Drowning in a Dry Town
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Where Stars Are Born and Legends Are Made™
Where Stars are Born and Legends are Made™ The Apollo Theater Study Guide is published by the Education Program of the Apollo Theater in New York, NY | Volume 2, Issue 1, November 2010 If the Apollo Theater could talk, imagine the stories it could tell. It The has witnessed a lot of history, and seen a century’s worth of excitement. The theater itself has stood proudly on 125th Street since 1914, when it started life as a burlesque house for whites only, Hurtig & Seamon’s New Burlesque Theater. Dancers in skimpy costumes stripped down to flesh-colored leotards, and comics told bawdy jokes – that is, until then New York City Mayor Fiorello H. LaGuardia made the decision to close down burlesque houses all over the city. When the doors of the burlesque theaters were padlocked, the building was sold. By S ul the time it reopened in 1934, a new name proclaimed itself from the marquee: the 125th Street Apollo Theatre. From the start, the Apollo was beloved by Harlemites, and immediately of became an integral part of Harlem life. When the Apollo first opened, Harlem boasted a lot of theaters and clubs. But many didn’t admit black audiences. Though the musicians who played in the clubs were black, the audiences were often white; the country still had a lot to American learn about integration. But the Apollo didn’t play primarily to whites. As soon as it opened its doors, black residents of Harlem streamed in themselves to enjoy the show. In the early years, the Apollo presented acts in a revue format, with a variety of acts on each bill. -
Selected Observations from the Harlem Jazz Scene By
SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan. -
Charles “Lucky” Luciano , Nascut Sub Numele De Salvatore Lucania (24 Noiembrie 1897 – 26 Ianuarie 1962) , a Fost Un Renumit Gangster Americano-Sicilian
Charles “Lucky” Luciano , nascut sub numele de Salvatore Lucania (24 Noiembrie 1897 – 26 Ianuarie 1962) , a fost un renumit gangster americano-sicilian . Luciano este considerat parintele crimei organizate moderne si creierul din spatele expansiunii postbelice a traficului de heroina . Revista americana Times l-a adaugat in top 20 al celor mai influenti constructori si titani ai secolului 20 . Salvatore Lucania s-a nascut la 24 Noiembrie 1897 in localitatea siciliana Lercara Friddi , din parintii Antonio si Rosalia Lucania . Promisiunea unei vieti mai bune a determinat familia sa se mute in America , la inceputul anului 1907 . Odata ajunsi in Insula Ellis , Lucania se imbolnaveste de varicela , boala ce ii va afecta aspectul fetei tot restul vietii . Stabiliti la New York intr-un cartier de evrei , Salvatore isi incepe cariera de infractor jefuind tinerii evrei in drum spre scoala . Dupa mai multe “vizite” in centrele pentru infractorii juvelini , se hotaraste sa isi schimbe numele in Charles datorita rusinii cauzate familiei . In 1919 guvernul american a interzis productia si comercializarea alcoolului pe teritoriul Statelor Unite ale Americii , fapt ce a dus la expansiunea industriei ilegale de alcool . Intre 1920-1925 Luciano isi dezvolta , cu ajutorul altor gangsteri ai vremii , o uriasa afacere cu alcool , afacere ce ii aducea un profit anual de cateva sute de mii de dolari . Importa scotch direct din Scotia , rom din Caraibe si whiskey din Canada . Pe langa afacerile cu alcoolul , mai era implicat in jocurile de noroc , dar in acest moment Luciano deja facea parte din bossii mafiei din New York . In curand Luciano isi va uni fortele cu Joe “the Boss” Messeria . -
Kidnaped Brewer Returned Unhurt
-ft?' <r. 'i-vu . % - * ',/ « ■■ ' , ' ", f *■ * - ^ * * ', '•■' *’ ^ ' ''■ * J- ^ .h • • • ' .■ > . t ^ ^ lU ksa cm auuam K for the Month of May, IMS 5 , 2 5 1 Membo^ of the Audit Bureau of Urealatloaa. V0L.Ln<^N0.222. (ChMoUled AdrertUbiK on FOfo 10) MANCHESTER, CONN^ MONDAY, JUNE 19,1933. TWELVE PAGES PRICE THREE CENTS KIDNAPED BREWER Five KiUed Jn ]$[ansas Qty Massacre n RETURNED UNHURT w;2 S t Paul Millionaire Released REGISTER VOTE France Belieyed BehRid Piaii After Ransom 'le ss Than Stock Prices Advance ' • ■« im O O O ” Is Paid by His TOMORROW ON to Adjoom Economic Par RelabVes. DROEPEAL As The Dollar Slumps ley Until the Stablization of Correncies Can Be Set New York, June 19.—(AP)—^News, , The British pound sterling ad S t Paul, June 19.—(AP) — Wil Expect Big Vote as Both that the. admlnistratioq ^ d not vanced more than 7 cents to above liam Hamm, Jr., kldpaped mil favor an immediate dollar stabiliza- 34.14 and European gold currencies tled— France Declares lionaire brewery head, was released Sides Organize to Get ticm plan which would interfere with made substantia] gains. early today near Wyoming, Minn., rising prices on American markets Wall street came to work in a Eyerytbing Rests With >and euTived at his home imharmed. was received enthusiasticadly in mood exatetly opposite to that which Turned loose 45 miles north of Electors to Polls — How speculative quarters today. prevailed about tee middle of last Stocks soared |1 to around 36 a week when it appeared momentari Washington. - here, he came home with Police share in active trading on tee New ly teat a dollar control arrangement Chief Tomas E. -
In 1925, Eight Actors Were Dedicated to a Dream. Expatriated from Their Broadway Haunts by Constant Film Commitments, They Wante
In 1925, eight actors were dedicated to a dream. Expatriated from their Broadway haunts by constant film commitments, they wanted to form a club here in Hollywood; a private place of rendezvous, where they could fraternize at any time. Their first organizational powwow was held at the home of Robert Edeson on April 19th. ”This shall be a theatrical club of love, loy- alty, and laughter!” finalized Edeson. Then, proposing a toast, he declared, “To the Masquers! We Laugh to Win!” Table of Contents Masquers Creed and Oath Our Mission Statement Fast Facts About Our History and Culture Our Presidents Throughout History The Masquers “Who’s Who” 1925: The Year Of Our Birth Contact Details T he Masquers Creed T he Masquers Oath I swear by Thespis; by WELCOME! THRICE WELCOME, ALL- Dionysus and the triumph of life over death; Behind these curtains, tightly drawn, By Aeschylus and the Trilogy of the Drama; Are Brother Masquers, tried and true, By the poetic power of Sophocles; by the romance of Who have labored diligently, to bring to you Euripedes; A Night of Mirth-and Mirth ‘twill be, By all the Gods and Goddesses of the Theatre, that I will But, mark you well, although no text we preach, keep this oath and stipulation: A little lesson, well defined, respectfully, we’d teach. The lesson is this: Throughout this Life, To reckon those who taught me my art equally dear to me as No matter what befall- my parents; to share with them my substance and to comfort The best thing in this troubled world them in adversity. -
Duke Ellington's Sophisticated Ladies
study guide contents The Play Meet the “Duke” Cotton Club Harlem Renaissance Jazz Music The U Street Connection Musical Revue Dancing Brothers Additional Resources the play Duke Ellington’s Sophisticated Ladies is a musical revue set during America’s Big Band Era (1920-1945). Every song tells a story, and together they paint a colorful pic- ture of Duke Ellington’s life and career as a musician, composer and band leader. Duke Ellington’s Act I highlights the Duke’s early days on tour, while Sophisticated Act II offers a glimpse into his private life and his often Ladies troubled relationships with women. Now Playing at the Lincoln Theatre April 9 – May 30, 2010 Concept by Donald McKayle Based on the music of Duke Ellington Musical and dance arrangements by Lloyd Mayers Vocal arrangements by Malcolm Dodds and Lloyd Mayers Original music direction by Mercer Ellington Directed by Charles Randolph-Wright Choreographed by Maurice Hines meet the “Duke” Harlem Renaissance “His music sounds “Drop me off in Harlem — any place in Harlem. like America.” There’s someone waiting there who makes – Wynton Marsalis it seem like heaven up in Harlem.” dward Kennedy rom the mid-1920s until the early 1930s, the African-American community “Duke” Ellington was in Harlem enjoyed a surging period of cultural, creative and artistic growth. born in Washington, Spurred by an emerging African-American middle class and the freedom D.C. on April 29, after slavery, the Harlem Renaissance began as a literary movement. Authors 1899.E He began playing the Fsuch as Langston Hughes and Zora Neale Hurston expressed the spirit of African- piano at age 7, and by 15, Americans and shed light on the black experience. -
The Development of Duke Ellington's Compositional Style: a Comparative Analysis of Three Selected Works
University of Kentucky UKnowledge University of Kentucky Master's Theses Graduate School 2001 THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Eric S. Strother University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Strother, Eric S., "THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS" (2001). University of Kentucky Master's Theses. 381. https://uknowledge.uky.edu/gradschool_theses/381 This Thesis is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Master's Theses by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF THESIS THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Edward Kennedy “Duke” Ellington’s compositions are significant to the study of jazz and American music in general. This study examines his compositional style through a comparative analysis of three works from each of his main stylistic periods. The analyses focus on form, instrumentation, texture and harmony, melody, tonality, and rhythm. Each piece is examined on its own and their significant features are compared. Eric S. Strother May 1, 2001 THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS By Eric Scott Strother Richard Domek Director of Thesis Kate Covington Director of Graduate Studies May 1, 2001 RULES FOR THE USE OF THESES Unpublished theses submitted for the Master’s degree and deposited in the University of Kentucky Library are as a rule open for inspection, but are to be used only with due regard to the rights of the authors. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
The Pennsylvania State University Schreyer Honors College
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF ECONOMICS 18 OR 21: THE ECONOMIC IMPLICATIONS OF THE MINIMUM LEGAL DRINKING AGE IN THE UNITED STATES ALY G. CROWLEY FALL 2011 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Finance and Economics with honors in Economics Reviewed and approved* by the following: Russell Chuderewicz Professor of Economics Thesis Supervisor Bee Yan Roberts Professor of Economics Honors Adviser *Signatures are on file in the Schreyer Honors College. Abstract This paper will provide an economic analysis of the implications of lowering the minimum legal drinking age from 21 to 18. The minimum legal drinking age (MLDA) has long been a point of contention in American society as both economists and politicians alike vet their ideas for the optimal MLDA. Given the fact that the United States is only one of a few developed nations to enforce a 21 year old MLDA, people who oppose the current system argue that 18 year old MLDA models established in other developed nations, such as those in the European Union (EU) have resulted in better social outcomes, such as lower levels of excessive or “binge” drinking. Another point of debate surrounds externalities, or the negative costs that one imposes on others through their actions, which include the risk of being exposed to drunk drivers. Furthermore, since the minimum enlistment age for the U.S. military as well as the legal voting age is 18, those in favor of a lower MLDA argue that our laws should consistently reflect the idea that 18 years old represents the age of adult maturity in the United States. -
GCHS NEWS Things Done and Things to Come
GCHS NEWS Things done and things to come. July 15, 2011: Dear Friends, GCHS is very happy to announce the publication of Orval Allbritton’s new book: The Mob at the Spa: Organized Crime and Its Fascination with Hot Springs, Arkansas. Please join us for its official debut at the Convention Center, Room 201, from 4-6, Friday, July 29. You can have Orval sign your copy of the book, enjoy delicious refreshments, and even sit in Al Capone’s favorite chair from the Southern Club. The Mob at the Spa is a 270-page soft cover that tells about mobsters who came to Hot Springs from approximately 1920 to 1965, including some of the biggest names in the underworld. Vacationing here, they patronized our shops and hotels, took the thermal baths, and gambled in our casinos. In his book, Orval separates fact from fiction, presenting what can be documented about the mobsters’ connections to the Spa City. In the process, he relates fascinating and little-known stories of their visits to Hot Springs and their connections with its citizens. Did Al Capone use a secret tunnel between the Arlington Hotel and the Southern Club? No. Did anyone try to assassinate him while he vacationed here? Yes. The details of that attempt as well as Capone’s Hot Springs’ activities and connections are explored in the book. In addition to Al and Ralph Capone, Orval discusses John Torrio, Charles O’Bannion, Lucky Luciano, Bugsy Siegl, Frank Costello, Albert Anastasia, Meyer Lansky, Joe Saltis, Mickey Cohen, Sam Giancana, Carlos Marcello, Joseph Valachi, and others. -
MXB Virtual Tour
Projects & Proposals > Manhattan > Virtual Tour of Malcolm X Boulevard Archived Content This page describes Malcolm X Boulevard as it appeared in 2001. The tour was developed as part of the Malcolm X Boulevard Streetscape Enhancement Project. Welcome! Welcome to Malcolm X Boulevard in the heart of Harlem! This online virtual tour highlights the landmarks of Harlem and is available in printable text form. Introduction: This tour was developed by the Department of City Planning as part of its Malcolm X Boulevard Streetscape Enhancement Project. The project, which extends from West 110th to West 147th Street, seeks to complement the ongoing capital improvements for Malcolm X Boulevard and take advantage of the growing tourist interest in Harlem. The project proposes a program of streetscape and pedestrian space improvements, including new pedestrian lighting, new sidewalk and median landscaping and the provision of pedestrian amenities, such as seating and pergolas. The Department has been working with Cityscape Institute, the Upper Manhattan Empowerment Zone, the New York City Department of Transportation, and the Department of Design and Construction, and has received implementation funds totaling $1.2 million through the federal TEA21 Enhancement Funding program for the proposed pedestrian lighting improvements. As one element of the project, the Department developed this guided tour of the boulevard and neighboring blocks. The tour provides an overview of local area history, and highlights architecturally significant and landmarked buildings, noteworthy cultural and ecclesiastical institutions and other points of interest. A listing of former famous jazz clubs, such as the Cotton Club and Savoy Ballroom, is also provided. Envisioned as an information resource for residents and visitors, the tour is also available in printable text format for use as a hand-held guide for a self-guided walking tour along the boulevard. -
Perry Harvey, Sr. Park: a Journey Into Tampa's History
Perry Harvey, Sr. Park: A Journey into Tampa’s History Celebrating history Celebrating The Scrub important part in the history of the city of Tampa. Over the years, the Central Avenue has a special place neighborhood of The Scrub developed in Tampa’s history, particularly for the a vibrant business district, and became African-American community, and a cultural mecca of sorts for a number the Perry Harvey, Sr. Park, located at of black musicians. 900 E. Scott St., will be a place where The area was booming, but began generations can come together to share to decline with urban renewal and in that history, to learn and enjoy. The integration. In 1967, the shooting of a improvements for Perry Harvey, Sr. Park 19-year-old black man resulted in three celebrate the history of Central Avenue, days of rioting, which contributed to its community leaders and cultural the downturn of the area. influences. In 1974, the last of the buildings The strength of the Tampa along Central Avenue, Henry community is built on its history. Joyner's Cotton Club, was closed and Central Avenue was the heart and demolished. Central Avenue Cotton Club soul of a community flourishing with Photo from Arthenia Joyner Five years later, in 1979, Perry leadership, entrepreneurship, strength Harvey, Sr. Park was developed at the and courage. request of local youth, looking for a The area was settled after the Civil place of their own to recreate near their War, when freed slaves relocated to Perry Harvey, Sr. homes. Photo from Harvey family an area northeast of downtown Tampa The park was named after Perry called The Scrub.