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How Japanese Comic Books Influence Taiwanese Students A
UNIVERSITY OF CALIFORNIA Los Angeles Reading Comic Books Critically: How Japanese Comic Books Influence Taiwanese Students A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Education by Fang-Tzu Hsu 2015 © Copyright by Fang-Tzu Hsu 2015 ABSTRACT OF THE DISSERTATION Reading Comic Books Critically: How Japanese Comic Books Influence Taiwanese Students by Fang-Tzu Hsu Doctor of Philosophy in Education University of California, Los Angeles, 2015 Professor Carlos A. Torres, Chair Education knows no boundaries but hot button topics, like comic books, demonstrate school, teacher and parent limitations. Japanese comic books (manga) are a litmus test of pedagogical tolerance. Because they play an important role in the lives of most Taiwanese teenagers, I give them pride of place in this dissertation. To understand Japanese comic books and their influence, I use Paulo Freire’s critical pedagogy to combine perspectives from cultural studies, comparative education, and educational sociology. With the cooperation of the administration, faculty and students of a Taiwanese junior high school, I used surveys, a textual analysis of five student-selected titles and interviews with students and educators. I discovered that Japanese manga contain complex and sometimes contradictory ideologies of ethnicity, gender, class, and violence. From an ethnic perspective, although students may glean cultural content from manga heroes and their retinues, people of color and non-Japanese Asians are either caricatures or non-existent; although Taiwanese teenager readers seem unaware of this. From a gender standpoint, neither the female characters’ provocative representation nor the male characters’ slavering responses to it raise students’ and teachers’ concerns. -
U·M·I University Microfilms International a Beil & Howell Information Company 300 ~~Orth Zeeb Road
Philology as rhetoric in Emily Dickinson's poems. Item Type text; Dissertation-Reproduction (electronic) Authors Hallen, Cynthia Leah. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 29/09/2021 04:06:13 Link to Item http://hdl.handle.net/10150/185586 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. -
Fred Ho Enrico Pieranunzi Russell
November 2011 | No. 115 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Fred • Enrico • Russell • Auand • Festival • Event Ho Pieranunzi Garcia Records Reports Calendar John Coltrane is rightly considered one of the innovators in jazz even though his career as a leader lasted only a brief, if remarkably prolific, decade before his tragic death in 1967 at 40. But most critical acclaim is heaped on the period before New York@Night 1964. Ascension, recorded in 1965, is considered by many the end of Coltrane as a 4 legitimate jazz musician, as he moved away from his roots into the burgeoning Interview: Fred Ho avant garde and free jazz scenes. But another group see Coltrane’s shift in this direction helping to propel these new forms, not least because of his championing 6 by Ken Waxman of such musicians as Pharoah Sanders, Archie Shepp, John Tchicai and Marion Artist Feature: Enrico Pieranunzi Brown, now all legends in their own rights. This month two tributes (at Le Poisson Rouge and Jazz Standard) will recreate Coltrane’s controversial work with allstar by Laurel Gross 7 casts of musicians from across the modern spectrum, a living testament to the On The Cover: John Coltrane’s Ascension music’s continuing impact. For our cover story this month, we’ve spoken with by Marc Medwin participants from the original Ascension album plus other musicians who have 9 done their own interpretations and those involved in the upcoming tributes. Encore: Lest We Forget: Two other controversial figures are baritone saxophonist/composer Fred Ho 10 (Interview), whose political statements and inclusive musical blending have Russell Garcia Sam Jones resulted in some monumental works over the past few decades, and Italian pianist by Andy Vélez by Donald Elfman Enrico Pieranunzi (Artist Feature), who mixes the classical music of his native Megaphone VOXNews Europe with his adopted jazz in a mélange that challenges the assumptions of both by Denny Zeitlin by Suzanne Lorge art forms. -
Catalogo Xpress
Descrizione LP Casa discografica Label Codice AA VV: Dixieland Time 1ducale jazzDJZ 35912001 AA VV: Esquire's all american hot jazz 1rca victorLPM 3404012002 AA VV: History of classics jazz 5riversideRB 00512003 AA VV: Jazz and hot dance in Italy 1919-48 1harlequinHQ 207812004 AA VV: Jazz in the movies 1milanA 37012005 AA VV: Swing street 4columbiaJSN 604212006 AA VV: The Changing face of Harlem 2savoySJL 220812007 AA VV: The Ellingtonians 1pausaPR 903312008 AA VV: The golden book of classic swing 3brunswich87 097 9912009 AA VV: The golden book of classic swing (vol. II) 3brunswich87 094 9612010 AA VV: The Royal Jazz Band 1up internationalLPUP 506712011 AA VV: A bag of sleepers (volume 1) - Friday night 1arcadia200312012 AA VV: A bag of sleepers (volume 2) - Hot licks 1arcadia200412013 AA VV: Tommy Dorsey a Tribute 1sounds greatSG 801412014 Abeel Dave, Tailgate King Joe, Wix Tommy, Goodwin Ralph, Calla Ernie, Price Jay: A night with The Knights - The Knights of Dixieland 1 jazzology J 004 12015 Adams Pepper, Byrd Donald, Jones Elvin, Watkins Doug, Timmons Bobby: 10 to 4 at the 5-Spot 1 riverside SMJ 6129 12016 Adderley Cannonball: Cannonball and Eight Giants 2 milestone HB 6077 12017 Adderley Cannonball: Coast to Coast 2 milestone HB 6030 12018 Adderley Cannonball: Discoveries 1 savoy SJL 1195 12019 Adderley Cannonball: Live in Paris April 23, 1966 1 ulysse AROC 50709 12020 Adderley Cannonball: The Cannonball Adderley Quintet Plus 1 riverside OJC 306 12021 Adderley Cannonball: The Sextet 1 milestone NM 3004 12022 Adderley Cannonball, Adderley -
University of California, San Diego
UNIVERSITY OF CALIFORNIA, SAN DIEGO Blood of a Nation: Politics, Medicine, and Race in U.S. Literature, 1848-1900 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Literature by Sören Fröhlich Committee in charge: Professor Michael Davidson, Co-Chair Professor Nicole Tonkovich, Co-Chair Professor Lisa Cartwright Professor Lisa Lampert-Weissig Professor Shelley Streeby 2016 © Copyright Sören Fröhlich, 2016 All rights reserved. The Dissertation of Sören Fröhlich is approved, and it is acceptable in quality and form for publication on microfilm and electronically. Co-Chair Co-Chair University of California, San Diego 2016 iii Dedication This dissertation would not exist if not for my family. I dedicate this study to my parents, my wife, our children, and my sisters and brothers. Thank you for your love and support all these years. Thanks also to all my teachers, the good and the bad, who showed me what a joy it is to learn and grow and what a great force teaching can be. iv Epigraph Like the pharmikon, the blood is both the antidote and the poison. Hortense J. Spillers v Table of Contents Signature Page . ................................................................................................................. iii Dedication .......................................................................................................................... iv Epigraph ...............................................................................................................................v -
Title Format Released & His Orchestra South Pacific 12" 1958 Abdo
Title Format Released & His Orchestra South Pacific 12" 1958 Abdo, George & The Flames of Araby Orchestra Joy of Belly Dancing 12" 1975 Abdo, Geroge & The Flames of Araby Orchestra Art of Belly Dancing 12" 1973 Abney, Don, Jimmy Raney, Oscar Pettiford Music Minus One: A Rhythm Background Record For Any Musician Or Vocalist 12" 19NA Abrams, Muhal Richard Duet 12" 1981 Adderley, Cannonball The Cannonball Adderley Collection - Vol. 7: Cannonball in Europe 12" 1986 Somethin' Else 12" 1984 Domination 12" 1964 Cannonball Adderley Quintet In Chicago 12" 1959 African Waltz 12" 1961 Cannonball Takes Charge 12" 1959 Adderley, Cannonball Quintet Mercy, Mercy, Mercy! Live at 'The Club' 12" 19NA Ade, King Sunny Synchro System 12" 1983 Adelade Robbins Trio, Barbara Carroll Trio Lookin' for a Boy 12" 1958 Akiyosh, Toshiko-Lew Tabackin Big Band Road Time 12" 2 LPs 1976 Akiyoshi, Toshiko Lew Tabackin Big Band Tales of a Courtesan (Oirantan) 12" 1976 Albam, Manny Jazz Heritage: Jazz Greats of Our Time, Vol. 2 12" 1958 Alexander, Monty Alexander The Great 12" 1965 Facets 12" 1980 Monty Strikes Again: Monty Alexander Live In Germany 12" 1976 Duke Ellington Songbook 12" 1984 Spunky 12" 1965 Alexander, Monty & Ernest Ranglin Just Friends 12" 1981 Alexandria, Lorez The Band Swings Lorez Sings 12" 1988 Alexandria the Great 12" 1964 Lorez Sings Pres: A Tribute to Lester Young 12" 1987 For Swingers Only 12" 1963 Page 1 of 67 Title Format Released Alexandria, Lorez This Is Lorez 12" 1958 More Of The Great Lorez Alexandria 12" 1964 Allen, "Red" With Jack Teagarden And Kid Ory At Newport 12" 1982 Allen, Henry "Red" Giants Of Jazz 3 LP Box Set 1981 Ride, Red, Ride in Hi-Fi 12" 1957 Ridin' With Red 10" 1955 Allison, Mose V-8 Ford Blues 12" 1961 Back Country Suite 12" 1957 Western Man 12" 1971 Young Man Mose 12" 1958 Almeida, Laurindo with Bud Shank Brazilliance, Vol. -
Dickinson's Fascicles : a Spectrum of Possibilities / Edited by Paul Crumbley and Eleanor Elson Heginbotham
Dickinson’s Fascicles Dickinson’s Fascicles A Spectrum of Possibilities Edited by Paul Crumbley and Eleanor Elson Heginbotham THE OHIO STATE UNIVERSITY PRESS COLUMBUS Copyright © 2014 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Dickinson's fascicles : a spectrum of possibilities / edited by Paul Crumbley and Eleanor Elson Heginbotham. pages cm Summary: "In this volume, a number of senior and emerging Dickinson scholars raise their dispa- rate voices with a particular set of theoretical premises, each selecting specific fascicles for close in- spection. The result is the first practical, balanced, common ground for studying Dickinson's poetry in her own context"— Provided by publisher. Includes bibliographical references and index. ISBN 978-0-8142-1259-2 (hardback) — ISBN 0-8142-1259-X (cloth) — ISBN 978-0-8142-9363-8 (cd-rom) 1. Dickinson, Emily, 1830–1886—Criticism, Textual. 2. Dickinson, Emily, 1830–1886—Technique. 3. Dickinson, Emily, 1830–1886—Manuscripts. I. Crumbley, Paul, 1952– editor of compilation. II. Heginbotham, Eleanor Elson, editor of compilation. PS1541.Z5D495 2014 811'.4—dc23 2013049757 Cover design by Janna Thompson-Chordas Text design by Juliet Williams Type set in Adobe Garamond Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American Nation- al Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48-1992. 9 8 7 6 5 4 3 2 1 CONTENTS List of Illustrations vii List of -
Riverside Label Discography
Discography of the Riverside Label The Riverside label was established in 1953 by traditional jazz enthusiasts Bill Grauer and Orrin Keepnews in New York City. Originally Grauer and Keepnews intended to reissue classic jazz that they purchased from long defunct labels. Later the label recorded jazz, folk, comedy, spoken word, sound effects, children’s and gospel. Shortly after starting the Riverside label, Grauer went to Richmond Indiana, to see Harry Gennett Jr. to try to purchase the recordings of the Gennett label. The Gennett Record label was formed in 1918 as a division of the Starr Piano Company in Richmond Indiana. In the early 20’s, the label started recording the early jazz bands that were performing in Chicago. Gennett made the first recordings of Ferd “Jellyroll” Morton, King Oliver’s Creole Jazz Band with Louis Armstrong and the Wolverines with Bix Beiderecke. The first recording of “Stardust” was made by its author Hoagy Carmichael in the Gennett Richmond studio The Gennett label had ceased operation in 1932, but many of the historic metal recording plates were still stored in Richmond. Grauer was able to purchase all of the remaining plates for $2000. Grauer began a massive reissue campaign, releasing much of the Gennett material on long playing albums for the first time. Later, Grauer obtained masters from other early jazz and blues labels, including Paramount, Circle, and QRS, and reissued that material. Although the early catalog of Riverside releases contained mostly purchased material, Riverside started recording jazz sessions on its own, including Thelonious Monk, Randy Weston, Wes Montgomery and Cannonball Adderley. -
THE CULTURE of EKPHRASIS in AMERICA's AGE of PRINT, 1830-1880 by Christa Holm Vogelius a Dissertation Submitted in Partial Fu
! THE CULTURE OF EKPHRASIS IN AMERICA’S AGE OF PRINT, 1830-1880 by Christa Holm Vogelius A dissertation submitted in partial fulfillment of the requirments for the degree of Doctor of Philosophy (English Language and Literature) in The University of Michigan 2012 Doctoral Committee: Professor Kerry C. Larson, Chair Professor Sara B. Blair Professor Julie Ellison Professor Yopie Prins ! © Christa Holm Vogelius 2012 ! ! ACKNOWLEDGEMENTS The members of my dissertation committee offered sustaining support and productively varied perspectives to the directions of this project. Thanks to Sara Blair, for her insights on visuality and the broader field into which art writing enters; Julie Ellison for her willingness to push my ideas and think creatively about drafts even at their roughest; and Yopie Prins, for her ability to draw out the strengths and suggest what this project could be in its ideal form. My deepest thanks go to Kerry Larson, who saw this dissertation through from its earliest stages, and offered throughout that combination of academic rigor, critical example, and unflagging support that every student hopes for from an advisor. I am indebted to many people and institutions at the University of Michigan and beyond. Rackham Graduate School at the English Department at the University of Michigan provided essential funding and support. The American Antiquarian Society and the University of Nottingham provided generous grants for travel and study. Eliza Richards at the University of North Carolina and Mary Lou Kete the University of Vermont, who on their brief visits to Ann Arbor listened to some iteration of this project, offered their insights and the example of their scholarship. -
Eric Nemeyer's
Eric Nemeyer’s WWW.JAZZINSIDEMAGAZINE.COM MAY-JUNE 2017 Interviews Kahil El’Zabar Barry Harris Dizzy’s Club, June 16 Dion Parson Dizzy’s Club, June 9-11 LouisLouis Sonny Fortune 4 Generations of Miles Birdland, May 23-26 Comprehensive DirectoryDirectory HayesHayes of NY Club, Concert & Event Listings 80th80th BirthdayBirthday Celebration:Celebration: SerenadeSerenade forfor HoraceHorace SilverSilver Dizzy’sDizzy’s Club,Club, JazzJazz AtAt LinconLincon Center,Center, MayMay 2929--3131 Spectacular Jazz Gifts - Go To www.JazzMusicDeals.com Fabulous CDs, Box Sets & The Jazz Lovers Lifetime Collection 20 PRINTED VOLUMES, OVER 6000 PAGES + 20 CDS = 40 POUNDS OF JAZZ To Advertise CALL: 215-887-8880 May-June 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 1 Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) May-June 2017 – Volume 8, Number 5 Cover Photo (and photo at right) of Louis Hayes by Eric Nemeyer Publisher: Eric Nemeyer Editor: John R. Barrett, Jr. Marketing Director: Cheryl Powers Advertising Sales & Marketing: Eric Nemeyer Circulation: Susan Brodsky Photo Editor: Joe Patitucci Layout and Design: Gail Gentry Contributing Artists: Shelly Rhodes Contributing Photographers: Eric Nemeyer, Ken Weiss Contributing Writers: John Alexander, John R. Barrett, Curtis Daven- port; Alex Henderson; Joe Patitucci; Ken Weiss. ADVERTISING SALES 215-887-8880 Eric Nemeyer – [email protected] ADVERTISING in Jazz Inside™ Magazine (print and online) Jazz Inside™ Magazine provides its advertisers with a unique opportunity to reach a highly specialized and committed jazz readership. Call our Advertising Sales Depart- ment at 215-887-8880 for media kit, rates and information. SUBSCRIPTION INFORMATION SUBMITTING PRODUCTS FOR REVIEW Jazz Inside™ (published monthly). -
Poetic Acts: Performance in Nineteenth-Century American Women’S Poetry, 1840-1880
POETIC ACTS: PERFORMANCE IN NINETEENTH-CENTURY AMERICAN WOMEN’S POETRY, 1840-1880 By Copyright 2014 Jessica L. Jessee Submitted to the graduate degree program in English and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson, Associate Professor Laura L. Mielke ________________________________ Professor Susan K. Harris ________________________________ Professor Iris Smith Fischer ________________________________ Professor Kenneth L. Irby ________________________________ Professor Sherrie Tucker Date Defended: April 9, 2014 ii The Dissertation Committee for Jessica L. Jessee certifies that this is the approved version of the following dissertation: POETIC ACTS: PERFORMANCE IN NINETEENTH-CENTURY AMERICAN WOMEN’S POETRY, 1840-1880 ________________________________ Chairperson, Associate Professor Laura L. Mielke Date approved: April 9, 2014 iii ABSTRACT My dissertation explores representations of performance (theatrical, oratorical, domestic, and social) in works by canonical poets Emily Dickinson and Sarah Piatt, popular performers Fanny Kemble and Adah Menken, and Spiritualist trance lecturer Achsa Sprague. I consider the work of women poets within the context of a highly performative mid-nineteenth-century American culture – one rich not only in traditional forms such as drama, oratory, sermons and musical performances, but also emerging and developing forms like the revival, public lecture, literary and dramatic recitations, breeches performances, and spiritualist demonstrations. Along with new forms came new media, technologies, and venues for public performance, as well as novel opportunities for women to participate. The prevalence of performance, and the power of its rhetorical techniques and strategies to both inspire and influence audiences, had a profound effect on female writers and their own creative acts. -
Abdullah IBRAHIM: Peter IGELHOFF
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Abdullah IBRAHIM: "African River" Robin Eubanks -tb; John Stubblefield -ts,fl; Horace Alexander Young -ss,as,pic; Howard Johnson - tu,tp,bs; Abdullah Ibrahim -p; Buster Williams -b; Brian Abrahams -d; recorded June 01, 1989 in Englewood Cliffs, N.J. 59715 DUKE 88 8.14 Enja 79617 Abdullah Ibrahim aka Dollar Brand; see also there ------------------------------------------ Peter IGELHOFF: Gesang: Peter Igelhoff; Arrangement und Klavier: Peter Kreuder; recorded November 1935 in Berlin 107126 BABARA-M-BU 2.28 21030 Tel A1905 Peter Igelhoff mit Peter Kreuder und seinen Solisten; recorded January 1936 in Berlin 107119 ICH HAB'S 2.46 21092 Tel A1915 Gesang: Peter Igelhoff; Peter Kreuder mit seinen Solisten; recorded January 27, 1936 in Berlin 106608 WENN EIN JUNGER MANN GUT PFEIFEN KANN 2.34 21091 --- Gesang: Peter Igelhoff; Peter Kreuder mit seinen Solisten; recorded March 11, 1937 in Berlin 107640 SOMMERSPROSSEN 3.15 21849 Tel A2185 Peter Igelhoff -p,vo; mit kleinem Ensemble; recorded May 1937 in Berlin 105321 WENN ICH COWBOY WÄR 2.46 ORA 2010-2 Elec E.G.3969 Peter Igelhoff und sein Ensemble; recorded November 1937 in Berlin 106905 REIZEND 2.42 ORA2670-1 Elec EG6251 Peter Igelhoff mit seinem Ensemble; recorded December 1937 in Berlin 106938 ES LEBTE EINST IN HAMBURG AN DER ELBE 2.34 ORA 2500-1 Elec EG6164 106993 JOU-JOU 3.09 ORA 2501-1 --- Peter Igelhoff mit Ensemble; recorded