Butler University Generations Ensemble
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Guide to Ella Fitzgerald Papers
Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996................................................................. -
TOSHIKO AKIYOSHI NEA Jazz Master (2007)
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOSHIKO AKIYOSHI NEA Jazz Master (2007) Interviewee: Toshiko Akiyoshi 穐吉敏子 (December 12, 1929 - ) Interviewer: Dr. Anthony Brown with recording engineer Ken Kimery Dates: June 29, 2008 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript 97 pp. Brown: Today is June 29th, 2008, and this is the oral history interview conducted with Toshiko Akiyoshi in her house on 38 W. 94th Street in Manhattan, New York. Good afternoon, Toshiko-san! Akiyoshi: Good afternoon! Brown: At long last, I‟m so honored to be able to conduct this oral history interview with you. It‟s been about ten years since we last saw each other—we had a chance to talk at the Monterey Jazz Festival—but this interview we want you to tell your life history, so we want to start at the very beginning, starting [with] as much information as you can tell us about your family. First, if you can give us your birth name, your complete birth name. Akiyoshi: To-shi-ko. Brown: Akiyoshi. Akiyoshi: Just the way you pronounced. Brown: Oh, okay [laughs]. So, Toshiko Akiyoshi. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Akiyoshi: Yes. Brown: And does “Toshiko” mean anything special in Japanese? Akiyoshi: Well, I think,…all names, as you know, Japanese names depends on the kanji [Chinese ideographs]. Different kanji means different [things], pronounce it the same way. And mine is “Toshiko,” [which means] something like “sensitive,” “susceptible,” something to do with a dark sort of nature. -
Song of Songs Case SS Class Part 7
Solomon and Sinatra: The Song of Songs and Romance in the Church Robert Case A Sunday School Class Faith Presbyterian Church Tacoma, Washington 2016 Part 7 Turning to an allegory from the American Songbook, I have two selections: “Ghost Riders in the Sky” "Ghost Riders in the Sky" is an allegorical song written in 1948 by the prolific Stan Jones. Members of the Western Writers of America chose it as the top western song of all time! Those of us from Ellensburg love this song. The song tells the allegorical folk tale of a lone cowboy who has a vision of “red-eyed, steel-hooved” cattle thundering across the sky, being chased by the spirits of Hell-bound cowboys. One cowboy warns our loner, like Dives in Luke 16:27, that “if he does not change his ways today,” he will be doomed to join them, forever "trying to catch the Devil's herd across these endless skies". The song lyrics also have a faint echo of Deuteronomy 33:26, “There is none like God, O Jeshurun, who rides through the heavens to your help, through the skies in his majesty.” I Kings 8:47, “if they turn their heart in the land to which they have been carried”; “Psalm 68:33, “to him who rides in the heavens, the ancient heavens; behold, he sends out his voice, his mighty voice.” and Psalm 7:12, “If he does not turn, [God] will whet his sword; he hath bent his bow, and made it ready.” Mr. Jones also wrote the music for the popular John Wayne western films The Horse Soldiers, The Searchers, Rio Grande and the television series Cheyenne, starring the Christian actor, Clint Walker. -
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 -
Pioneers of the Concept Album
Fancy Meeting You Here: Pioneers of the Concept Album Todd Decker Abstract: The introduction of the long-playing record in 1948 was the most aesthetically signi½cant tech- nological change in the century of the recorded music disc. The new format challenged record producers and recording artists of the 1950s to group sets of songs into marketable wholes and led to a ½rst generation of concept albums that predate more celebrated examples by rock bands from the 1960s. Two strategies used to unify concept albums in the 1950s stand out. The ½rst brought together performers unlikely to col- laborate in the world of live music making. The second strategy featured well-known singers in song- writer- or performer-centered albums of songs from the 1920s, 1930s, and 1940s recorded in contemporary musical styles. Recording artists discussed include Fred Astaire, Ella Fitzgerald, and Rosemary Clooney, among others. After setting the speed dial to 33 1/3, many Amer- icans christened their multiple-speed phonographs with the original cast album of Rodgers and Hammer - stein’s South Paci½c (1949) in the new long-playing record (lp) format. The South Paci½c cast album begins in dramatic fashion with the jagged leaps of the show tune “Bali Hai” arranged for the show’s large pit orchestra: suitable fanfare for the revolu- tion in popular music that followed the wide public adoption of the lp. Reportedly selling more than one million copies, the South Paci½c lp helped launch Columbia Records’ innovative new recorded music format, which, along with its longer playing TODD DECKER is an Associate time, also delivered better sound quality than the Professor of Musicology at Wash- 78s that had been the industry standard for the pre- ington University in St. -
The Sam Eskin Collection, 1939-1969, AFC 1999/004
The Sam Eskin Collection, 1939 – 1969 AFC 1999/004 Prepared by Sondra Smolek, Patricia K. Baughman, T. Chris Aplin, Judy Ng, and Mari Isaacs August 2004 Library of Congress American Folklife Center Washington, D. C. Table of Contents Collection Summary Collection Concordance by Format Administrative Information Provenance Processing History Location of Materials Access Restrictions Related Collections Preferred Citation The Collector Key Subjects Subjects Corporate Subjects Music Genres Media Formats Recording Locations Field Recording Performers Correspondents Collectors Scope and Content Note Collection Inventory and Description SERIES I: MANUSCRIPT MATERIAL SERIES II: SOUND RECORDINGS SERIES III: GRAPHIC IMAGES SERIES IV: ELECTRONIC MEDIA Appendices Appendix A: Complete listing of recording locations Appendix B: Complete listing of performers Appendix C: Concordance listing original field recordings, corresponding AFS reference copies, and identification numbers Appendix D: Complete listing of commercial recordings transferred to the Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress 1 Collection Summary Call Number: AFC 1999/004 Creator: Eskin, Sam, 1898-1974 Title: The Sam Eskin Collection, 1938-1969 Contents: 469 containers; 56.5 linear feet; 16,568 items (15,795 manuscripts, 715 sound recordings, and 57 graphic materials) Repository: Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. Summary: This collection consists of materials gathered and arranged by Sam Eskin, an ethnomusicologist who recorded and transcribed folk music he encountered on his travels across the United States and abroad. From 1938 to 1952, the majority of Eskin’s manuscripts and field recordings document his growing interest in the American folk music revival. From 1953 to 1969, the scope of his audio collection expands to include musical and cultural traditions from Latin America, the British Isles, the Middle East, the Caribbean, and East Asia. -
1 POPULAR MUSIC in the MERCER ERA, 1910-1970 Building Bridges
1 POPULAR MUSIC IN THE MERCER ERA, 1910-1970 Building Bridges: Hank Williams and the Hit Parade (Draft version submitted November 2010) By Dr. Steve Goodson University of West Georgia Carrollton, GA Hank Williams is widely regarded as the archetypal country music singer, songwriter, and performer. Phenomenally successful during his brief lifetime, he has become -- in the nearly six decades since his death -- something of a national cultural institution. He appeared on a U.S. postage stamp in 1993, he was the focus of a Smithsonian Institution symposium in 1999 – the first country artist to be so honored – and he was the subject of a documentary featured on the PBS American Masters series in 2004. When Mercury Records released a 10-CD compilation of his work – The Complete Hank Williams – the groundbreaking set received substantial reviews from a remarkable array of prestigious mainstream publications, including The New York Times, The Wall Street Journal, the Village Voice, and the Times and the Guardian of London. Fans – most of them too young to remember Williams personally, continue to trek to his grave in his hometown of Montgomery, Alabama, often visiting as well as the city's Hank Williams museum and the nearby Williams statue. Artists continue to record his songs, not only in the country field, but in a variety of genres – Norah Jones and Van Morrison being recent examples. The enduring popularity of and ever-growing esteem – even reverence – for this star- crossed performer are remarkable given that his recording career lasted but six years, and that he did not live to see thirty years of age. -
FLORIDA REPERTORY THEATRE GREG LONGENHAGEN, Artistic Director • JOHN MARTIN, Managing Director 2018-2019 SEASON ARTSTAGE STUDIO THEATRE • FORT MYERS RIVER DISTRICT
FLORIDA REPERTORY THEATRE GREG LONGENHAGEN, Artistic Director • JOHN MARTIN, Managing Director 2018-2019 SEASON ARTSTAGE STUDIO THEATRE • FORT MYERS RIVER DISTRICT PRESENTS THE ROSEMARY CLOONEY MUSICAL BY JANET YATES VOGT & MARK FRIEDMAN SPONSORED BY SAM GALLOWAY FORD LINCOLN STARRING SUSAN HAEFNER* • MICHAEL MAROTTA* DIRECTED BY ELEANOR HOLDRIDGE** MUSICAL DIRECTOR CHOREOGRAPHER VICTORIA CASELLA MK LAWSON SET DESIGNER COSTUME DESIGNER LIGHTING DESIGNER JORDAN MOORE CHARLENE GROSS*** TODD O. WREN*** ensemble member SOUND DESIGNER PRODUCTION STAGE ASST. STAGE MANAGER KATIE LOWE MANAGER KATELYNN FOSTER AMY L. MASSARI* ensemble member TENDERLY, THE ROSEMARY CLOONEY MUSICAL is presented through special arrangement with and all authorized performance materials are supplied by Theatrical Rights Worldwide (TRW), 1180 Avenue of the Americas, Suite 640, New York, NY 10036. (866) 378-9758 www.theatricalrights.com 2018-19 GRAND SEASON SPONSORS IN THE KNOW. IN THE NOW. This entire season sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs, and the Florida Council on Arts and Culture. Florida Repertory Theatre is a fully professional non-profit LOA/LORT Theatre company on contract with the Actors’ Equity Association that proudly employs members of the national theatrical labor unions. *Member of Actors’ Equity Association. **Member of the Stage Directors and Choreographers Society. ***Member of United Scenic Artists. ABOUT THE PLAYWRIGHTS MARK FRIEDMAN fell in love with musicals at THE an early age when he -
Nr Kat Artysta Tytuł Title Supplement Nośnik Liczba Nośników Data
nr kat artysta tytuł title nośnik liczba data supplement nośników premiery 9985841 '77 Nothing's Gonna Stop Us black LP+CD LP / Longplay 2 2015-10-30 9985848 '77 Nothing's Gonna Stop Us Ltd. Edition CD / Longplay 1 2015-10-30 88697636262 *NSYNC The Collection CD / Longplay 1 2010-02-01 88875025882 *NSYNC The Essential *NSYNC Essential Rebrand CD / Longplay 2 2014-11-11 88875143462 12 Cellisten der Hora Cero CD / Longplay 1 2016-06-10 88697919802 2CELLOSBerliner Phil 2CELLOS Three Language CD / Longplay 1 2011-07-04 88843087812 2CELLOS Celloverse Booklet Version CD / Longplay 1 2015-01-27 88875052342 2CELLOS Celloverse Deluxe Version CD / Longplay 2 2015-01-27 88725409442 2CELLOS In2ition CD / Longplay 1 2013-01-08 88883745419 2CELLOS Live at Arena Zagreb DVD-V / Video 1 2013-11-05 88985349122 2CELLOS Score CD / Longplay 1 2017-03-17 0506582 65daysofstatic Wild Light CD / Longplay 1 2013-09-13 0506588 65daysofstatic Wild Light Ltd. Edition CD / Longplay 1 2013-09-13 88985330932 9ELECTRIC The Damaged Ones CD Digipak CD / Longplay 1 2016-07-15 82876535732 A Flock Of Seagulls The Best Of CD / Longplay 1 2003-08-18 88883770552 A Great Big World Is There Anybody Out There? CD / Longplay 1 2014-01-28 88875138782 A Great Big World When the Morning Comes CD / Longplay 1 2015-11-13 82876535502 A Tribe Called Quest Midnight Marauders CD / Longplay 1 2003-08-18 82876535512 A Tribe Called Quest People's Instinctive Travels And CD / Longplay 1 2003-08-18 88875157852 A Tribe Called Quest People'sThe Paths Instinctive Of Rhythm Travels and the CD / Longplay 1 2015-11-20 82876535492 A Tribe Called Quest ThePaths Low of RhythmEnd Theory (25th Anniversary CD / Longplay 1 2003-08-18 88985377872 A Tribe Called Quest We got it from Here.. -
George Avakian Interviewer
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. GEORGE AVAKIAN NEA JAZZ MASTER (2010) Interviewee: George Avakian Interviewer: Ann Sneed with recording engineer Julie Burstein Date: September 28, 1993 Repository: Archives Center, National Museum of American History Description: Transcript, 112 pp. Sneed: I’m Ann Sneed. We are in Riverdale. We’re interviewing George Avakian. There’s so many things to say about you, I’m just going to say George Avakian and ask you first, why jazz? Avakian: I think it happened because I was born abroad, and among the things that came into my consciousness as I was growing up was American popular music, and then it drifted in the direction of jazz through popular dance bands, such as the Casa Loma Orchestra, which I heard about through the guys who were hanging around the home of our neighbor at Greenwood Lake, which is where we went in the summers. We had a house on the lake. Our next-door neighbors had two daughters, one of whom was my age and very pretty, Dorothy Caulfield, who incidentally is responsible for Holden Caulfield’s last name, because J. D. Salinger got to know her and was very fond of her, named Holden after her family name. These boys came from the Teaneck area of New Jersey. So it was a short drive to Greenwood Lake on a straight line between New York and New Jersey. They had a dance band, the usual nine pieces: three brass, three saxophones, three rhythm. -
Luqman Hamza Luqman Hamza Died in Late April
JUNE + JULY 2018 Mutual Musicians Foundation: History Looking Forward... and Broadcasting Brandon Draper: Never a Single Drum Set Jam’s Wonder Woman Retires TheTheB L U ROOM Mutual Musicians Foundation Saturday Jazz Ambassadors Magazine and July 28, 2018 Jackson County Historical Society 6:00-10:00 p.m. present Bennie, Basie & Bird PHOTO BY HEINRICH KLAFFS Mutual Musicians Foundation 1823 Highland Avenue, Kansas City, MO 64108 Tickets $35 Join us for food, drinks and jazz; an exploration into the sounds and styling from Bennie Moten, Count Basie and Charlie "Bird" Parker. Enjoy live performances with original and contemporary arrangements of their classics. For more information, visit www.mutualmusicianslive.com proceeds benefit PRESIDENT'S CORNER STEPHEN MATLOCK Jam Online...and We Don’t Mean a PDF Jam is about to be showcased its own website. At long last, get together with our members and anyone else who would like you’ll be able to read the magazine not just in print or in an to join us. This time we’re at Hush Speakeasy at 1000 Broadway awkward PDF, but with links to each article on its own web at 5:30 p.m. We start with a quick update meeting followed by page which will automatically adapt to the size of the screen jazz, dining and drinks. Music by Eclipse Trio starts at 6:30. on which you’re viewing it. Our articles, photos and ads – all We’d love to see you there. about Kansas City jazz – are going to be searchable all over the We’d also love to see you at 2018’s Supper Club, an eve- world. -
State Highlights 10/1/1952
Western Michigan University ScholarWorks at WMU Western's high school newspaper Western Michigan University 10-1-1952 State Highlights 10/1/1952 Western State High School Follow this and additional works at: https://scholarworks.wmich.edu/high-school-news Part of the Secondary Education Commons WMU ScholarWorks Citation Western State High School, "State Highlights 10/1/1952" (1952). Western's high school newspaper. 173. https://scholarworks.wmich.edu/high-school-news/173 This Newspaper is brought to you for free and open access by the Western Michigan University at ScholarWorks at WMU. It has been accepted for inclusion in Western's high school newspaper by an authorized administrator of ScholarWorks at WMU. For more information, please contact wmu- [email protected]. State Highlights Volume IX Kalamazoo, Michigan, October 11 1952 Number 1 Summer Survey Mr. Sack Welcomed Library It seems that teachers too, like to Gets Face make the most out of the summer break. For instance, Mr. Stauffer Lifting turned his talents to managing his resort-restaurant up north and enter- Big things have happened in our tai.ning the customers by playing the library since we left school last Hammond organ during the supper hour, while Miss Crisman spent a Spring. Miss Lowrie is very pleased relaxing summer at home "just keep- with the improvement of facilities ing house." and she is certain that the wholt. Westward bound were two of the school will benefit from the changes. luckier faculty members. Miss Steke- tee got a first-hand view of the Cana- The old eighth grade room has been dian Rockies and saw a real rodeo directly connected to the main Ii" complete with cowboys.