Black History Month Report Web Guidelines
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Mahalia Jackson (B
Mahalia Jackson (b. 10/26/11, d. 1/27/72) was born Mahala Jackson in the Uptown neighborhood of New Orleans, Louisiana, and began singing at the Mount Mariah Baptist Church there at the age of 4. She grew up in a very poor household, which contained thirteen people and a dog in a three-room dwelling. Her stage name “Mahalia” stems from her childhood nickname “Halie”. In 1927, at the age of 16 she moved to Chicago, Illinois in the midst of the Great Migration. She intended to study nursing, but after joining a local church she became a member of the Johnson Gospel Singers. She performed with the group for a number of years. She then started working with Thomas A. Dorsey, the gospel composer of “Precious Lord, Take My Hand”, and the two performed around the U.S., which helped tremendously in cultivating a future audience for her. While she made some recordings in the 1930’s, her first major success came with “Move On Up A Little Higher” in 1947, which sold millions of copies and became the highest selling gospel single in history. Her career blossomed, and on October 4, 1950 she became the first gospel singer to perform at Carnegie Hall, and she did so to a racially integrated audience. Also in the 1950’s she became an international star, being especially popular in France and Norway. Back at home, she made her debut on The Ed Sullivan Show in 1956, and appeared with Duke Ellington and his Orchestra at the Newport Jazz Festival in 1958. -
Leonard Bernstein
Leonard Bernstein Arias and Barcarolles (Bright Sheng version) 1988 31 min for mezzo and baritone, strings and percussion Orchestrated with the assistance of Bright Sheng perc(2):xyl/glsp/vib/small cym/small SD/large SD/chimes/small BD/ tamb/tgl/crotales/small tam-t/police whistle/small wdbl/large wdbl/ small susp.cym/TD-strings Availability: This work is available from Boosey & Hawkes for the world Arias and Barcarolles (Bruce Coughlin version) Leonard Bernstein photo © Susech Batah, Berlin (DG) Leonard Bernstein, arranged by Bruce Coughlin 1988, arr. 1993 31 min VOICE(S) AND ORCHESTRA arranged for mezzo-soprano, baritone and chamber orchestra 1(=picc).1(=corA).1(=Ebcl,asax).1-2.1.0.0-perc(2):timp/SD/low tom-t/ 1600 Pennsylvania Avenue trap set(hi-hat cym/ride cym/BD)/cyms/susp.cym/low gong/crot/ slapstick/rainstick/auto brake dr/police whistle/tamb/tgl/wdbl/ Selections for concert performance glsp/xyl/vib-strings(8.8.6.6.3 or 1.1.1.1.1) 1976 Availability: This work is available from Boosey & Hawkes for the world for solo voice and orchestra Bernstein's Blues Availability: This work is available from Boosey & Hawkes for the world Leonard Bernstein, arranged by Sid Ramin 2003 14 min 1600 Pennsylvania Avenue a suite of four songs arranged for voice and orchestra: Ain't Got No Tears Take Care of this House Left, Lonely Me, Screwed On Wrong, Big Stuff 1976 4 min 2.2.2.2.asax.tsax.barisax-2.2.2.1-timp-perc(trap set)-gtr-pft-strings for voice and orchestra Availability: This work is available from Boosey & Hawkes for the world 1.1.2.bcl.1-2.2.2.1-perc(2):timp/xyl/bells-harp-guitar-pft-strings -
183 Anti-Valentine's Day Songs (2015)
183 Anti-Valentine's Day Songs (2015) 4:24 Time Artist Album Theme Knowing Me Knowing You 4:02 Abba Gold Break up Lay All Your Love On Me 5:00 Abba Gold cautionary tale S.O.S. 3:23 Abba Gold heartbreak Winner Takes it All 4:55 Abba Gold Break up Someone Like You 4:45 Adele 21 Lost Love Turning Tables 4:08 Adele 21 broken heart Rolling in the Deep 3:54 Adlele 21 broken heart All Out Of Love 4:01 Air Supply Ulitimate Air Supply Lonely You Oughta Know 4:09 Alanis Morissette Jagged Little Pill broken heart Another heart calls 4:07 All American Rejects When the World Comes Down jerk Fallin' Apart 3:26 All American Rejects When the World Comes Down broken heart Gives You Hell 3:33 All American Rejects When the World Comes Down moving on Toxic Valentine 2:52 All Time Low Jennifer's Body broken heart I'm Outta Love 4:02 Anastacia Single giving up Complicated 4:05 Avril Lavigne Let Go heartbreak Good Lovin' Gone Bad 3:36 Bad Company Straight Shooter cautionary tale Able to Love (Sfaction Mix) 3:27 Benny Benassi & The Biz No Matter What You Do / Able to Love moving on Single Ladies (Put a Ring On It) 3:13 Beyonce I Am Sasha Fierce empowered The Best Thing I Never Had 4:14 Beyonce 4 moving on Love Burns 2:25 Black Rebel Motorcycle Club B.R.M.C. cautionary tale I'm Sorry, Baby But You Can't Stand In My Light Anymore 3:11 Bob Mould Life & Times moving on I Don't Wish You Were Dead Anymore 2:45 Bowling for Soup Sorry for Partyin' broken heart Love Drunk 3:47 Boys Like Girls Love Drunk cautionary tale Stronger 3:24 Britney Spears Opps!.. -
National Arts Awards Monday, October 19, 2015
2015 Americans for the Arts National Arts Awards Monday, October 19, 2015 Welcome from Robert L. Lynch Performance by YoungArts Alumni President and CEO of Americans for the Arts Musical Director, Jake Goldbas Philanthropy in the Arts Award Legacy Award Joan and Irwin Jacobs Maria Arena Bell Presented by Christopher Ashley Presented by Jeff Koons Outstanding Contributions to the Arts Award Young Artist Award Herbie Hancock Lady Gaga 1 Presented by Paul Simon Presented by Klaus Biesenbach Arts Education Award Carolyn Clark Powers Alice Walton Lifetime Achievement Award Presented by Agnes Gund Sophia Loren Presented by Rob Marshall Dinner Closing Remarks Remarks by Robert L. Lynch and Abel Lopez, Chair, introduction of Carolyn Clark Powers Americans for the Arts Board of Directors and Robert L. Lynch Remarks by Carolyn Clark Powers Chair, National Arts Awards Greetings from the Board Chair and President Welcome to the 2015 National Arts Awards as Americans for the Arts celebrates its 55th year of advancing the arts and arts education throughout the nation. This year marks another milestone as it is also the 50th anniversary of President Johnson’s signing of the act that created America’s two federal cultural agencies: the National Endowment for the Arts and the National Endowment for the Humanities. Americans for the Arts was there behind the scenes at the beginning and continues as the chief advocate for federal, state, and local support for the arts including the annual NEA budget. Each year with your help we make the case for the funding that fuels creativity and innovation in communities across the United States. -
The Songs Songs That Mention Joni (Or One of Her Songs)
Inspired by Joni - the Songs Songs That Mention Joni (or one of her songs) Compiled by: Simon Montgomery, © 2003 Latest Update: May 15, 2021 Please send comments, corrections or additions to: [email protected] © Ed Thrasher, March 1968 Song Title Musician Album / CD Title 1968 Scorpio Lynn Miles Dancing Alone - Songs Of William Hawkins 1969 Spinning Wheel Blood, Sweat, and Tears Blood, Sweat, and Tears 1971 Billy The Mountain Frank Zappa / The Mothers Just Another Band From L.A. Going To California Led Zeppelin Led Zeppelin IV Going To California Led Zeppelin BBC Sessions 1972 Somebody Beautiful Just Undid Me Peter Allen Tenterfield Saddler Thoughts Have Turned Flo & Eddie The Phlorescent Leech & Eddie Going To California (Live) Led Zeppelin How The West Was Won 1973 Funny That Way Melissa Manchester Home To Myself You Put Me Thru Hell Original Cast The Best Of The National Lampoon Radio Hour (Joni Mitchell Parody) If We Only Had The Time Flo & Eddie Flo & Eddie 1974 Kama Sutra Time Flo & Eddie Illegal, Immoral & Fattening The Best Of My Love Eagles On The Border 1975 Tangled Up In Blue Bob Dylan Blood On The Tracks Uncle Sea-Bird Pete Atkin Live Libel Joni Eric Kloss Bodies' Warmth Passarela Nana Caymmi Ponta De Areia 1976 Superstar Paul Davis Southern Tracks & Fantasies If You Donít Like Hank Williams Kris Kristofferson Surreal Thing Makes Me Think of You Sandy Denny The Attic Tracks Vol. 4: Together Again Turntable Lady Curtis & Wargo 7" 45rpm Single 1978 So Blue Stan Rogers Turnaround Happy Birthday (to Joni Mitchell) Dr. John Period On Horizon 1979 (We Are) The Nowtones Blotto Hello! My Name Is Blotto. -
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
Jazz in the Garden Concert of the Season at the Museum of Modern Art, 11 West 53 Street, on Thursday, June 30, At
u le Museum of Modern Art No. 82 »st 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Monday, June 27, I966 FOR IMMEDIATE RELEASE The Earl "Fatha" Hines Septet will give the second Jazz in the Garden concert of the season at The Museum of Modern Art, 11 West 53 Street, on Thursday, June 30, at 8:30 p«in* Ihe Museum concert will be the Septet's public debut and only scheduled appearance in this country. On July 1, the group leaves for a six-week tour of the Soviet Union under the Cultural Presentations Program of the U.S. Department of State, The Septet was specially organized for the tour. "Fatha" Hines, on piano, is joined by Harold Johnson, trumpet and flugelhorn, Mike Zwerin, trombone and bass trumpet, Budd Johnson, tenor and soprano sax, Bobby Donovan, alto sax and flute, and Oliver Jackson, drums. Jazz in the Garden, ten Thursday evening promenade concerts, is sponsored jointly by the Museum and Down Beat magazine. The series presents various facts of the jazz spectrum, from dixieland to avant garde. The Lee Konitz Quintet will give the July 7 concert. The entire Museum is open Thursday evenings until 10. The regular museum admission, $1.00, admits visitors to galleries and to 8 p.m. film showings in the Auditorium; there is no charge for Museum members. Admission to jazz concerts is an additional 50 cents for all. As in previous Jazz in the Garden concerts, tickets for each concert will be on sale in the Museum lobby from Saturday until the time of the performance. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
100 Years: a Century of Song 1950S
100 Years: A Century of Song 1950s Page 86 | 100 Years: A Century of song 1950 A Dream Is a Wish Choo’n Gum I Said my Pajamas Your Heart Makes / Teresa Brewer (and Put On My Pray’rs) Vals fra “Zampa” Tony Martin & Fran Warren Count Every Star Victor Silvester Ray Anthony I Wanna Be Loved Ain’t It Grand to Be Billy Eckstine Daddy’s Little Girl Bloomin’ Well Dead The Mills Brothers I’ll Never Be Free Lesley Sarony Kay Starr & Tennessee Daisy Bell Ernie Ford All My Love Katie Lawrence Percy Faith I’m Henery the Eighth, I Am Dear Hearts & Gentle People Any Old Iron Harry Champion Dinah Shore Harry Champion I’m Movin’ On Dearie Hank Snow Autumn Leaves Guy Lombardo (Les Feuilles Mortes) I’m Thinking Tonight Yves Montand Doing the Lambeth Walk of My Blue Eyes / Noel Gay Baldhead Chattanoogie John Byrd & His Don’t Dilly Dally on Shoe-Shine Boy Blues Jumpers the Way (My Old Man) Joe Loss (Professor Longhair) Marie Lloyd If I Knew You Were Comin’ Beloved, Be Faithful Down at the Old I’d Have Baked a Cake Russ Morgan Bull and Bush Eileen Barton Florrie Ford Beside the Seaside, If You were the Only Beside the Sea Enjoy Yourself (It’s Girl in the World Mark Sheridan Later Than You Think) George Robey Guy Lombardo Bewitched (bothered If You’ve Got the Money & bewildered) Foggy Mountain Breakdown (I’ve Got the Time) Doris Day Lester Flatt & Earl Scruggs Lefty Frizzell Bibbidi-Bobbidi-Boo Frosty the Snowman It Isn’t Fair Jo Stafford & Gene Autry Sammy Kaye Gordon MacRae Goodnight, Irene It’s a Long Way Boiled Beef and Carrots Frank Sinatra to Tipperary -
The Man I Love Full Score
Jazz Lines Publications the man i love Presents recorded by sarah vaughan Arranged by benny carter prepared for publication by rob duboff and jeffrey sultanof full score jlp-9797 Words by Ira Gershwin Music by George Gershwin Copyright © 2021 The Jazz Lines Foundation, Inc. Logos, Graphics, and Layout Copyright © 2021 The Jazz Lines Foundation Inc. This Arrangement Has Been Published with the Authorization of the Benny Carter Estate. Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA sarah vaughan series the man i love (1963) Sarah Vaughan Biography: Sarah Lois Vaughan was born on March 27, 1924, in Newark New Jersey. She was born into a very musical churchgoing family, and this gave her the chance to discover and begin developing her stunning abilities at an early age. She began piano lessons while in elementary school, and played and sang in the church choir, as well as during church services. During her teens she began seriously performing and attending nightclubs, and while she did eventually attend an arts-based high school, she dropped out before graduating to focus on her burgeoning musical exploits. Encouraged by a friend or friends to give the famous career-making Amateur Night at the Apollo Theater in Harlem, New York City a try (the exact date and circumstances are debated), she sang Body and Soul and won. This led to her coming to the attention of Earl Hines, whose band at the time was a revolutionary group at the forefront of the bebop movement. -
Eminem Song Composer: New Zealand Ad Is 'Blatant Rip-Off'
lifestyle WEDNESDAY, MAY 3, 2017 MUSIC & MOVIES Eminem song composer: New Zealand ad is 'blatant rip-off' he composer of the opening guitar riff for in the courtroom. He said he wrote the song responded. The lawyer asked if it was weaker Eminem's "Lose Yourself" says the sound- with Eminem and Luis Resto over 18 months. because it was different. "It doesn't feel like Ttrack of a New Zealand political ad is a "I picked up a guitar and started playing that 'Lose Yourself""? the lawyer asked. "It doesn't "blatant rip-off." Jeff Bass told the High Court in opening guitar chord," he said. "At that time, I feel like me playing 'Lose Yourself,'" Bass said. Wellington yesterday that the song titled didn't know if it was a song or not." He said The lawyer asked Bass if he'd agree that the Led "Eminem Esque" that was used by the ruling Eminem, aka Marshall Mathers III, put together Zeppelin song "Kashmir" has a similar chord National Party during its 2014 election cam- a drum track but then they got stuck. "It took pattern. paign sounds like "Lose Yourself Lite." But, he him a number of months to author the perfect "No. None whatsoever," Bass responded. added, "It doesn't taste so good, though." lyrics that were just right for the beat," Bass Judge Helen Cull asked Bass if the guitar strum Eminem's music publishers Eight Mile Style sued said. He said they finished as Eminem complet- he'd performed in the courtroom was common. -
Sinatra & Basie & Amos & Andy
e-misférica 5.2: Race and its Others (December 2008) www.hemisferica.org “You Make Me Feel So Young”: Sinatra & Basie & Amos & Andy by Eric Lott | University of Virginia In 1965, Frank Sinatra turned 50. In a Las Vegas engagement early the next year at the Sands Hotel, he made much of this fact, turning the entire performance—captured in the classic recording Sinatra at the Sands (1966)—into a meditation on aging, artistry, and maturity, punctuated by such key songs as “You Make Me Feel So Young,” “The September of My Years,” and “It Was a Very Good Year” (Sinatra 1966). Not only have few commentators noticed this, they also haven’t noticed that Sinatra’s way of negotiating the reality of age depended on a series of masks—blackface mostly, but also street Italianness and other guises. Though the Count Basie band backed him on these dates, Sinatra deployed Amos ‘n’ Andy shtick (lots of it) to vivify his persona; mocking Sammy Davis Jr. even as he adopted the speech patterns and vocal mannerisms of blacking up, he maneuvered around the threat of decrepitude and remasculinized himself in recognizably Rat-Pack ways. Sinatra’s Italian accents depended on an imagined blackness both mocked and ghosted in the exemplary performances of Sinatra at the Sands. Sinatra sings superbly all across the record, rooting his performance in an aura of affection and intimacy from his very first words (“How did all these people get in my room?”). “Good evening, ladies and gentlemen, welcome to Jilly’s West,” he says, playing with a persona (habitué of the famous 52nd Street New York bar Jilly’s Saloon) that by 1965 had nearly run its course.