Cab Calloway
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Attucks Theater September 4, 2020 | Source: Theater/ Words by Penny Neef
Spotlight: The Attucks Theater September 4, 2020 | Source: http://spotlightnews.press/index.php/2020/09/04/spotlight-the-attucks- theater/ Words by Penny Neef. Images as credited. Feature image by Mike Penello. In the early 20th century, segregation was a fact of life for African Americans in the South. It became a matter of law in 1926. In 1919, a group of African Americans from Norfolk and Portsmouth met to develop a cultural/business center in Norfolk where the black community “could be treated with dignity and respect.” The “Twin Cities Amusement Corporation” envisioned something like a modern-day town center. The businessmen obtained funding from black owned financial institutions in Hampton Roads. Twin Cities designed and built a movie theater/ retail/ office complex at the corner of Church Street and Virginia Beach Boulevard in Norfolk. Photo courtesy of the family of Harvey Johnson The businessmen chose 25-year-old architect Harvey Johnson to design a 600-seat “state of the art” theater with balconies and an orchestra pit. The Attucks Theatre is the only surviving theater in the United States that was designed, financed and built by African Americans. The Attucks was named after Crispus Attucks, a stevedore of African and Native American descent. He was the first patriot killed in the Revolutionary War at the Boston Massacre of 1770. The theatre featured a stage curtain with a dramatic depiction of the death of Crispus Attucks. Photo by Scott Wertz. The Attucks was an immediate success. It was known as the “Apollo Theatre of the South.” Legendary performers Cab Calloway, Count Basie, Duke Ellington, Ella Fitzgerald, Sarah Vaughn, Nat King Cole, and B.B. -
Finding Aid for the Sheldon Harris Collection (MUM00682)
University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Sheldon Harris Collection (MUM00682) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding aid for the Sheldon Harris Collection MUM00682 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator Scope and Content Note Harris, Sheldon Arrangement Title Administrative Information Sheldon Harris Collection Related Materials Date [inclusive] Controlled Access Headings circa 1834-1998 Collection Inventory Extent Series I. 78s 49.21 Linear feet Series II. Sheet Music General Physical Description note Series III. Photographs 71 boxes (49.21 linear feet) Series IV. Research Files Location: Blues Mixed materials [Boxes] 1-71 Abstract: Collection of recordings, sheet music, photographs and research materials gathered through Sheldon Harris' person collecting and research. Prefered Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Born in Cleveland, Ohio, Sheldon Harris was raised and educated in New York City. His interest in jazz and blues began as a record collector in the 1930s. As an after-hours interest, he attended extended jazz and blues history and appreciation classes during the late 1940s at New York University and the New School for Social Research, New York, under the direction of the late Dr. -
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. -
Dear Friends, in Keeping with the Nostalgic Themes with Which We
Dear friends, In keeping with the nostalgic themes with which we normally open these Activity Pages, I thought I’d tell you a story about young love – its excitement, its promise, and its almost inevitable woes. It’s a true story, one from my own past. And it begins at Roller City, a roller skating rink located, in those distant days, on Alameda Avenue just west of Federal Boulevard in Denver, Colorado. It was a balmy Friday night when I first spied my Cinderella – a lovely, lithe thing with a cute smile, pink ribbons in her blonde hair, and very “girly” bons bons of matching color hanging on the front of her white roller skates. It might have been love at first sight but certainly by the time we skated hand in hand under the multi-colored lights in a romantic “couples skate,” I was a goner. Indeed, I fell more madly in love than I had at any other time in my whole life. I was 10 years old. I drop in that fact because it proved to be the relevant point in the impending tragedy of unrequited love. For you see, it turned out there was an unbridgeable gap in our ages. I was just getting ready to go into the 4th grade whereas I learned she was going into the 5th grade! Yipes! I had fallen for an older woman! How could I break it to her? And how would I deal with the rejection I knew must follow? I was in a terrible jam and so…and I’m not proud of it…I made up a lie. -
JUKEBOX JAZZ by Ian Muldoon* ______
JUKEBOX JAZZ by Ian Muldoon* ____________________________________________________ n 1955 Bill Haley’s Rock Around the Clock was the first rock and roll record to become number one on the hit parade. It had made a stunning introduction in I the opening moments to a film called Blackboard Jungle. But at that time my favourite record was one by Lionel Hampton. I was not alone. Me and my three jazz loving friends couldn’t be bothered spending hard-earned cash on rock and roll records. Our quartet consisted of clarinet, drums, bass and vocal. Robert (nickname Orgy) was learning clarinet; Malcolm (Slim) was going to learn drums (which in due course he did under the guidance of Gordon LeCornu, a percussionist and drummer in the days when Sydney still had a thriving show scene); Dave (Bebop) loved the bass; and I was the vocalist a la Joe (Bebop) Lane. We were four of 120 RAAF apprentices undergoing three years boarding school training at Wagga Wagga RAAF Base from 1955-1957. Of course, we never performed together but we dreamt of doing so and luckily, dreaming was not contrary to RAAF regulations. Wearing an official RAAF beret in the style of Thelonious Monk or Dizzy Gillespie, however, was. Thelonious Monk wearing his beret the way Dave (Bebop) wore his… PHOTO CREDIT WILLIAM P GOTTLIEB _________________________________________________________ *Ian Muldoon has been a jazz enthusiast since, as a child, he heard his aunt play Fats Waller and Duke Ellington on the household piano. At around ten years of age he was given a windup record player and a modest supply of steel needles, on which he played his record collection, consisting of two 78s, one featuring Dizzy Gillespie and the other Fats Waller. -
Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York NEWSLETTER Volume XXXIV, No
Institute for Studies In American Music Conservatory of Music, Brooklyn College of the City University of New York NEWSLETTER Volume XXXIV, No. 2 Spring 2005 Jungle Jive: Jazz was an integral element in the sound and appearance of animated cartoons produced in Race, Jazz, Hollywood from the late 1920s through the late 1950s.1 Everything from big band to free jazz and Cartoons has been featured in cartoons, either as the by soundtrack to a story or the basis for one. The studio run by the Fleischer brothers took an Daniel Goldmark unusual approach to jazz in the late 1920s and the 1930s, treating it not as background but as a musical genre deserving of recognition. Instead of using jazz idioms merely to color the musical score, their cartoons featured popular songs by prominent recording artists. Fleischer was a well- known studio in the 1920s, perhaps most famous Louis Armstrong in the jazz cartoon I’ll Be Glad When for pioneering the sing-along cartoon with the You’ re Dead, You Rascal You (Fleischer, 1932) bouncing ball in Song Car-Tunes. An added attraction to Fleischer cartoons was that Paramount Pictures, their distributor and parent company, allowed the Fleischers to use its newsreel recording facilities, where they were permitted to film famous performers scheduled to appear in Paramount shorts and films.2 Thus, a wide variety of musicians, including Ethel Merman, Rudy Vallee, the Mills Brothers, Gus Edwards, the Boswell Sisters, Cab Calloway, and Louis Armstrong, began appearing in Fleischer cartoons. This arrangement benefited both the studios and the stars. -
Read the Westchester Guardian
PRESORTED STANDARD PERMIT #3036 WHITE PLAINS NY Vol. VII, No. III Thursday, January 16, 2014 $1.00 Westchester’s Most Influential Weekly SHERIF AWAD Ana Ana Page 5 Political PEGGY GODFREY Resolving to Help New Rochelle Youth Predictions Page 8 ROBERT SCOTT Looking at the Stars in Westchester for New Page 9 LUKE HAMILTON No Justice, Year No Peace Page 11 JOHN F. McMULLEN By Hon. RICHARD BRODSKY, The Odyssey Continues Page 3 (Concludes?) Page 12 JOHN SIMON Back From London COURTS PETITION Page 13 NYS Supreme Court Justice The Super Bowl Smith Favorably Ruled BOB MARRONE Weekend: Making It King Henry II, Jaba the for Yonkers Firefighters Hut, Gov. Chris Christie Local 628 with Respect Even Better Page 16 to General Municipal Law Creating the All-American LEE H. HAMILTON 207-a Procedure Holiday Weekend Trust… But Definitely By HEZI ARIS, Page 3 By GLENN SLABY, Page 4 Verify Page 17 WWW.WESTCHESTERGUARDIAN.COM Page 26 THE WESTCHESTER GUARDIAN THURSDAY, FEBRUARY 23, 2012 CLASSIFIED ADS LEGAL NOTICES Office Space Available- FAMILY COURT OF THE STATE OF NEW YORK Prime Location, Yorktown Heights COUNTY OF WESTCHESTER 1,000 Sq. Ft.: $1800. Contact Wilca: 914.632.1230 In the Matter of ORDER TO SHOW CAUSE SUMMONS AND INQUEST NOTICE Prime Retail - Westchester County Chelsea Thomas (d.o.b. 7/14/94), Best Location in Yorktown Heights A Child Under 21 Years of Age Dkt Nos. NN-10514/15/16-10/12C 1100 Sq. Ft. Store $3100; 1266 Sq. Ft. store $2800 and 450 Sq. Ft. Store $1200. Adjudicated to be Neglected by NN-2695/96-10/12B Suitable for any type of business. -
Saxophone Colossus”—Sonny Rollins (1956) Added to the National Registry: 2016 Essay by Hugh Wyatt (Guest Essay)*
“Saxophone Colossus”—Sonny Rollins (1956) Added to the National Registry: 2016 Essay by Hugh Wyatt (guest essay)* Album cover Original album Rollins, c. 1956 The moniker “Saxophone Colossus” aptly describes the magnitude of the man and his music. Walter Theodore Rollins is better known worldwide as the jazz giant Sonny Rollins, but in addition to Saxophone Colossus, he has also been given other nicknames, most notably “Newk” because of his resemblance to baseball legend Don Newcombe. To use a cliché, Saxophone Colossus best describes Sonny because he is bigger than life. He is an African American of mammoth importance not only because he is the last major remaining jazz trailblazer, but also because he helped to inspire millions of fans and others to explore the religions and cultures of the East. A former heroin addict, the tenor saxophone icon proved that it was possible to kick the drug habit at a time in the 1950s when thousands of fellow musicians abused heroin and other narcotics. His success is testimony to his strength of character and powerful spirituality, the latter of which helped him overcome what musicians called “the stick” (heroin). Sonny may be the most popular jazz pioneer who is still alive after nearly seven decades of playing bebop, hard bop, and other styles of jazz with the likes of other stalwart trailblazers such as Thelonious Monk, Dizzy Gillespie, Bud Powell, Clifford Brown, Max Roach, and Miles Davis. He follows a tradition begun by Louis Armstrong, Duke Ellington, and Charlie Parker. Eight months after overcoming his habit at a drug rehabilitation facility called “the farm” in Lexington, Kentucky, Sonny made what the jazz cognoscenti rightly contend is his greatest recording ever—ironically entitled “Saxophone Colossus”—which was recorded on June 22, 1956. -
Announcing the 2019 Scholastic Art & Writing
ANNOUNCING THE 2019 SCHOLASTIC ART & WRITING AWARDS NATIONAL MEDALISTS! Student & Educator National Medalists: Please log into your account at artandwriting.org/login to review required next steps to accept your award(s). Important Note for Educators: If one of your students is a National Medalist listed below, but you do not have a Scholastic Awards account or you do not see any information about your student's Award in your account, please email [email protected]. In your email, be sure to include the title and work ID number as listed on this document. The following list is sorted by the student's school state and then by last name. Last First Grade School City State Title National Awards Work ID Category Carr Sally 12 Home School Wasilla AK Portraiture Silver Medal with 13183357 Art Portfolio Distinction Carr Sally 12 Home School Wasilla AK Elizabeth Gold Medal, 13387176 Ceramics & Glass American Visions Medal Laird Anna J. 11 Home School Cordova AK Blood of Mary Silver Medal 13224628 Short Story Altubuh Dalia 12 Bob Jones High School Madison AL Me As Human Silver Medal 13199019 Digital Art Altubuh Dalia 12 Bob Jones High School Madison AL LITTLE BOY and FAT MAN Silver Medal 13223746 Poetry Brown Maggie 10 Bob Jones High School Madison AL Kintsugi and Other Poems Gold Medal 13098325 Poetry Dewberry Lauryn- 11 Alabama School of Fine Arts Birmingham AL My Grandparents, In Love Silver Medal 13082772 Poetry Elizabeth Fernandez Kristine 11 Sparkman High School Harvest AL Masked Silver Medal 13082442 Photography Gardner Abigail 11 Alabama -
Re-Imagining United States History Through Contemporary Asian American and Latina/O Literature
LATINASIAN NATION: RE-IMAGINING UNITED STATES HISTORY THROUGH CONTEMPORARY ASIAN AMERICAN AND LATINA/O LITERATURE Susan Bramley Thananopavarn A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature in the College of Arts and Sciences. Chapel Hill 2015 Approved by: María DeGuzmán Jennifer Ho Minrose Gwin Laura Halperin Ruth Salvaggio © 2015 Susan Bramley Thananopavarn ALL RIGHTS RESERVED ii ABSTRACT Susan Thananopavarn: LatinAsian Nation: Re-imagining United States History through Contemporary Asian American and Latina/o Literature (Under the direction of Jennifer Ho and María DeGuzmán) Asian American and Latina/o populations in the United States are often considered marginal to discourses of United States history and nationhood. From laws like the 1882 Chinese Exclusion Act to the extensive, racially targeted immigration rhetoric of the twenty-first century, dominant discourses in the United States have legally and rhetorically defined Asian and Latina/o Americans as alien to the imagined nation. However, these groups have histories within the United States that stretch back more than four hundred years and complicate foundational narratives like the immigrant “melting pot,” the black/white binary, and American exceptionalism. This project examines how Asian American and Latina/o literary narratives can rewrite official histories and situate American history within a global context. The literary texts that I examine – including works by Carlos Bulosan, Américo Paredes, Luis Valdez, Mitsuye Yamada, Susan Choi, Achy Obejas, Karen Tei Yamashita, Cristina García, and Siu Kam Wen – create a “LatinAsian” view of the Americas that highlights and challenges suppressed aspects of United States history. -
Devil Tune Song List- Final
That Devilin' Tune: A Jazz History, 1900-1951 Volume 1 CD 1 1. Standard Quartette Who Broke The Lock 1895/1896 2. Voss’ 1st Regiment Band Aunt Dinah’s Supper Party Late 1890s 3. Len Spencer Clime De Golden Fence Late 1890s 4. Metropolitan Orchestra Coon Town Capers 1897-1899 5. Sousa Band Whistlin’ Rufus 1899 6. Len Spencer You’ve Been a Good Old Wagon 1900 or 1901 7. Williams and Walker My Little Zulu Babe Nov. 10 1901 8. Arthur Collins Bill Bailey ca. May, 1902 9. Len Spencer On Emancipation Day late 1902 10. Hager’s Orchestra Rooster Dance 1904 11. Vess Ossman Buffalo Rag 1905 12. Prince’s Orchestra St. Louis Tickle Aug., 1905 13. Pryor’s Band St. Louis Rag 1906 14. Orquestra Typicas La Patti Negra 1906 15. Sir Herbert Clarke Bride of the Waves Dec. 21, 1907 16. May Irwin When You Ain’t Got No Money You Needn’t Come Around May 21, 1907 17. Arthur Collins Parson Jones’ Three Reasons ca. 1909 18. Stella Mayhew/Billie Taylor That Beautiful Rag July 5, 1910 19. Sophie Tucker That Lovin’ Rag Jan. 5, 1910 20. Stella Mayhew That Devilin’ Tune Apr. 24, 1911 21. Collins and Harlan Alexander’s Ragtime Band 1911 22. Sophie Tucker Some of These Days Feb. 24, 1911 23. Grupo Bahianainho El Cavito ca. 1911 24. Grupo Bahianainho Bambino ca. 1911 25. Grupo Bahianainho Destimido ca. 1911 26. Prince’s Orchestra Red Pepper Rag May, 1911 27. Gene Greene King of the Bungaloos Feb. 17, 1911 CD 2 1. -
Harlem Intersection – Dancing Around the Double-Bind
HARLEM INTERSECTION – DANCING AROUND THE DOUBLE-BIND A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Judith A. Miller December, 2011 HARLEM INTERSECTION – DANCING AROUND THE DOUBLE-BIND Judith A. Miller Thesis Approved: Accepted: _______________________________ _______________________________ Advisor School Director Robin Prichard Neil Sapienza _______________________________ _______________________________ Faculty Reader Dean of the College Durand L. Pope Chand Midha, PhD _______________________________ _______________________________ Faculty Reader Dean of the Graduate School James Slowiak George R. Newkome, PhD _______________________________ Date ii TABLE OF CONTENTS CHAPTER I. INTRODUCTION ……………………………………………………………………. 1 II. JOSEPHINE BAKER – C’EST LA VIE …………………..…….…………………..13 III. KATHERINE DUNHAM – CURATING CULTURE ON THE CONCERT STAGE …………………………………………………………..…………30 IV. PEARL PRIMUS – A PERSONAL CRUSADE …………………………...………53 V. CONCLUSION ……………………………………………………………...……….74 BIBLIOGRAPHY ……………………………………………………………………… 85 iii CHAPTER I INTRODUCTION “Black is Beautiful” became a popular slogan of the 1960s to represent rejection of white values of style and appearance. However, in the earlier decades of the twentieth century black women were daily deflecting slings and arrows thrown at them from all sides. Arising out of this milieu of adversity were Josephine Baker, Katherine Dunham, and Pearl Primus, performing artists whose success depended upon a willingness to innovate, to adapt to changing times, and to recognize and seize opportunities when and where they arose. Baker introduced her performing skills to New York audiences in the 1920s, followed by Dunham in the 1930s, and Primus in the 1940s. Although these decades resulted in an outpouring of cultural and artistic experimentation, for performing artists daring to cross traditional boundaries of gender and race, the obstacles were significant.