Blues in the Schools Bibliography
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Seeing (For) Miles: Jazz, Race, and Objects of Performance
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College -
IDS 2935 Blues Music and Culture
IDS 2935 Blues Music and Culture University of Florida, Quest 1 / Identities Class # 21783 (face-to-face) / # 27957 (on-line) Semester: Spring 2021 Time/Location: T (Tuesdays Periods 5-6) / MAT 0115 (Face to Face section only) R (Thursdays) / MAT 0004 Virtual, Asynchronous Viewings of Assigned Documentaries and Videos, Independent Study General Education Designations: Humanities, Diversity Credits: 3 [Note: A minimum grade of C is required for General Education credit] Class resources, supplemental readings, assignments and announcements will be available via Canvas [URL] Instructor: Timothy J. Fik, Associate Professor | Department of Geography [e-mail: [email protected] ] Tim Fik Summer 2019 Office Location: 3137 Turlington Hall | Office Hours: Tuesdays & Thursday (Live) / 9:00AM- 11:00AM (or by appointment, please e-mail); Geography Department Phone: (352) 392-0494 ask for Dr. Fik. Feel free to contact me anytime: [email protected]. This course was originally designed as a traditional face-to-face class with a focus on the written and spoken exchange of ideas and concepts relating to course material. Note, however, that the structure of this "hybrid" course will have both a live face-to-face (f2f) component and a virtual/Independent Study/Asynchronous viewing component this semester for students registered for the f2f section. Students will engage in a series of assigned readings, documentary viewings, and discussions (through written comments/communication with the instructor and one another). Students are encourage to discuss material with board posts, e-mail, and group/class discussions. Weekly office hours, assignments, and term projects offer additional opportunities for personal engagement with course materials and the Instructor. -
REFERENCE DOCUMENT Containing the Annual Financial Report Fiscal Year 2016 PROFILE
REFERENCE DOCUMENT containing the Annual Financial Report Fiscal Year 2016 PROFILE The Lagardère group is a global leader in content publishing, production, broadcasting and distribution, whose powerful brands leverage its virtual and physical networks to attract and enjoy qualifi ed audiences. The Group’s business model relies on creating a lasting and exclusive relationship between the content it offers and its customers. It is structured around four business divisions: • Books and e-Books: Lagardère Publishing • Travel Essentials, Duty Free & Fashion, and Foodservice: Lagardère Travel Retail • Press, Audiovisual (Radio, Television, Audiovisual Production), Digital and Advertising Sales Brokerage: Lagardère Active • Sponsorship, Content, Consulting, Events, Athletes, Stadiums, Shows, Venues and Artists: Lagardère Sports and Entertainment 1945: at the end of World 1986: Hachette regains 26 March 2003: War II, Marcel Chassagny founds control of Europe 1. Arnaud Lagardère is appointed Matra (Mécanique Aviation Managing Partner of TRAction), a company focused 10 February 1988: Lagardère SCA. on the defence industry. Matra is privatised. 2004: the Group acquires 1963: Jean-Luc Lagardère 30 December 1992: a portion of Vivendi Universal becomes Chief Executive Publishing’s French and following the failure of French Offi cer of Matra, which Spanish assets. television channel La Cinq, has diversifi ed into aerospace Hachette is merged into Matra and automobiles. to form Matra-Hachette, 2007: the Group reorganises and Lagardère Groupe, a French around four major institutional 1974: Sylvain Floirat asks partnership limited by shares, brands: Lagardère Publishing, Jean-Luc Lagardère to head is created as the umbrella Lagardère Services (which the Europe 1 radio network. company for the entire became Lagardère Travel Retail ensemble. -
Acceder a INSOMNIA Nº
7 AÑO 16 - Nº 187 - JULIO 2013 Hard Listening Las memorias de los Rock Bottom Remainders CHARLES ARDAI - JOYLAND - FULL DARK, NO STARS - THE REAPER'S IMAGE - DELVER GLASS - CELSO LUNGHI Nº 187 - JULIO 2013 PORTADA En el año 1992, Kathi Kamen HARD Goldmark, quien trabajaba en el LISTENING EDITORIAL mercado publicitario de los libros, decidió juntar a varios escritores y Las memorias de NOTICIAS formar The Rock Bottom los Rock Bottom IMPRESIONES Remainders, un grupo de música. Remainders ENTREVISTA PÁG. 3 Cuando el pasado mes de mayo Stephen King anunció que EDICIONES Joyland, su última novela NO-FICCIÓN publicada, iba a ser lanzada en formato físico solamente, dejando PINIÓN • Todo lo que hay que saber sobre O de lado el cada vez más popular Under the Dome ORTOMETRAJES ebook para una futura posible C • Las lecturas para el verano, según publicación, debo reconocer que Stephen King FICCIÓN me alegré. A pesar de mi • El cómic Road Rage se publicará intención de aceptar los formatos OTROS MUNDOS en castellano digitales (de hecho, defiendo • Los momentos más destacados del CONTRATAPA muchas de sus ventajas), videochat de Stephen King en la entiendo que la coexistencia que cadena CBS lleva con el libro tradicional es • Joyland en España algo pasajero. En la actualidad, las generaciones de lectores aún ... y otras noticias nacieron y se criaron con el papel PÁG. 4 en la mano. Entienden que el libro es ese y el ebook es una alternativa. PÁG . 25 Joyland en castellano ¿Por qué aferrarse Stephen King Christian DuChateau, de CNN, recomendó recientemente varios al pasado? en "Fresh Air" libros, entre ellos Joyland, de Steve creció comprando novelas de Durante 20 años, Stephen King ha Stephen King. -
The Melody Maker Says Turn to Pace 4
THEMELODY MAKERSAYS *awryT. 1967 9d weekly ONT KNOCK THEPOP! 'Destructive practices' harmingpop WAR hes been declaredon pop-The sounds of '66 relightneversurvivetohe- el:~the sounds of '67. Afteralong struggle by Britain's seising peingile to create a popcur twit VASAlax made millions of Plegotes her thetstablisninent. the saw*Ettalilllakarree are busy kick - ANCMthe teeth, ro.ealkid "pirate' commer- esal1,11,10 aredue to be egflpteszed by the Ginernment. DEMISE There is now only one nation- *Wit telesietto neagramrre for pop Waitikw*--stot TV's Too Of The Pipe, wh th feannits ord. success - NO (Wirt artWtS tad precludes new- comers. mud magazines are tfi=rrkilIMPoefillligpromusic *ad its eseements.Columnists who madeMeatregulationswriting skeet pep are wow gleefullypre- &eget its demise- Owee again the hoar. old gibes *bet -twighaired morons'.arebe- tog dieted off by leader writers, HEALTHY COME Quihe apart from these who have yawnfaton teenagemusic. these mire"maTVairMone.rating Indattea- Mom who mid magazines TO THE and wavrapapees. Mart are mans TOM JONES: only Gold Disc of 1966 Warewhineeveryday lifteelibeeda depend en a Insaltter. *Meng eater- . Ayler 5 ANTIBES The artists-amorss- ...and it's all hi andstreggrras- walkers in the record- TV show ing rodliastes.and men- oaf inatmnairat teachers. FESTIVAL Emden midmaostac- popping for Tom shelved nom& f looks as AM these people .1-'0M JONESis almost a recordin1966 and Dodd showassche- thoughlovers sheaddbetakeninto 1certaintotopthe thefirsteverInthe duled. of avant-garde eeeeidayesiee by the Nilforthe Palladium historyofDeccare- On Sunday (8), he opens Jazzwill be dis- WITH sesi-pep %aimwhich TV shot,. on February cords for a British a weekdoubling at the appointed If they IL It will be his fourth are waiting to hallhasweesthe Omer- artist selling in the UK. -
The Sixties Counterculture and Public Space, 1964--1967
University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 2003 "Everybody get together": The sixties counterculture and public space, 1964--1967 Jill Katherine Silos University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Silos, Jill Katherine, ""Everybody get together": The sixties counterculture and public space, 1964--1967" (2003). Doctoral Dissertations. 170. https://scholars.unh.edu/dissertation/170 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced 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 comer and continuing from left to right in equal sections with small overlaps. -
Fréhel and Bessie Smith
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 9-18-2018 Fréhel and Bessie Smith: A Cross-Cultural Study of the French Realist Singer and the African American Classic Blues Singer Tiffany Renée Jackson University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Jackson, Tiffany Renée, "Fréhel and Bessie Smith: A Cross-Cultural Study of the French Realist Singer and the African American Classic Blues Singer" (2018). Doctoral Dissertations. 1946. https://opencommons.uconn.edu/dissertations/1946 Fréhel and Bessie Smith: A Cross-Cultural Study of the French Realist Singer and the African American Classic Blues Singer Tiffany Renée Jackson, DMA University of Connecticut, 2018 ABSTRACT In this dissertation I explore parallels between the lives and careers of the chan- son réaliste singer Fréhel (1891-1951), born Marguerite Boulc’h, and the classic blues singer Bessie Smith (1894-1937), and between the genres in which they worked. Both were tragic figures, whose struggles with love, abuse, and abandonment culminated in untimely ends that nevertheless did not overshadow their historical relevance. Drawing on literature in cultural studies and sociology that deals with feminism, race, and class, I compare the the two women’s formative environments and their subsequent biographi- cal histories, their career trajectories, the societal hierarchies from which they emerged, and, finally, their significance for developments in women’s autonomy in wider society. Chanson réaliste (realist song) was a French popular song category developed in the Parisian cabaret of the1880s and which attained its peak of wide dissemination and popularity from the 1920s through the 1940s. -
![Morgenstern, Dan. [Record Review: Earl Coleman: Love Song] Down](https://docslib.b-cdn.net/cover/6109/morgenstern-dan-record-review-earl-coleman-love-song-down-536109.webp)
Morgenstern, Dan. [Record Review: Earl Coleman: Love Song] Down
Records a re reviewed by Chris Albertson, Don DeMicheal, Gilbert M. Erskine, Ira Giller, Alan Heineman, Lawrence Kart, John Litweiler, Bill Mathieu , Marian McPartlond, Don Morgenstern, Don Nelse n, Harvey Pe kar , William Ruuo, Harvey Siders, Carol Sloane , and Pete Welding, Reviews are signed by the writers. Ratings ore: * * * * * exce llent, * * * * very good, * * * good, * * fair, * poor. When two cata log numbers ore listed, the flrst is mono, and the second is dereo . Richard Abrams ---------• comes hoa rse with excitement, and a quite accurate imitations of bird call!. LEVELS AND DEGREES OF LIGHT - Del• grace[u l manner of phrasing. He can play mark DS-4t3: Uv,is a,ut Degrees of Light; My Within this aviary there is an impassiorrd Thoughls ,sre l\fy Fu/ure-Now and Fort11er: The at a spee d about one-third slower than the duet between Braxton and Mclnlyr~. Bird Snug. basic pulse and then grad ually accelerate Personne l : Abrams. cl arinet, piano; An rhooy Extra-musica l factors make this a d.ffi. Braxton, aho saxop hon e; Maurice McIntyre, rcnor until he matches the pulse of the rhythm cult album to rate. I don't know wheille1 saxophone; Gordon Emmanuel, vibraharp (tracks section (Co ltran e does this during his My 1. 2); Leroy Jenkins, violin (crack 3 only); to blame Abrams , a&r man Bob Koe,1e: Charles Clark , bass: Leonard Jones. bass (crack Fa vorite Things solo on Coltrane L ive at the engineer, or all three, but the alb1111 3 only); Thurman Barker, drums: Penelop e Tay• the Village Vanguard Again). -
THE GOD GROOVE by DAVID RITZ
For immediate release Contact: Yona Deshommes Associate Director of Publicity [email protected] (212) 698-7566 THE GOD GROOVE By DAVID RITZ David Ritz has written over 50 books. Ritz’s job as a ghostwriter molded his prime directive into becoming the voice of who he was writing about, rejecting the temptation to implant his/her own point of view into the story. So, you’ve never really seen a clear portrait of the man himself until The God Groove, his first memoir. Seeking an escape from death by boredom in advertising, Ritz began his 40-plus year journey as a writer and ghostwriter with a simple but seemingly impossibly goal: to be Ray Charles’ first biographer. What began with a 32-year-old husband and father of two’s plane ride from Dallas to Los Angeles to bang on Ray’s front door began an odyssey from which he never truly returned as the same man. The God Groove places Ritz in rooms with artists, musicians and academics who have shaped the last 50 years in American culture: the late Aretha Franklin, Blues legend Etta James, and the tortured genius of Marvin Gaye, for whom he writes the titles to the now- classic “Sexual Healing”, the first stone on the path to Ritz becoming a songwriter in his own right. For immediate release Contact: Yona Deshommes Associate Director of Publicity [email protected] (212) 698-7566 Ritz documents the thoughts and feelings of late bluesman B.B. King on a tour bus through the cotton fields of the deep South. -
Rangeley Congregational Church, United Church of Christ an Open and Affirming Church Seventh Sunday After Pentecost
Rangeley Congregational Church, United Church of Christ An Open and Affirming Church Seventh Sunday after Pentecost July 11, 2021 10:00 AM Meditation: John Wayne, the "DUKE" There is Right---and there is Wrong.....You do One, and YOU ARE LIVING.....You do the Other---and You may be walking around---But---YOU are as Dead as a Beaver Hat. Lauren Oliver ~ Most of the time - 99 percent of the time - you just don't know how and why the threads are looPed together, and that's okay. Do a good thing and something bad hapPens. Do a bad thing and something good hapPens. Do nothing and everything exPlodes. And very, very rarely - by some miracle of chance and coincidence, butterflies beating their wings just so and all the threads hanging together for a minute - you get the chance to do the right thing. Sandra C. Bibb Doing the right thing even when no one is looking is easy if I remember that I am not in this life alone and that my task is to please God... not peoPle. ORDER OF WORSHIP OUR GATHERING AND PRAISE RINGING OF THE BELL WELCOME AND ANNOUNCEMENTS Liturgist PRELUDE “All Things Bright and Beautiful/This Is My Father’s World” Tunes: ROYAL OAK & DIX/Arr. Penny Rodriguez CALL TO WORSHIP (Unison) Liturgist & All ~ Based on 2 Samuel 6. All: Lord of the dance, creator of whirling winds and shimmering flames, move in us this day. Breathe life into our songs of praise. Set our hearts ablaze to your word. May our worship bring joy to you, Lord. -
Constructing Robert Johnson Sean Lorre
Constructing Robert Johnson Sean Lorre I don’t think I’d even heard of Robert Johnson when I first found [King of the Delta Blues Singers (1961)]; it was probably fresh out. I was around fifteen or sixteen, and it came as something of a shock to me that there could be anything that powerful... It was almost as if he felt things so acutely that he found it almost unbearable…. At first it was almost too painful, but then after about six months I started listening, and then I didn't listen to anything else. Up until the time I was 25, if you didn't know who Robert Johnson was I wouldn't talk to you. -Eric Clapton1 I was thirteen years old when Woodstock-era nostalgia swept through my small suburban world in the early 1990s. By that time, I had amassed a large collection of classic rock LPs including my personal favorites, Cream’s Greatest Hits and Led Zeppelin IV. In the year or so following, on the recommendations of my local record store clerks and friends in the know, I picked up a copy of the brand new Robert Johnson: The Complete Recordings (1990). These most trusted of advisors let it be known that if I liked Eric Clapton, then I would love Johnson, because he was “the real deal,” “where rock n’ roll came from.” When I brought the boxed set home – cassettes, mind you, not CDs – I poured over the liner notes before popping in the tapes. Following an 8,000-word essay about the greatness of Robert Johnson divided into sections entitled “The Man” and “The Music,” came the testimonial of my idol, Clapton himself, who 1 The Complete Recordings 1990, 22 128 Musicological Explorations professed his love for Johnson in no uncertain terms, stating “I have never found anything more deeply soulful than Robert Johnson. -
A Band Together. but Who Knew We'd Find As Durable an Application Of
o R M D EVERY MUSICIAN KNOWS IT’s THE RHYTHM SECTION THAT HOLDS a band together. But who knew we’d find as durable an application of that maxim as the one exemplified by the history of Fleetwood Mac? & Over the last thirty years, Fleetwood Mac has comprised fifteen musicians shuffled through six major lineups, resulting in endless tin- kerings with tone and genre. Yet the two members to survive it all rarely write tunes and never front the recordings. They’re the beat- keepers - drummer Mick Fleetwood and bassist John Me Vie. The fact that a rhythm section could sustain a band through thirty years seems all the more amazing considering the traumatic histories of the band’s shifting array o f stage-front stars. Together, their personal lives have given rock one of its most elaborate and juicy plotlines. (L Religious conversions, spells o f madness, “incestuous” liaisons within the band, drug freak-outs, alleged brainwashings, imperson- Mick ^ stevie ations, everything short of murder have spun Nicks, John McVie, Christine McVie, Lindsey Fleetwood Mac’s legacy into a story worthy of Buckingham (from left) Scheherazade. & Musically the band has endured just as many twists, moving from blues to rockabilly to laid-back California folk rock - finally to bloom into purveyors of some of the most popular and endur- ing music of the Seventies. (L It all began humbly enough. In 1967, the B Y J I M FÄRBER The band in '69: Peter original foursome convened as arch Fame entrant, Santana). If that wasn’t enough, Rose also saw the Green, Fleetwood, Jeremy devotees of the blues, arriving in the band adding nineteen-year-old Danny Kirwan (who’d played in Spencer, Danny Kirwan, second wave of U.K.