Boston Symphony Orchestra Concert Programs, Summer, 1995
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2015 Spring Voices
VOICES FROM THE WRITING CENTER SPRING 2015 A CELEBRATION OF WRITING DONE IN AND AROUND THE UNIVERSITY OF IOWA WRITING CENTER EDITED BY CASSANDRA BAUSMAN TABLE OF CONTENTS From Father to Son, Tanner King ................................................ 3 Forget Me Not , De'Shea Coney .................................................. 6 Standoff, Devin Van Dyke ........................................................ 11 Storm of War, Abe Kline ......................................................... 113 Wilderness Appreciation, Natalie Himmel .................................. 17 The Sticky Note, Mingfeng Huang ............................................ 22 Odd and Even, Wenxiu Zou ...................................................... 26 World Apart (Excerpt), Cody Connor .................................... 44 Narrativa, Sarah Jansen ............................................................. 57 Why Everyone Should "Bilbo Up', Sarah Kurtz...........................59 Authoethnography, Ying Chen......................................................62 Voir Dire, Raquel Baker.............................................................64 2 FROM FATHER TO SON Stepping over one childhood memory after another, I make my way toward the chest. I look into it, and there it is, TANNER KING staring up at me. A faded brown teddy bear, with so many patches and stitch jobs that I wonder how much of the original The front door of the old farmhouse opens with a loud fabric is actually there. It looks like it could be centuries old. creak, and my childhood living room greets me as if no time has Maybe it is. It has black beads for eyes, one of which is hanging passed. This is clearly not the case. Plaster is missing from the loosely by a thread. The other one looks up at me, as if it's wall in large chunks, some of it to be found on the dusty brown wondering where I've been. sofa sitting against the staircase to my right. Graffiti litters the Written down the inside of its right leg is “ALBert.” My walls, covering up what is left of the brown striped wallpaper. -
Jeff Rupert Bio
Jeff Rupert Bio Saxophonist Jeff Rupert is a YAMAHA performing artist. Performing and recording credits include associations with Diane Schuur, Mel Tormé, Kevin Mahogany, Ernestine Anderson, and Benny Carter’s Grammy winning Harlem Renaissance . Jeff Rupert toured for fifteen years with Sam Rivers ; four albums ensued, and from 1997- 2002 he toured and recorded with Maynard Ferguson . Jeff Rupert’s six recordings as a leader have all charted on Jazz Week . Do That Again! was #39 out of the top 100 jazz albums of 2014 , and En Plein Air: The Jazz Professors play Monet charted on Jazz Week to #29 . Performance venues include the Blue Note, Birdland, Carnegie Hall, Lincoln Center, the Kennedy Center, the Tokyo Forum, the National concert hall of Taipei, Taiwan, and jazz festivals in Europe, Israel, Australia, New Zealand and Japan. Rupert’s latest release Imagination is a collaboration with pianist Richard Drexler. As a composer and arranger, Rupert has written for Bob Berg, James Moody, Maynard Ferguson, Kenny Drew Jr, Kevin Mahogany and Judy Carmichael. Rupert has produced four big band albums for the Flying Horse Big Band, all featuring original compositions and arrangements. Jeff Rupert is Pegasus Distinguished Professor, Trustee Endowed Chair, and Director of Jazz Studies at the University of Central Florida (UCF), and founder of Flying Horse Records. “Jeff Rupert has a classic tenor sound, the virtuosity to execute practically any musical idea, and the imagination to make those ideas worth hearing.” Ed Berger, the Institute of Jazz Studies. “Jeff Rupert, he is dynamite!” Mel Torme. “From the moment I first heard Jeff Rupert with my band I considered him one of the great jazz players of today.” Maynard Ferguson. -
The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS -
The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 -
En Vogue Ana Popovic Artspower National Touring Theatre “The
An Evening with Jazz Trumpeter Art Davis Ana Popovic En Vogue Photo Credit: Ruben Tomas ArtsPower National Alyssa Photo Credit: Thomas Mohr Touring Theatre “The Allgood Rainbow Fish” Photo Courtesy of ArtsPower welcome to North Central College ometimes good things come in small Ana Popovic first came to us as a support act for packages. There is a song “Bigger Isn’t Better” Jonny Lang for our 2015 homecoming concert. S in the Broadway musical “Barnum” sung by When she started on her guitar, Ana had everyone’s the character of Tom Thumb. He tells of his efforts attention. Wow! I am fond of telling people who to prove just because he may be small in stature, he have not been in the concert hall before that it’s a still can have a great influence on the world. That beautiful room that sounds better than it looks. Ana was his career. Now before you think I have finally Popovic is the performer equivalent of my boasts lost it, there is a connection here. February is the about the hall. The universal comment during the smallest month, of the year, of course. Many people break after she performed was that Jonny had better feel that’s a good thing, given the normal prevailing be on his game. Lucky for us, of course, he was. But weather conditions in the month of February in the when I was offered the opportunity to bring Ana Chicagoland area. But this little month (here comes back as the headliner, I jumped at the chance! Fasten the connection!) will have a great influence on the your seatbelts, you are in for an amazing evening! fine arts here at North Central College with the quantity and quality of artists we’re bringing to you. -
Columbia Poetry Review Publications
Columbia College Chicago Digital Commons @ Columbia College Chicago Columbia Poetry Review Publications Spring 4-1-2014 Columbia Poetry Review Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cpr Part of the Poetry Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Columbia College Chicago, "Columbia Poetry Review" (2014). Columbia Poetry Review. 27. https://digitalcommons.colum.edu/cpr/27 This Book is brought to you for free and open access by the Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Columbia Poetry Review by an authorized administrator of Digital Commons @ Columbia College Chicago. For more information, please contact [email protected]. review• columbiapoetryreview no. 27 Columbia Poetry Review is published in the spring of each year by the Department of Creative Writing, Columbia College Chicago, 600 South Michigan Avenue, Chicago, Illinois, 60605. SUBMISSIONS Our reading period extends from July 1 to November 1. Please submit up to 5 pages of poetry (one poem per page) during our reading period via Submittable: http://columbiapoetry. submittable.com/submit. The cost of the submission through Submittable is $3.00. PURCHASE INFORMATION Single copies are available for $10.00, $13.00 outside the U.S. but within North America, and $16.00 outside North America. Please send personal checks or money orders made out to Columbia Poetry Review to the above address. You may also purchase online at http://english.colum.edu/cpr. WEBSITE INFORMATION Columbia Poetry Review’s website is at http://english.colum.edu/cpr. -
Congressional Record—House H288
H288 CONGRESSIONAL RECORD — HOUSE February 15, 2006 We must call on Hamas to put an end to vi- (Mr. HYDE) that the House suspend the Nevada (Mr. PORTER) and the gen- olence and terror. They must cease their rhet- rules and concur in the Senate concur- tleman from Illinois (Mr. DAVIS) each oric of hate. The U.S. and the international rent resolution, S. Con. Res. 79. will control 20 minutes. community must strongly urge Hamas to rec- The question was taken. The Chair recognizes the gentleman ognize Israel’s right to exist. The SPEAKER pro tempore. In the from Nevada. Mr. FARR. Mr. Speaker, Hamas maintains opinion of the Chair, two-thirds of GENERAL LEAVE and asserts a radical, violent ideology within those present have voted in the affirm- Mr. PORTER. Mr. Speaker, I ask its charter—the destruction of Israel. I believe ative. unanimous consent that all Members that S. Con. Res. 79, which reaffirms that no Ms. ROS-LEHTINEN. Mr. Speaker, may have 5 legislative days within U.S. funds should go to the Palestinian Au- on that I demand the yeas and nays. which to revise and extend their re- thority if the majority party maintains a position The yeas and nays were ordered. marks and include extraneous material calling for the destruction of Israel, is a good The SPEAKER pro tempore. Pursu- on H. Con. Res. 300, as amended. first step in creating a more peaceful region. ant to clause 8 of rule XX and the The SPEAKER pro tempore. Is there Voting in support of this Resolution is not a Chair’s prior announcement, further objection to the request of the gen- hard choice. -
Jazz and Radio in the United States: Mediation, Genre, and Patronage
Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition. -
VID 0004 BASIE, Count Count Basie : Live in Berlin, 1968
VIDEO __ VID 0004 BASIE, Count Count Basie : live in berlin, 1968. - EEC : Green Line Records, 1990. - 1 VHS (48 min., 45 sec.) ; 21 cm. - (Jazz & Jazz Video Collection : concerts & jam sessions on video ; VIDJAZZ 6). [n.i. 00010001] VID 0006 DAVIS, Miles Miles in Paris / Miles Davis. - [S.l.] : Warner Music Vision, cop. 1990. - 1 VHS (78 min.) ; 21 cm. - . [n.i. 00010007] _ VID 0003 ELLINGTON, DUKE Duke Ellington in Europe, 1963-64. - EEC : Green Line Records, 1990. - 1 VHS (56 min.) ; 21 cm. - (Jazz & Jazz Video Collection : concerts & jam sessions on video ; VIDJAZZ 11). - . [n.i. 00010009] _ VID 0009 IBRAHIM, Abdullah A brother with perfect timing / Abdullah Ibrahim. - UK : Polygram Video, cop 1986. - 1 VHS (90 min.) ; 21 cm. - (Rhythms of the world). - MANCANO INTESTAZIONI SECONDARIE. - 083 128 3. [n.i. 00010005] __ VID 0014 IRAKERE Cuban nights / Irakere. - UK : Polygram Video, cop 1989. - 1 VHS (60 min.) ; 21 cm. - (Rhythms of the world). - . - 083 134-3. [n.i. 00010004] __ VID 0013 JARRETT, Keith Standards II / Keith Jarrett ; Gary Peacock ; Jack DeJohnette. - UK : Polygram Video, cop 1987. - 1 VHS (91 min.) ; 21 cm. - 081 7803. [n.i. 00010003] __ VID 0005 KRUPA, Gene Swing, Swing, Swing! / Gene Krupa. - UK : Hudson Music, 1999. - 1 VHS (60 min.) ; 21 cm. - . - HUD 700084. [n.i. 00010015] __ VID 0002 LACY, Steve Steve Lacy / [Peter Bull]. - USA : PolyGram Video, 1983. - 1 VHS (47 min.) ; 21 cm. - (Sound of Jazz ; volume III). [n.i. 00010011] _ VID 0011 LEON, Oscar D' Oscar D'Leon live. - UK : Polygram Video, cop 1989. -
Jack Dejohnette's Drum Solo On
NOVEMBER 2019 VOLUME 86 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
Hire a Celebrity Look-Alike to Come and Mingle with the Guests and Watch
Hire a celebrity look-alike to come and mingle with the guests and watch their bungled reactions Lucid dreaming stories are tremendously different and wonderful practice In lucid dreaming, there is a point when people came to know that they are dreaming and even they can speak to their selves that they are in a dream An opportunity to do religious work is given by lucid dreaming In dreaming phase, a person is able to conclude what he wants, and performs actions accordingly There is a difference between normal dreams and lucid dream When a normal person starts dreaming, he can control a little on what's happening in his dream It is like that a person is flounced along with the story and he is only a bit is able to say that what happens in it Many crazy and stupid things also happened in the dreams and people considered it as o normal, and ordinary thing A person is having a tendency not to diminish anything But, when a person become lucid, a state of being consciousness and awareness that he feels his dream actually happens in real when he wake up the next morning These lucid dreaming stories will let a person remain in the world of dream with the full alertness of everyday activities So, an ability of a person to have awareness at the same time of dreaming is called a lucid dream Any person in real can experience whatever he imagines Lucid dreaming becomes as practical and realistic as the world is While lucid dreaming, a person can go for anything what he would like to have a chance in real life At the Lucidity Institute, Stephen Laberge -
Though I Know the River Is Dry
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2016 Though I Know the River is Dry Victoria Campbell University of Central Florida Part of the Creative Writing Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Campbell, Victoria, "Though I Know the River is Dry" (2016). Electronic Theses and Dissertations, 2004-2019. 4988. https://stars.library.ucf.edu/etd/4988 THOUGH I KNOW THE RIVER IS DRY by VICTORIA CAMPBELL B.A. College of Charleston, 2011 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of English in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2016 Major Professor: David Poissant © 2016 Victoria Campbell ii ABSTRACT Though I Know the River is Dry is a place-oriented collection of short fiction. The included stories follow female protagonists as they struggle with identity, relationships, and place in the world. The women in these stories frequently grapple with the fear of being loved in the wrong way, often unearthing a deeper examination of what it means to be tethered to a person or a place, along with the ramifications of these ties. All tangentially related to the island of Martha’s Vineyard, place serves as a grounding element in this collection, as well as an entity with which the women interact.