. Lesbian voices remained smothered by the many levels of meta-discourse, translation, explanation, diagnosis, and condemnation. Lesbian bodies remained stilled by the force of another discourse, which extracted, displayed, and ridiculed the unfathomable difference of lesbian desire. With the proliferation of psychoanalytic categories, the lesbian became a specimen of medical curiosity. Her crime against nature was translated into a new text of aberration and illness, but the intention of the text remained the same: denial and negation of the lesbian body. The symbolic burial of the lesbian body has assumed many different forms, each with its own mode of cultural liquidation. This social oppression is transhistorical under patriarchy, but not ahistorical. It changes historically to fit the variety of father-tongues and the predominant modes of patriarchal hegemony belonging to various periods. Yet withstanding the immensity of repressive regimes, the "crime" of lesbianism remained restive and uncontained.
    [Show full text]
  • Mct2 G5 La-Pt3
    MS515389-8358_Gr5_LA-ST 5/8/09 10:45 AM Page 1 Student Name GRADE Mississippi Curriculum Test, Second Edition 5 MCT2 PRACTICE TEST BOOK LANGUAGE ARTS Practice Test 3 for MCT2 is developed and published by the Mississippi Department of Education. Copyright © 2009 by Mississippi Department of Education. All rights reserved. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher. The Mississippi logo appears courtesy of the Mississippi Development Authority. MS515393-8110_Gr3Fm1_R 2/2/09 3:52 PM Page 3 Language Arts: Section 1 Reading YOU ARE ONLY ALLOWED TO REVIEW THIS SECTION OF THE TEST TODAY. Page 3 MS515389-8358_Gr5_LA-ST 5/8/09 10:45 AM Page 4 R Read the following passage “Dare to Run.” Then answer questions 1–6 based on the passage. You may turn back to the passage as you answer questions. You may write in your test booklet, but you must mark your answers on your answer document. Dare to Run “Who’s next?” the coach called as I stood in line to sign up for the middle school track team. “Kayla Monroe,” I said as I stepped forward with a big smile. “Is this your first year running track?” the coach asked. 5 “Yes, yes, it is.” I stumbled over my words a little. I was afraid the coach might think I was too young to be on the team since I was still in fifth grade. “Track isn’t an easy sport,” he said.
    [Show full text]
  • Local Jazz Lives at Bellevue and Gig Harbor Festivals Bob Russell
    INSIDE: Reviews of Marc Seales, Steve Rice Trio & Bud Shank Earshot J Seattle, July 1989 A Mirror and Focus for the Jazz Community I ^ Local Jazz Lives at Bellevue and Roots of Jazz: Gig Harbor Festivals Bob Russell Despite budget cuts and wavering sup­ Trumpeter Bob Russell started playing profession­ port from the Bellevue City Parks Depart­ ally in Kansas City in the 1920s, and moved to Seattle in 1944. Before coming to Seattle, he ment, it appears the Bellevue Jazz Festival, worked with drummer Vernon Brown in Milwau­ slated for July 10 - 16, will prevail as one of kee and recorded with Grant Moore's New Or­ the most important showcases for top local leans Black Devils. Brown sent for Russell in 1944 and throughout the '40s Russell was a member of jazz talent. Set in a beautiful downtown loca­ the popular Al Pierre band, which held down a tion against a backdrop of glass skyscrapers, steady job at Seattle s Marine (later Union) Club. the festival will spread out on a grass lawn so Laudatory mentions of Russell by other subjects ofthe "Roots of Jazz" project led us to draw out green, "it's like the lawn in your wildest his recollections. The following excerpts are from dreams," says organizer Jim Wilke. an interview taken by Ted Dzielak at Russell's This year's festival will feature a free home, March 7, 1989. This interview was made possible in part with support from the King County concert Friday evening, July 14; an evening Centennial Commission and the King County concert on Saturday, July 15 (admission S3); Landmarks Heritage Division.
    [Show full text]
  • Acoustic Guitar Songs by Title 11Th Street Waltz Sean Mcgowan Sean
    Acoustic Guitar Songs by Title Title Creator(s) Arranger Performer Month Year 101 South Peter Finger Peter Finger Mar 2000 11th Street Waltz Sean McGowan Sean McGowan Aug 2012 1952 Vincent Black Lightning Richard Thompson Richard Thompson Nov/Dec 1993 39 Brian May Queen May 2015 50 Ways to Leave Your Lover Paul Simon Paul Simon Jan 2019 500 Miles Traditional Mar/Apr 1992 5927 California Street Teja Gerken Jan 2013 A Blacksmith Courted Me Traditional Martin Simpson Martin Simpson May 2004 A Daughter in Denver Tom Paxton Tom Paxton Aug 2017 A Day at the Races Preston Reed Preston Reed Jul/Aug 1992 A Grandmother's Wish Keola Beamer, Auntie Alice Namakelua Keola Beamer Sep 2001 A Hard Rain's A-Gonna Fall Bob Dylan Bob Dylan Dec 2000 A Little Love, A Little Kiss Adrian Ross, Lao Silesu Eddie Lang Apr 2018 A Natural Man Jack Williams Jack Williams Mar 2017 A Night in Frontenac Beppe Gambetta Beppe Gambetta Jun 2004 A Tribute to Peador O'Donnell Donal Lunny Jerry Douglas Sep 1998 A Whiter Shade of Pale Keith Reed, Gary Brooker Martin Tallstrom Procul Harum Jun 2011 About a Girl Kurt Cobain Nirvana Nov 2009 Act Naturally Vonie Morrison, Johnny Russel The Beatles Nov 2011 Addison's Walk (excerpts) Phil Keaggy Phil Keaggy May/Jun 1992 Adelita Francisco Tarrega Sep 2018 Africa David Paich, Jeff Porcaro Andy McKee Andy McKee Nov 2009 After the Rain Chuck Prophet, Kurt Lipschutz Chuck Prophet Sep 2003 After You've Gone Henry Creamer, Turner Layton Sep 2005 Ain't It Enough Ketch Secor, Willie Watson Old Crow Medicine Show Jan 2013 Ain't Life a Brook
    [Show full text]
  • Rhythm & Blues Rhythm & Blues S E U L B & M H T Y
    64 RHYTHM & BLUES RHYTHM & BLUES ARTHUR ALEXANDER JESSE BELVIN THE MONU MENT YEARS CD CHD 805 € 17.75 GUESS WHO? THE RCA VICTOR (Baby) For You- The Other Woman (In My Life)- Stay By Me- Me And RECORD INGS (2-CD) CD CH2 1020 € 23.25 Mine- Show Me The Road- Turn Around (And Try Me)- Baby This CD-1:- Secret Love- Love Is Here To Stay- Ol’Man River- Now You Baby That- Baby I Love You- In My Sorrow- I Want To Marry You- In Know- Zing! Went The My Baby’s Eyes- Love’s Where Life Begins- Miles And Miles From Strings Of My Heart- Home- You Don’t Love Me (You Don’t Care)- I Need You Baby- Guess Who- Witch craft- We’re Gonna Hate Ourselves In The Morn ing- Spanish Harlem- My Funny Valen tine- Concerte Jungle- Talk ing Care Of A Woman- Set Me Free- Bye Bye Funny- Take Me Back To Love- Another Time, Another Place- Cry Like A Baby- Glory Road- The Island- (I’m Afraid) The Call Me Honey- The Migrant- Lover Please- In The Middle Of It All Masquer ade Is Over- · (1965-72 ‘Monument’) (77:39/28) In den Jahren 1965-72 Alright, Okay, You Win- entstandene Aufnahmen in seinem eigenwilligen Stil, einer Ever Since We Met- Pledg- Mischung aus Soul und Country Music / his songs were covered ing My Love- My Girl Is Just by the Stones and Beatles. Unique country-soul music. Enough Woman For Me- SIL AUSTIN Volare (Nel Blu Dipinto Di SWINGSATION CD 547 876 € 16.75 Blu)- Old MacDonald (The Dogwood Junc tion- Wildwood- Slow Walk- Pink Shade Of Blue- Charg ers)- Dandilyon Walkin’ And Talkin’- Fine (The Charg ers)- CD-2:- Brown Frame- Train Whis- Give Me Love- I’ll Never
    [Show full text]
  • Big Ears: Listening for Gender in Jazz Studies*
    Big Ears: Listening for Gender in Jazz Studies* By Sherrie Tucker His wife Lil often played piano. Ken Burns's Jazz, on Lil Hardin Armstrong. are they his third or fourth wives, or two new members of the brass section?" Cartoon caption, Down Beat, August 15, 1943. My ears were like antennae and my brain was like a sponge. Clora Bryant, trumpet player, on her first encounters with bebop. Injazz, the term "big ears" refers to the ability to hear and make mean­ ing out of complex music. One needs "big ears" to make sense of impro­ visatory negotiations of tricky changes and multiple simultaneous lines and rhythms. "Big ears" are needed to hear dissonances and silences. They are needed to follow nuanced conversations between soloists; between soloists and rhythm sections; between music and other social realms; be­ tween multiply situated performers and audiences and institutions; and between the jazz at hand and jazz in history. If jazz was just about hitting the right notes, surviving the chord changes, and letting out the stops,jazz scholars, listeners, and even musicians would not need "big ears." Yet, jazz historiography has historically suffered from a reliance on pre­ dictable riffs. Great-man epics, sudden genre changes timed by decade, and colorful anecdotes about eccentric individuals mark the comfortable beats. Jazz-quite undeservedly, and all too often-has been subjected to easy listening histories. The familiar construction of jazz history as a logi­ cal sequence in which one style folds into another, one eccentric genius passes the torch to the next-what Scott DeVeaux (1991) calls "the jazz tradition"-has dominated popular and critical writing about jazz, even the ways our "Survey of Jazz" classes are taught in universities.
    [Show full text]
  • Syllabus, Mujz 100 Spring 2013
    MUJZ 100 1 MUJZ 100xm, Jazz: A History of America’s Music Professor Thomas and teaching assistant Gary Wicks Course Description and Objectives: This course will provide a diverse perspective on the evolution of contemporary culture in America by bringing a new awareness on racial prejudices, women’s issues, myths and stereotypes. The content of the text and videos is filled with both historical facts on jazz, as well as the social context during the lives of significant jazz artists. Through African American artists we will witness the racial conditions of the Northern and Southern United States from the turn of the 20th century until the present, and will see that the acceptance of the African American Jazz musician influenced the breakdown of racial walls in society. We will also follow the careers of female musicians who played instruments traditionally dominated by men, ie.: trumpet, trombone, drums, bass and saxophone, particularly during and after World War II. Fulfilling the Diversity Requirement: This course fulfills the Diversity Requirements by focusing on two different forms of difference: race and to a lesser extent, gender. Students will learn about race and racism in several ways, including housing regulations, the racialized nature of the economy, and how institutional racism works, and the perils of women working in a traditionally all male jazz world, and how learning about and living in a diverse society can function as a form of enrichment. Diversity Concentration: The diversity dimensions for this course will be Race and Gender. Improvisation, the main ingredient of jazz, allows the performer to create in the moment, bringing about an exciting and unpredictable adventure for the performer and listener.
    [Show full text]
  • KW Short BIO2-13
    KEN WALKER BIO : Our “first-call” jazz bassist for the Rocky Mountain region, Ken Walker has played with a veritable Who’s Who of jazz artists including: Eddie Harris, Joe Pass, Marlena Shaw, Kenny Barron, Eric Alexander, Houston Person, Pharaoh Sanders, Phil Woods, Hal Galper, Jimmy Heath,Tom Harrell, John Abercrombie, Randy Brecker, Nat Adderley, Slide Hampton, Clark Terry, Herb Ellis, Freddie Hubbard, Henry Butler, Warren Vache, Larry Coryell, Lew Soloff, James Moody, Roy Hargrove, Peter Erskine, Ed Soph, Butch Miles, Art Lande, Barry Harris, Billy Hart, Bob Berg, Eddie Daniels, Benny Golson, Ravi Coltrane, Emily Remler, Jimmy Heath, Bobby Shew, Charles McPherson, Roseanna Vitro, Sheila Jordan, Mose Allison, Fred Wesley and Bob Dorough. He has toured in Canada, Italy and Australia and also performed at the Telluride, Jazz Aspen Snowmass and other festivals and venues throughout the US. Terra Firma, his recording debut as a leader, stayed on the Jazz Week Radio charts for 17 weeks, reaching #13, and finished #56 on the top 100 Jazz CD releases for 2005. Walker’s discography includes, Phil Woods and Carl Saunders Play Henry Mancini, Two releases on Capri with Curtis Fuller. I Will Tell Her and Down Home, which was the #1 Cd on Jazz Week Radio charts for 4 weeks, and finish at #5 for year 2012. Walker moved to Denver in late 1985 and in 1987 began a 12-year tenure as the house bassist at Denver's legendary jazz club El Chapultepec that ended in 1998. Ken has been on the faculty of the Lamont School of Music since 1991, where he teaches jazz bass to all jazz and commercial bass majors, and coaches the Modal, Standards and Latin Combos in addition to his studio.
    [Show full text]
  • Idioms-And-Expressions.Pdf
    Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context.
    [Show full text]