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Diana Davies Photograph Collection Finding Aid
Diana Davies Photograph Collection Finding Aid Collection summary Prepared by Stephanie Smith, Joyce Capper, Jillian Foley, and Meaghan McCarthy 2004-2005. Creator: Diana Davies Title: The Diana Davies Photograph Collection Extent: 8 binders containing contact sheets, slides, and prints; 7 boxes (8.5”x10.75”x2.5”) of 35 mm negatives; 2 binders of 35 mm and 120 format negatives; and 1 box of 11 oversize prints. Abstract: Original photographs, negatives, and color slides taken by Diana Davies. Date span: 1963-present. Bulk dates: Newport Folk Festival, 1963-1969, 1987, 1992; Philadelphia Folk Festival, 1967-1968, 1987. Provenance The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired portions of the Diana Davies Photograph Collection in the late 1960s and early 1970s, when Ms. Davies photographed for the Festival of American Folklife. More materials came to the Archives circa 1989 or 1990. Archivist Stephanie Smith visited her in 1998 and 2004, and brought back additional materials which Ms. Davies wanted to donate to the Ralph Rinzler Folklife Archives. In a letter dated 12 March 2002, Ms. Davies gave full discretion to the Center for Folklife and Cultural Heritage to grant permission for both internal and external use of her photographs, with the proviso that her work be credited “photo by Diana Davies.” Restrictions Permission for the duplication or publication of items in the Diana Davies Photograph Collection must be obtained from the Ralph Rinzler Folklife Archives and Collections. Consult the archivists for further information. Scope and Content Note The Davies photographs already held by the Rinzler Archives have been supplemented by two more recent donations (1998 and 2004) of additional photographs (contact sheets, prints, and slides) of the Newport Folk Festival, the Philadelphia Folk Festival, the Poor People's March on Washington, the Civil Rights Movement, the Georgia Sea Islands, and miscellaneous personalities of the American folk revival. -
To Elektra EKL-264 Mono / EKS-7264 Stereo "The BLUES Project"
DAVE RAY: Dave "Snaker" Ray, whose ambition is to be a doctor, started playing guitar while a sophomore in high school. He origin ally began with blues (Leadbelly) to keep his fingers nimble fo r what he thought would be a classical-flamenco guitarist career. "After an adagio by Sor and a hacked-up Farruca, I began playing Led better's stuff exclusively, " Dave reports. He began playing the 12-string guitar when a senior in high school, and lists as early influences, Elvis' Sun label recordings, Bo Diddley, Muddy Waters, early Chicago, and, of course, Leadbelly. " I sing the blues because it's a medium not as demanding as literatu re or serious music, and free enough to permit a total statement of personality and. self, " Dave states. "I play blues because 1 feel it's important to me to express myself and because I feel it's a significant form of music which hasn't had enough dispersement. As far as white men playing blues, that's all who do play blues. the new Negroes are too busy (doing other things). " Discography: Blues, Rags and Hollers (Elektra EKL 240). Dave Ray may soon be heard, with John Koerner and Tony Glover, on Elektra EKL 267. ERIC VON SCHMIDT: E ric w rites: "B orn 1931; began singing in 1948; first influences were Leadbelly, Josh White and Jelly Roll Morton — then Library of Congress material and field recordings. Worked as magazine illustrator, then painter until 1952... two years in the army, and then to Florida, where I worked as a frame-maker and built a 27-foot ketch which was almost called the 'John Hurt'. -
The Bosstown Sound. PUB DATE Mar 88 NOTE 39P.; Paper Presented at the Annual Meeting of the American Culture Association (10Th, New Orleans, LA, March 23-26, 1988)
DOCUMENT RESUME ED 292 153 CS 506 070 AUTHOR Burns, Gary TITLE The Bosstown Sound. PUB DATE Mar 88 NOTE 39p.; Paper presented at the Annual Meeting of the American Culture Association (10th, New Orleans, LA, March 23-26, 1988). PUB TYPE Viewpoints (120) -- Speeches/Conference Papers (150) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS *Bands (Music); Content Analysis; Discographies; *Music; Musicians; *Popular Culture IDENTIFIERS Media History; Music Ensembles; *Rock and Roll; *Rock Music ABSTRACT Based on the argument that (contrary to critical opinion) the musicians in the various bands associated with Bosstown Sound were indeed talented, cohesive individuals and that the bands' lack of renown was partially a result of ill-treatment by record companies and the press, this paper traces the development of the Bosstown Sound from its beginnings in the nightclubs of Boston in 1967 to its end in 1969. In addition, the paper provides complete discographies, including critical commentary, of records produced by bands associated with the Bosstown Sound. The bands of the Bosstown Sound include: The Apple Pie Motherhood Band, The Bagatelle, The Beacon Street Union, Bo Grumpus, Eagle, Earth Opera, Eden's Children, Sure Looks Real, The Ill Wind, Jolliver Arkansaw, Orpheus, Phluph, Puff, and Ultimate Spinach. (Thirty-three references are attached.) (ARH) *********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. *********************************************************************** The Bosstown Sound Gary Burns, Assistant Professor Department of Communication University of Missouri-St. Louis St. Louis, MO 63121 314-553-5485 American Culture Association, New Orleans, March 24, 1988 My thanks to Jeff Tamarkin of Goldmine magazine. -
Still on the Road Session Pages: 1961
STILL ON THE ROAD 1961 FEBRUARY OR MARCH East Orange, New Jersey The Home of Bob and Sid Gleason, “The East Orange Tape” MAY 6 Branford, Connecticut Montewese Hotel, Indian Neck Folk Festival Minneapolis, Minnesota Unidentified coffeehouse, “Minnesota Party Tape 1961” JULY 29 New York City, New York Riverside Church, Hootenanny Special SEPTEMBER 6 New York City, New York Gaslight Café, “The First Gaslight Tape” Late New York City, New York Gerde's Folk City 30 New York City, New York Columbia Recording Studios, Carolyn Hester studio session OCTOBER 29 New York City, New York WNYC Radio Studio Late New York City, New York Folklore Center NOVEMBER 4 New York City, New York Carnegie Chapter Hall 20, 22 New York City, New York Studio A, Columbia Recordings, Bob Dylan recording sessions Late New York City, New York Unidentified Location, Interview conducted by Billy James 23 New York City, New York The Home Of Eve and Mac McKenzie DECEMBER 4 New York City, New York The Home Of Eve and Mac McKenzie 22 Minneapolis, Minnesota The Home Of Bonnie Beecher, Minnesota Hotel Tape Bob Dylan sessions 1961 20 The Home of Bob and Sid Gleason East Orange, New Jersey February or March 1961 1. San Francisco Bay Blues (Jesse Fuller) 2. Jesus Met The Woman At The Well (trad.) 3. Gypsy Davey (trad., arr Woody Guthrie) 4. Pastures Of Plenty (Woody Guthrie) 5. Trail Of The Buffalo (trad., arr Woody Guthrie) 6. Jesse James (trad.) 7. Car, Car (Woody Guthrie) 8. Southern Cannonball (R. Hall/Jimmie Rodgers) 9. Bring Me Back, My Blue-Eyed Boy (trad.) 10. -
Prestige Label Discography
Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron. -
Still on the Road 1964 Concerts, Interviews and Recording Sessions
STILL ON THE ROAD 1964 CONCERTS, INTERVIEWS AND RECORDING SESSIONS JANUARY New York City, New York Witmark Studio FEBRUARY 1 Toronto, Ontario, Canada CBC TV Studios 25 Los Angeles, California NBC Studios, Steve Allen Show New York City, New York Elektra Studios, Blues Project recording session APRIL 19 White Plains, New York County Center MAY 1 Monterey, California Monterey County Fairgrounds Sarasota, Florida Eric Von Schmidt's Home early London, England BBC Studios 14 Manchester, England Didsbury Studios 17 London, England Royal Festival Hall JUNE 9 New York City, New York Columbia Studios, Another Side Of Bob Dylan recording session New York City, New York Unidentified Recording Studio JULY 24 Newport, Rhode Island Freebody Park, Newport Folk Festival, afternoon workshop 24 Newport, Rhode Island Freebody Park, Newport Folk Festival, evening 26 Newport, Rhode Island Freebody Park, Newport Folk Festival AUGUST 8 New York City, New York Forest Hills Tennis Stadium SEPTEMBER 4 Monterey, California Monterey Fairgrounds OCTOBER 10 Philadelphia, Pennsylvania Town Hall 17 Detroit, Michigan Masonic Scottish Rite Cathedral 24 Boston, Massachusetts Symphony Hall 31 New York City, New York Philharmonic Hall NOVEMBER 25 San José, California Civic Auditorium 27 San Francisco, California Masonic Memorial Auditorium Bob Dylan recording sessions, interviews and concerts 1964 DECEMBER 5 Long Beach, California Long Beach High School Auditorium Bob Dylan recording sessions, interviews and concerts 1964 630 Witmark Studio New York City, New York January 1964 1. Guess I'm Doing Fine 2. Baby Let Me Follow You Down (Eric von Schmidt) Bob Dylan (guitar & vocal). Note. The last of the Witmark demos to be recorded in the Witmark Studio. -
Soviet Science Fiction Movies in the Mirror of Film Criticism and Viewers’ Opinions
Alexander Fedorov Soviet science fiction movies in the mirror of film criticism and viewers’ opinions Moscow, 2021 Fedorov A.V. Soviet science fiction movies in the mirror of film criticism and viewers’ opinions. Moscow: Information for all, 2021. 162 p. The monograph provides a wide panorama of the opinions of film critics and viewers about Soviet movies of the fantastic genre of different years. For university students, graduate students, teachers, teachers, a wide audience interested in science fiction. Reviewer: Professor M.P. Tselysh. © Alexander Fedorov, 2021. 1 Table of Contents Introduction …………………………………………………………………………………………………………………………3 1. Soviet science fiction in the mirror of the opinions of film critics and viewers ………………………… 4 2. "The Mystery of Two Oceans": a novel and its adaptation ………………………………………………….. 117 3. "Amphibian Man": a novel and its adaptation ………………………………………………………………….. 122 3. "Hyperboloid of Engineer Garin": a novel and its adaptation …………………………………………….. 126 4. Soviet science fiction at the turn of the 1950s — 1960s and its American screen transformations……………………………………………………………………………………………………………… 130 Conclusion …………………………………………………………………………………………………………………….… 136 Filmography (Soviet fiction Sc-Fi films: 1919—1991) ……………………………………………………………. 138 About the author …………………………………………………………………………………………………………….. 150 References……………………………………………………………….……………………………………………………….. 155 2 Introduction This monograph attempts to provide a broad panorama of Soviet science fiction films (including television ones) in the mirror of -
1 Bob Dylan's American Journey, 1956-1966 September 29, 2006, Through January 6, 2007 Exhibition Labels Exhibit Introductory P
Bob Dylan’s American Journey, 1956-1966 September 29, 2006, through January 6, 2007 Exhibition Labels Exhibit Introductory Panel I Think I’ll Call It America Born into changing times, Bob Dylan shaped history in song. “Life’s a voyage that’s homeward bound.” So wrote Herman Melville, author of the great tall tale Moby Dick and one of the American mythmakers whose legacy Bob Dylan furthers. Like other great artists this democracy has produced, Dylan has come to represent the very historical moment that formed him. Though he calls himself a humble song and dance man, Dylan has done more to define American creative expression than anyone else in the past half-century, forming a new poetics from his emblematic journey. A small town boy with a wandering soul, Dylan was born into a post-war landscape of possibility and dread, a culture ripe for a new mythology. Learning his craft, he traveled a road that connected the civil rights movement to the 1960s counterculture and the revival of American folk music to the creation of the iconic rock star. His songs reflected these developments and, resonating, also affected change. Bob Dylan, 1962 Photo courtesy of John Cohen Section 1: Hibbing Red Iron Town Bobby Zimmerman was a typical 1950’s kid, growing up on Elvis and television. Northern Minnesota seems an unlikely place to produce an icon of popular music—it’s leagues away from music birthplaces like Memphis and New Orleans, and seems as cold and characterless as the South seems mysterious. Yet growing up in the small town of Hibbing, Bob Dylan discovered his musical heritage through radio stations transmitting blues and country from all over, and formed his own bands to practice the newfound religion of rock ‘n’ roll. -
Media Education. Медиаобразование. 2017. № 1
See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/314724552 Media Education. Медиаобразование. 2017. № 1. Research · March 2017 CITATIONS READS 0 2 12 authors, including: Alexander Fedorov Anton Chekhov Taganrog Institute, Russia 195 PUBLICATIONS 89 CITATIONS SEE PROFILE Some of the authors of this publication are also working on these related projects: International Journal of Media and Information Literacy View project Media Education Journal Медиаобразование (журнал) View project All content following this page was uploaded by Alexander Fedorov on 12 March 2017. The user has requested enhancement of the downloaded file. All in-text references underlined in blue are added to the original document and are linked to publications on ResearchGate, letting you access and read them immediately. Медиаобразование MEDIA EDUCATION Журнал истории, теории и практики медиапедагогики Journal of history, theory and practice of media education № 1 / 2017 Медиаобразование. Media Education. 2017. № 1 Медиаобразование. 2017. № 1. Редакционная коллегия: А.В. Федоров (гл. редактор), д.п.н., профессор, Журнал истории, Ростовский гос. экономический университет. теории и практики медиапедагогики Л.М. Баженова, к.п.н., экс-зав. лаб. экранных искусств Института художественного образования Российской академии образования (Москва). e-ISSN 1994-4195 . ISSN: 1994-4160 О.А. Баранов, к.и., профессор (Тверь). Б. Бахмайер, д.н., почетный профессор, Кассельский университет (Германия), Лондонский университет Журнал основан в 2005 году. (Великобритания). Е.А. Бондаренко, к.п.н., доцент ВГИКа (Москва). Периодичность – 4 номера в год. Д. Бэкингэм, д.н., профессор Университета Лагбороу (Великобритания). Е.Л. Вартанова, д.ф.н., профессор, декан факультета Журнал включен в следующие журналистики, Московский гос. -
Online at Kancoll.Org/Books/Gregg/; See Also, 6
Dodge Citians pose beside a Santa Fe Trail marker laid by the Kansas Daughters of the American Revolution and the state of Kansas in 1906. Photo originally published in Almira Sheffield Peckham Cordy’s 1915 The Story of the Marking of the Santa Fe Trail by the Daughters of the American Revolution and the State of Kansas. Kansas History: A Journal of the Central Plains 35 (Spring 2012): 42–60 42 Kansas History MythandMemory: The Cultural Heritage of the Santa Fe Trail in the Twentieth Century by Michael L. Olsen “Aslongasthesunflowercontinuestobloom,andtheprairiedogisnotexterminated,theSantaFeTrail willnotbeforgotten.” HughEstep,ca.19061 rench tourist Guy De Larigaudie took an extended trip across the United States in 1936. He traveled by busfromNewYorktoLosAngeles;hewentnorthtoSeattle,thenbackeast,finishinghistourinQuébec, Canada.PartofthisroutetookhimalongtheoldSantaFeTrail,fromcentralMissouritoSantaFe,viathe trail’sMountainBranchthroughColorado.DeLarigaudierecordedhisadventuresinabook,Par Trois Route Américaines,publishedinParisin1937.HerememberedthatafterfourdaysonthebusfromChicagohereached“Les Fvillagesmexicains,”“theMexicanvillages,”ofPueblo,Colorado,andLasVegasandSantaFe,NewMexico.Hewas impressedby“deschapeauximmense,”“theimmensehats”ofthecowboys,orperhapsofMexicansinsombreros, heencountered.Heexperienceda“rodeod’hierouround-updedemain,”a“rodeoonedayand,twodayslater,a round-up.”Evidentlyitwasallthathehadexpected,forheexulted,“noussommedansleFar-West,”“weareinthe FarWest.”2 MichaelL.Olsenis professor emeritus of American history -
Media Culture Soviet Film Critics About Soviet Cinema: From
Медиаобразование. Media Education. 2017. № 1 Media Culture Soviet film critics about Soviet cinema: from censorship to Gorbachev's perestroika Prof. Dr. Alexander Fedorov, Rostov State University of Economics, Russia E-mail: [email protected] Abstract Moscow publishing house Art began to produce in mid-1960s annual book collection Screen, which was to reflect the most important cinematic events in the USSR and the world. The first collection of this kind - Screen 1964 - was printed edition of 45,500 copies. The circulation of the next two collections were 30-35 thousand copies. From 1968 to 1985 the Screens were annually with a circulation of 50 thousand copies. Screen 1987 circulation has been increased to 75 thousand, but the rest of the collection issues have returned to the circulation of 50 thousand copies. Each book is illustrated with black-and-white frames of the movies and photos masters of the screen. Yearbooks Screen became a mirror of the Soviet criticism of the 1960s - 1980s, reflecting all ups and downs, forced to default figures, ideological passages, thaw and perestroika hope... From the time of the fisrt to last annual output has been a quarter century. Soviet film criticism changed significantly. The main materials for this article was articles of Soviet film critics about Soviet cinema in Screen yearbooks. The methods of theoretical research: classification, comparison, analogy, induction and deduction, abstraction and concretization, theoretical analysis and synthesis; methods of empirical research: collecting information related to the research subjects. Keywords: film critic, film studies, Soviet, USSR, film, movies, cinema, censorship. * Article was written as part of research with the financial support of the grant of the Russian Scientific Foundation (RNF). -
The Adventures of Huckleberry Finn" to Film
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2005-03-18 Translating Huck: Difficulties in Adapting "The Adventures of Huckleberry Finn" to Film Bryce Moore Cundick Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the English Language and Literature Commons BYU ScholarsArchive Citation Cundick, Bryce Moore, "Translating Huck: Difficulties in Adapting "The Adventures of Huckleberry Finn" to Film" (2005). Theses and Dissertations. 256. https://scholarsarchive.byu.edu/etd/256 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. TRANSLATING HUCK: DIFFICULTIES IN ADAPTING THE ADVENTURES OF HUCKLEBERRY FINN TO FILM by Bryce M. Cundick A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Department of English Brigham Young University March 2005 Copyright © 2005 Bryce M. Cundick All Rights Reserved BRIGHAM YOUNG UNIVERSITY GRADUATE COMMITTEE APPROVAL of a thesis submitted by Bryce M. Cundick This thesis has been read by each member of the following graduate committee and by majority vote has been found to be satisfactory. _________________________ __________________________________________ Date Dennis R. Cutchins, Chair _________________________