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559216-18 bk Bolcom US 12/08/2004 12:36pm Page 40 AMERICAN CLASSICS WILLIAM BOLCOM Below: Longtime friends, composer William Bolcom and conductor Leonard Slatkin, acknowledge the Songs of Innocence audience at the close of the performance. and of Experience (William Blake) Soloists • Choirs University of Michigan Above: Close to 450 performers on stage at Hill Auditorium in Ann Arbor, Michigan, under the School of Music baton of Leonard Slatkin in William Bolcom’s Songs of Innocence and of Experience. Symphony Orchestra University Musical Society All photographs on pages 37-40 courtesy of Peter Smith/University Musical Society Leonard Slatkin 8.559216-18 40 559216-18 bk Bolcom US 12/08/2004 12:36pm Page 2 Christine Brewer • Measha Brueggergosman • Ilana Davidson • Linda Hohenfeld • Carmen Pelton, Sopranos Joan Morris, Mezzo-soprano • Marietta Simpson, Contralto Thomas Young, Tenor • Nmon Ford, Baritone • Nathan Lee Graham, Speaker/Vocals Tommy Morgan, Harmonica • Peter “Madcat” Ruth, Harmonica and Vocals • Jeremy Kittel, Fiddle The University Musical Society The University of Michigan School of Music Ann Arbor, Michigan University Symphony Orchestra/Kenneth Kiesler, Music Director Contemporary Directions Ensemble/Jonathan Shames, Music Director University Musical Society Choral Union and University of Michigan Chamber Choir/Jerry Blackstone, Conductor University of Michigan University Choir/Christopher Kiver, Conductor University of Michigan Orpheus Singers/Carole Ott, William Hammer, Jason Harris, Conductors Michigan State University Children’s Choir/Mary Alice Stollak, Music Director Leonard Slatkin Special thanks to Randall and Mary Pittman for their continued and generous support of the University Musical Society, both personally and through Forest Health Services. Grateful thanks to Professor Michael Daugherty for the initiation of this project and his inestimable help in its realization. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman (May 21, 1927 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: February 18-19, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 84 pp. Brown: Today is Thursday, February 18th, 2010, and this is the Smithsonian Institution National Endowment for the Arts Jazz Masters Oral History Program interview with Bill Holman in his house in Los Angeles, California. Good afternoon, Bill, accompanied by his wife, Nancy. This interview is conducted by Anthony Brown with Ken Kimery. Bill, if we could start with you stating your full name, your birth date, and where you were born. Holman: My full name is Willis Leonard Holman. I was born in Olive, California, May 21st, 1927. Brown: Where exactly is Olive, California? Holman: Strange you should ask [laughs]. Now it‟s a part of Orange, California. You may not know where Orange is either. Orange is near Santa Ana, which is the county seat of Orange County, California. I don‟t know if Olive was a part of Orange at the time, or whether Orange has just grown up around it, or what. But it‟s located in the city of Orange, although I think it‟s a separate municipality. Anyway, it was a really small town. I always say there was a couple of orange-packing houses and a railroad spur. Probably more than that, but not a whole lot. -
DAVID HELFAND, ACE Editor
DAVID HELFAND, ACE Editor PROJECTS DIRECTORS STUDIOS/PRODUCERS YOUNG SHELDON Various Directors WARNER BROS. / CBS Seasons 1 - 5 Chuck Lorre, Steven Molaro Tim Marx UNITED WE FALL Mark Cendrowski ABC / John Amodeo, Julia Gunn Pilot Julius Sharpe UNTITLED REV RUN Don Scardino AMBLIN PARTNERS / ABC Pilot Presentation Jeremy Bronson, Rev Run Simmons Jhoni Marchinko ATYPICAL Michael Patrick Jann SONY / NETFLIX 1 Episode Robia Rashid, Seth Gordon Mary Rohlich, Joanne Toll GREAT NEWS Various Directors UNIVERSAL / NBC Season 1 Tina Fey, Robert Carlock Tracey Wigfield, David Miner THE BRINK Michael Lehman HBO / Roberto Benabib, Jay Roach Season 1 Tim Robbins Jerry Weintraub UNCLE BUCK Reggie Hudlin ABC / Brian Bradley, Steven Cragg Season 1 Ken Whittingham Korin Huggins, Will Packer Fred Goss Franco Bario BAD JUDGE Andrew Fleming NBC / Adam McKay, Kevin Messick Pilot Will Ferrell THE MINDY PROJECT Various Directors FOX / Mindy Kaling, Howard Klein Seasons 1 - 2 Michael Spiller WEEDS Craig Zisk SHOWTIME Series Paul Feig Jenji Kohan, Roberto Benabib 2x Nominated, Single Camera Comedy Paris Barclay Mark Burley Series – Emmys NEXT CALLER Pilot Marc Buckland NBC / Stephen Falk, Marc Buckland PARTY DOWN Bryan Gordon STARZ Season 2 Fred Savage John Enbom, Rob Thomas David Wain Dan Etheridge, Paul Rudd THE MIDDLE Pilot Julie Anne Robinson ABC / DeeAnn Heline, Eileen Heisler GANGSTER’S PARADISE Ralph Ziman Tendeka Matatu Winner, Best Editing, FESPACO Awards FOSTER HALL Bob Berlinger NBC / Christopher Moynihan Pilot Conan O’Brien, Tom Palmer THAT ‘70S SHOW David Trainer FOX Season 6 Jeff Filgo, Jackie Filgo, Tom Carsey Nominated, Multi-Cam Comedy Series – Mary Werner Emmys CRACKING UP Chris Weitz FOX Pilot Paul Weitz Mike White GROSSE POINTE Peyton Reed WARNER BROS. -
Lifestyle Awards Monday, January 27, 2020
Established 1961 21 Lifestyle Awards Monday, January 27, 2020 DGA Feature Film Award winner for ‘1917’ Sam Mendes poses in Outstanding Directorial Achievement in Movies the press room during the 72nd Annual Directors Guild Of for Television and Limited Series winner America Awards at The Ritz Carlton. — AFP photos Swedish director Johan Renck poses in the press room. DGA First-Time Feature Film Award winner for ‘Honey Boy’ Alma Har’el (second left) poses in the press room. DGA Feature Film Award nominee Taika Waititi Outstanding Directorial Achievement in Documentary winners Julia Reichert and DGA Commercials Award winner Spike Jonze poses in the press DGA Reality Programs Award winner for ‘Encore!’ Jason Cohen poses in the press room. Steven Bognar pose in the press room. room. poses in the press room. ollywood’s directors handed World “He’s a master of so many mediums... he’s do” on boosting diversity but pointed to HWar I thriller “1917” their top annual pretty much done it all,” said George the recently introduced first-time director prize Saturday, one of the final major MacKay. “We’ll be very excited to see category, featuring three women. Alma award shows that typically spells success what happens at the Oscars-I’ve never Har’el (“Honey Boy”) won the prize, prais- at next month’s Oscars. The win makes been before!” his co-star Dean-Charles ing fellow female nominees Mati Diop British auteur Sam Mendes hot favorite for Chapman told AFP. (“Atlantics”) and Melina Matsoukas the best director Oscar-the Directors (“Queen & Slim”) as “the future.” Guild of America Awards have correctly The category means “new voices like predicted the victor the past six years run- us can be included and celebrated,” said ning. -
Television Academy
Television Academy 2014 Primetime Emmy Awards Ballot Outstanding Directing For A Comedy Series For a single episode of a comedy series. Emmy(s) to director(s). VOTE FOR NO MORE THAN FIVE achievements in this category that you have seen and feel are worthy of nomination. (More than five votes in this category will void all votes in this category.) 001 About A Boy Pilot February 22, 2014 Will Freeman is single, unemployed and loving it. But when Fiona, a needy, single mom and her oddly charming 11-year-old son, Marcus, move in next door, his perfect life is about to hit a major snag. Jon Favreau, Director 002 About A Boy About A Rib Chute May 20, 2014 Will is completely heartbroken when Sam receives a job opportunity she can’t refuse in New York, prompting Fiona and Marcus to try their best to comfort him. With her absence weighing on his mind, Will turns to Andy for his sage advice in figuring out how to best move forward. Lawrence Trilling, Directed by 003 About A Boy About A Slopmaster April 15, 2014 Will throws an afternoon margarita party; Fiona runs a school project for Marcus' class; Marcus learns a hard lesson about the value of money. Jeffrey L. Melman, Directed by 004 Alpha House In The Saddle January 10, 2014 When another senator dies unexpectedly, Gil John is asked to organize the funeral arrangements. Louis wins the Nevada primary but Robert has to face off in a Pennsylvania debate to cool the competition. Clark Johnson, Directed by 1 Television Academy 2014 Primetime Emmy Awards Ballot Outstanding Directing For A Comedy Series For a single episode of a comedy series. -
The Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas the the Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas the Dave Oliphant
Oliphant: The Wisconsin Texas Jazz Nexus The Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas The The Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas The Dave Oliphant The institution of slavery had, of course, divided the nation, and Chicago. Texas blacks had earlier followed the cattle trails and on opposite sides in the Civil War were the states of Wis- north, but, in the 1920s, they also felt the magnetic pull of consin and Texas, both of which sent troops into the bloody, entertainment worlds in Kansas City and Chicago that catered decisive battle of Gettysburg. Little could the brave men of the to musicians who could perform the new music called jazz that Wisconsin 6th who defended or the determined Rebels of the had begun to crop up from New Jersey to Los Angeles, beholden Texas Regiments who assaulted Cemetery Ridge have suspected to but superseding the guitar-accompanied country blues and that, one day, musicians of their two states would join to pro- the repetitive piano rags. The first jazz recordings had begun to duce the harmonies of jazz that have depended so often on the appear in 1917, and, by 1923, classic jazz ensembles had begun blues form that was native to the Lone Star State yet was loved performing in Kansas City, Chicago, and New York, led by such and played by men from such Wisconsin towns and cities as seminal figures as Bennie Moten, King Oliver, Fletcher Jack Teagarden, courtesy of CLASSICS RECORDS. Teagarden, Jack Fox Lake, Madison, Milwaukee, Waukesha, Brillion, Monroe, Henderson, and Duke Ellington. -
The Wonder Years Episode & Music Guide
The Wonder Years Episode & Music Guide “What would you do if I sang out of tune … would you stand up and walk out on me?" 6 seasons, 115 episodes and hundreds of great songs – this is “The Wonder Years”. This Episode & Music Guide offers a comprehensive overview of all the episodes and all the songs played during the show. The episode guide is based on the first complete TWY episode guide which was originally posted in the newsgroup rec.arts.tv in 1993. It was compiled by Kirk Golding with contributions by Kit Kimes. It was in turn based on the first TWY episode guide ever put together by Jerry Boyajian and posted in the newsgroup rec.arts.tv in September 1991. Both are used with permission. The music guide is the work of many people. Shane Hill and Dawayne Melancon corrected and inserted several songs. Kyle Gittins revised the list; Matt Wilson and Arno Hautala provided several corrections. It is close to complete but there are still a few blank spots. Used with permission. Main Title & Score "With a little help from my friends" -- Joe Cocker (originally by Lennon/McCartney) Original score composed by Stewart Levin (episodes 1-6), W.G. Snuffy Walden (episodes 1-46 and 63-114), Joel McNelly (episodes 20,21) and J. Peter Robinson (episodes 47-62). Season 1 (1988) 001 1.01 The Wonder Years (Pilot) (original air date: January 31, 1988) We are first introduced to Kevin. They begin Junior High, Winnie starts wearing contacts. Wayne keeps saying Winnie is Kevin's girlfriend - he goes off in the cafe and Winnie's brother, Brian, dies in Vietnam. -
The Jazz Scene”—Various Artists (1949) Added to the National Registry: 2007 Essay by Tad Hershorn (Guest Post)*
“The Jazz Scene”—Various artists (1949) Added to the National Registry: 2007 Essay by Tad Hershorn (guest post)* Original album cover When “The Jazz Scene” was released in 1950, Norman Granz had significantly reshaped the jazz world in his image. Jazz historian and senior “Down Beat” editor John McDonough emphatically summed up Granz’s achievements when he wrote, “Two mavericks changed the face of jazz in the 1940s. Charlie Parker changed the way it was played. Norman Granz changed the way it was sold.” By this time, Granz’s popular seasonal national tours of Jazz at the Philharmonic (JATP), jam session concerts of jazz superstars, had gone on since 1945 after their debut in his hometown of Los Angeles the previous year. In 1949, Ella Fitzgerald joined JATP in what turned out to be a nearly 45-year relationship with Granz, who both managed her career and had her recording contract. Oscar Peterson began a similar long-term relationship with Granz when he joined JATP in 1950, when Granz likewise managed and recorded him over the decades. Granz also distinguished himself as an unyielding champion of racial justice, who had anti-segregation clauses in his contracts from the very beginning, and also offered top pay, travel and accommodations for those working for him. Two years later the jazz impresario began annual tours of Europe, where JATP proved to be as popular there as it had been in the United States. In 1953, Granz and his tours and recordings on his independent labels were beginning to crest. Around 500,000 people packed his concerts worldwide, including tours of Europe and Japan, while he also produced half the jazz records in the United States. -
Download CV (Pdf)
RAQUEL ALMAZAN RAQUEL.ALMAZAN@ COLUMBIA.EDU WWW.RAQUELALMAZAN.COM SUMMARY Raquel Almazan is an actor, writer, director in professional theatre / film / television productions. Her eclectic career as artist-activist spans original multi- media solo performances, playwriting, new work development and dramaturgy. She is a practitioner of Butoh Dance and creator/teacher of social justice arts programs for youth/adults, several focusing on social justice. Her work has been featured in New York City- including Off-Broadway, throughout the United States and internationally in Greece, Italy, Slovenia, Colombia, Chile, Guatemala, Canada and Sweden; including plays within her lifelong project on writing bi-lingual plays in dedication to each Latin American country (Latin is America play cycle). EDUCATION MFA Playwriting, School of the Arts Columbia University, New York City BFA Theatre Performance/Playwriting University of Florida-New World School of With honors the Arts Conservatory, Miami, Florida AA Film Directing Miami Dade College, Miami Florida PLAYWRITING – Columbia University Playwriting through aesthetics/ Playwriting Projects: Charles Mee Play structure and analysis/Playwriting Projects: Kelly Stuart Thesis and Professional Development: David Henry Hwang and Chay Yew American Spectacle: Lynn Nottage Political Theatre/Dramaturgy: Morgan Jenness Collaboration Class- Mentored by Ken Rus Schmoll Adaptation: Anthony Weigh New World SAC Master Classes Excerpt readings and feedback on Blood Bits and Junkyard Food plays: Edward Albee Writing -
WINNERS Children’S Programs Documentary Daytime Serials
MARCH 2011 MICK JACKSON MARTINMARTIN SCORSCORSSESEESE MICHAEL SPILLER Movies For Television Dramatic Series Comedy Series and Mini-Series TOM HOOPER Outstanding Directorial Achievement in Feature Film GLENN WEISS EYTAN KELLER STACYSTACY WALLWALL Musical Variety Reality Programs Commercials ERIC BROSS CHARLES FERGUSON LARRY CARPENTER WINNERS Children’s Programs Documentary Daytime Serials In this Issue: • DGA 75th Anniversary events featuring Martin Scorsese, Kathryn Bigelow, Francis Ford Coppola and the game-changing VFX of TRON and TRON: Legacy • March Screenings, Meetings and Events MARCH MONTHLY VOLUME 8, NUMBER 3 Contents 1 29 MARCH MARCH CALENDAR: MEETINGS LOS ANGELES & SAN FRANCISCO 4 DGA NEWS 30-34 MEMBERSHIP 6-8 SCREENINGS UPCOMING EVENTS 35 RECENT 9-27 EVENTS DGA AWARDS COVERAGE 36 28 MEMBERSHIP MARCH CALENDAR: REPORT NEW YORK, CHICAGO, WASHINGTON, DC DGA COMMUNICATIONS DEPARTMENT Morgan Rumpf Assistant Executive Director, Communications Sahar Moridani Director of Media Relations Darrell L. Hope Editor, DGA Monthly & dga.org James Greenberg Editor, DGA Quarterly Tricia Noble Graphic Designer Jackie Lam Publications Associate Carley Johnson Administrative Assistant CONTACT INFORMATION 7920 Sunset Boulevard Los Angeles, CA 90046-0907 www.dga.org (310) 289-2082 F: (310) 289-5384 E-mail: [email protected] PRINT PRODUCTION & ADVERTISING IngleDodd Publishing Dan Dodd - Advertising Director (310) 207-4410 ex. 236 E-mail: [email protected] DGA MONTHLY (USPS 24052) is published monthly by the Directors Guild of America, Inc., 7920 Sunset Boulevard, Los Angeles, CA 90046-0907. Periodicals Postage paid at Los Angeles, CA 90052. SUBSCRIPTIONS: $6.00 of each Directors Guild of America member’s annual dues is allocated for an annual subscription to DGA MONTHLY. -
Primary Sources: an Examination of Ira Gitler's
PRIMARY SOURCES: AN EXAMINATION OF IRA GITLER’S SWING TO BOP AND ORAL HISTORY’S ROLE IN THE STORY OF BEBOP By CHRISTOPHER DENNISON A thesis submitted to the Graduate School-Newark Rutgers University, The State University of New Jersey In partial fulfillment of the requirements of Master of Arts M.A. Program in Jazz History and Research Written under the direction of Dr. Lewis Porter And approved by ___________________________ _____________________________ Newark, New Jersey May, 2015 ABSTRACT OF THE THESIS Primary Sources: An Examination of Ira Gitler’s Swing to Bop and Oral History’s Role in the Story of Bebop By CHRISTOPHER DENNISON Thesis director: Dr. Lewis Porter This study is a close reading of the influential Swing to Bop: An Oral History of the Transition of Jazz in the 1940s by Ira Gitler. The first section addresses the large role oral history plays in the dominant bebop narrative, the reasons the history of bebop has been constructed this way, and the issues that arise from allowing oral history to play such a large role in writing bebop’s history. The following chapters address specific instances from Gitler’s oral history and from the relevant recordings from this transitionary period of jazz, with musical transcription and analysis that elucidate the often vague words of the significant musicians. The aim of this study is to illustratethe smoothness of the transition from swing to bebop and to encourage a sense of skepticism in jazz historians’ consumption of oral history. ii Acknowledgments The biggest thanks go to Dr. Lewis Porter and Dr. -
Safaris to the Heart of All That Jazz
Safaris to the heart of all that jazz.... JoniMitchell.com 2014 Biography Series by Mark Scott, Part 6 of 16 In January of 1974, Joni began an extensive tour of North America with the L.A. Express, wrapping up with three concerts at the New Victoria Theatre in London, England. The final concert at the New Victoria was videotaped and an edited version was broadcast on the BBC television program The Old Grey Whistle Test in November of 1974. Larry Carlton and Joe Sample were playing with The Crusaders at the time and both opted not to go on the road with Joni and the L.A. Express. Guitarist Robben Ford replaced Larry Carlton and Larry Nash filled in for Joe Sample on piano. In a 2011 interview for JoniMitchell.com, Max Bennett said that although the pay was good for this tour, the musicians could have made more money playing gigs in L.A. and doing session work in the recording studios. Max said that the musicians loved the music, however, and that they were treated royally in every way throughout the tour. Excellent food, first class accommodations, limousines, private buses and private planes were all provided for the band’s comfort. Max also made a point of mentioning the quality of the audiences that attended the concerts. Attention was focused on the performances so completely that practically complete silence reigned in the theaters and auditoriums until after the last note of any given song was performed. For Max Bennett, “As far as tours go - I've been on several tours - this was the epitome of any great tour I've ever been on.