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UNIVERSITY of CALIFORNIA, SAN DIEGO Capitalism and The
UNIVERSITY OF CALIFORNIA, SAN DIEGO Capitalism and the Production of Realtime: Improvised Music in Post-unification Berlin A Thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Music by Philip Emmanuel Skaller Committee in Charge: Professor Jann Pasler, Chair Professor Anthony Burr Professor Anthony Davis 2009 The Thesis of Philip Emmanuel Skaller is approved and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2009 iii DEDICATION I would like to thank my chair Jann Pasler for all her caring and knowledgeable feedback, for all the personal and emotional support that she has given me over the past year, and for being a constant source of positive inspiration and critical thinking! Jann, you are truly the best chair and mentor that a student could ever hope for. Thank you! I would also like to thank a sordid collection of cohorts in my program. Jeff Kaiser, who partook in countless discussions and gave me consistent insight into improvised music. Matt McGarvey, who told me what theoretical works I should read (or gave me many a contrite synopsis of books that I was thinking of reading). And Ben Power, who gave me readings and perspectives from the field of ethnomusicology and (tried) to make sure that I used my terminology clearly and consciously and also (tried) to help me avoid overstating or overgeneralizing my thesis. Lastly, I would like to dedicate this work to my partner Linda Williams, who quite literally convinced me not to abandon the project, and who's understanding of the contemporary zeitgeist, patient discussions, critical feedback, and related areas of research are what made this thesis ultimately realizable. -
Annual Report 2012-13
AnnuAl RepoRt 2012-13 SpeciAl FeAtuRe Manfred Berg and Wilfried Mausbach: "Like a Prince in His Castle?" AnnuAl RepoRt 2012-13 ImpRInt editor Detlef Junker editorial Staff Marie-Luise Bischof Wilfried Mausbach Anja Schüler Additional Contributors Julia Henke Philipp Löffler Heidelberg Center for American Studies (HCA) Curt und Heidemarie Engelhorn Palais Hauptstraße 120 69117 Heidelberg Germany T + 49 6221/ 54 37 10 F + 49 6221/ 54 37 19 [email protected] www.hca.uni-hd.de Coverdesign Berhard Pompey Adapted Design and layout Barbara Grobe Christian Kempf © Heidelberg Center for American Studies (HCA) 2013. All rights reserved. The HCA Annual Report is published yearly and is available free of charge. ISSN 1862-1201 ContentS Rector's Welcome 5 Preface 6 tHe HeidelbeRg CenteR foR American StudieS Mission Statement 10 Benefactors of the HCA 10 Organization 12 HCA Board of Trustees 13 HCA Board of Directors 20 Foundation and Development 24 The Curt und Heidemarie Engelhorn Palais 26 People 2012-2013 28 Cooperation and Support 44 An InStItute foR higHeR EducatIon Bachelor of Arts in American Studies (BAS) 48 The BAS Class of 2016 49 BAS Student Trip to Berlin 2013 50 Exchange Opportunities for B.A. Students 51 Master of Arts in American Studies (MAS) 52 MAS Course Outline 53 Winter Semester 2012-13 53 Summer Semester 2013 59 Outlook on the MAS Course outline 65 The MAS Class of 2013 65 Mas Commencement 2013 68 Valedictorian Speech 70 The MAS Class of 2014 72 The MAS Class of 2015 74 MAS Social Activities 74 Berlin Report 75 MAS Team at Educational Fairs in Chile 76 A CenteR foR InterdisciplInary ReSearch Ph.D. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
February 2006
FREE January 2011 www.sandiegotroubadour.com Vol. 10, No. 4 what’s inside Welcome Mat ………3 Mission Contributors The Macaroni Club Brian Baynes Full Circle.. …………4 ’60 at 50 Recordially, Lou Curtiss Front Porch... ………6 Jazz Night at El Take It Easy Folding Mr. Lincoln Parlor Showcase …8 Michael Rennie Ramblin’... …………10 Bluegrass Corner Zen of Recording Hosing Down Radio Daze Stages Highway’s Song. …12 Robby Krieger Of Note. ……………13 The Heavy Guilt Christopher Dale Duo LaRé Skid Roper River City ‘Round About ....... …14 January Music Calendar The Local Seen ……15 Photo Page see it at Monica’s at the Park thru January, 1735 Adams Ave., University Heights JANUARY 2011 SAN DIEGO TROUBADOUR welcome mat RSAN ODUIEGBO ADOUR Come Together Alternative country, Americana, roots, folk, Tblues, gospel, jazz, and bluegrass music news by Will Edwards about what I’m supposed to be doing MISSION CONTRIBUTORS photos: Bryan Heil with my music.” After years of develop - ing, producing, and promoting his own To promote, encourage, and provide an FOUNDERS alternative voice for the great local music that Ellen and Lyle Duplessie hen there’s a will there is a music, Aaron switched gears. “My thing is generally overlooked by the mass media; Liz Abbott way... In a town brimming is to help people,” he says. namely the genres of alternative country, Kent Johnson with creative artists of every As is the case with many an artist, Americana, roots, folk, blues, gospel, jazz, and W PUBLISHERS description, Aaron and Kate Bowen saw a Aaron found his hometown to have its bluegrass. -
Mission Issue
free The San Francisco Arts Quarterly A Free Publication Dedicated to the SArtistic CommunityFAQ i 3 MISSION ISSUE - Bay Area Arts Calendar Oct. Nov. Dec. Jan - Southern Exposure - Galeria de la Raza - Ratio 3 Gallery - Hamburger Eyes - Oakland Museum - Headlands - Art Practical 6)$,B6)B$UWVB4XDUWHUO\BILQDOLQGG 30 Saturday October 16, 1-6pm Visit www.yerbabuena.org/gallerywalk for more details 111 Minna Gallery Chandler Fine Art SF Camerawork 111 Minna Street - 415/974-1719 170 Minna Street - 415/546-1113 657 Mission Street, 2nd Floor- www.111minnagallery.com www.chandlersf.com 415/512-2020 12 Gallagher Lane Crown Point Press www.sfcamerawork.org 12 Gallagher Lane - 415/896-5700 20 Hawthorne Street - 415/974-6273 UC Berkeley Extension www.12gallagherlane.com www.crownpoint.com 95 3rd Street - 415/284-1081 871 Fine Arts Fivepoints Arthouse www.extension.berkeley.edu/art/gallery.html 20 Hawthorne Street, Lower Level - 72 Tehama Street - 415/989-1166 Visual Aid 415/543-5155 fivepointsarthouse.com 57 Post Street, Suite 905 - 415/777-8242 www.artbook.com/871store Modernism www.visualaid.org The Artists Alley 685 Market Street- 415/541-0461 PAK Gallery 863 Mission Street - 415/522-2440 www.modernisminc.com 425 Second Street , Suite 250 - 818/203-8765 www.theartistsalley.com RayKo Photo Center www.pakink.com Catherine Clark Gallery 428 3rd Street - 415/495-3773 150 Minna Street - 415/399-1439 raykophoto.com www.cclarkgallery.com Galleries are open throughout the year. Yerba Buena Gallery Walks occur twice a year and fall. The Yerba Buena Alliance supports the Yerba Buena Nieghborhood by strengthening partnerships, providing critical neighborhood-wide leadership and infrastructure, serving as an information source and forum for the area’s diverse residents, businesses, and visitiors, and promoting the area as a destination. -
Rock Album Discography Last Up-Date: September 27Th, 2021
Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least. -
Clinton Promises
VOL. XXV. NO. 59 The ObserverFRIDAY, NOVEMBER 20, 1992 THE INDEPENDENT NEWSPAPER SERVING NOTRE DAME AND SAINT MARY'S Clinton promises 'open door' to both parties in Congress WASHINGTON (AP) - Presi national security and foreign •see First Ladies I page 6 House meeting with President tion and I"eft predicting law dent-elect Bill Clinton paid a policy issues. Ronald Brown, a candidate for Bush, a visit to a crime-scarred makers would reciprocate. whirlwind visit to Capitol Hill on Powell reiterated his opposi an administration post, was city neighborhood, an elegant "We have to pursue a differ Thursday, ple.dging an open tion to lifting the ban on homo also on Clinton's private meet dinner party, a stay in a posh ent course of growing this door to Democrats and Repub sexuals in the military, but said ing schedule before a dinner at hotel, a jog past Washington's economy, creating more jobs, licans alike and to "meet them he would help implement the the Georgetown home of monuments and into McDon raising incomes and having a halfway" on an early agenda of change if Clinton kept his Democratic fund-raiser and ac ald's, a visit with commuters on disciplined plan to reduce the economic revival and health promise to reverse the ban. tivist Pamela Harriman. a city bus and meetings in the deficit," Clinton said. "I think if care reform. ''I'm very pieased that he has Clinton was winding up a Capitol with lawmakers. we work hard at it, we can have "I think we're off to a good said he will move carefully in busy two-day visit to Washing As Clinton captured the capi bipartisan cooperation." start," Clinton said after 6 1/2 full consultation with military ton, his first since winning the tal spotlight, a host of transition He sought to balance such hours of meetings on Capitol leaders and others who have an Nov. -
Benny Carter
Benny Carter Bennett Lester Carter (August 8, 1907 – July 12, 2003) was an American jazz alto saxophonist, trumpeter, composer, arranger, and bandleader. He was a major figure in jazz from the 1930s to the 1990s, and was recognised as such by other jazz musicians who called him King. As a youth, Carter lived in Harlem around the corner from Bubber Miley who was Duke Ellington's star trumpeter. Carter was inspired by Miley and bought a trumpet, but when he found he couldn't play like Miley he traded the trumpet in for a saxophone. Carter began playing professionally at 15. He first recorded in 1928 and formed his first big band the following year. He played with Fletcher Henderson in 1930 and 1931, then briefly led McKinney's Cotton Pickers before returning to lead his own band in 1932. He also arranged for Henderson and Duke Ellington during these years and wrote two hits, "Blues in My Heart" and "When Lights are Low." By the early 1930s he and Johnny Hodges were considered the leading alto players of the day. Carter also quickly became a leading trumpet soloist, having rediscovered the instrument. He recorded extensively on trumpet in the 1930s. In 1935 he moved to Europe, where he became staff arranger for the British Broadcasting Corporation dance orchestra and made several records. He returned to the United States in 1938 and led a big band and sextet before moving to Los Angeles in 1943 to write for movie studios. Carter continued writing and performing into his 90s. He arranged for Louis Armstrong, Ray Charles, Ella Fitzgerald, Peggy Lee, and Sarah Vaughan, among many others. -
Realityslap Copyright ©1992 Neil Ollivierra Permanent Address
r e a l i t y s l a p Copyright ©1992 Neil Ollivierra Permanent Address: 4827 Fairway Ridge South West Bloomfield, Michigan 48323 United States TEL: 0101. 313. 737. 9173 d e t r o i t t h e e a r l y n i n e t i e s Sure. L.S.D. lysergic acid diethylamide. The shit lands on a man like a rolled-up copy of the Detroit News lands on a cockroach. A cockroach that braves the kitchen counter during daylight. Lift the paper to reveal the stain-your shit is all mixed-up and different. If you have to ask me what it is like before trying it yourself, i will tell you that you are probably not cut out for the experience. At least, not for the moment. Because, no offense, it is a dumb question, rooted in fear and insecurity-two bits of baggage you simply do not want to carry along with you on an acid trip. Unless you enjoy fucking with your self. I know. I’ve been there. But then again, this is only my experience; the details of which may or may not be of any use to you. And I can say this about anything, I can say this about the tofu burger i ate last night, what i think about right before i start painting, guilt, Marxism, premature ejaculation (Captain Shizzo), gun control, zen, the ethics of laughter in the twentieth century. It is a dumb question, finally, it is like asking someone for their life story. -
Christmas: Overture to Eternity My Dearly Beloved: in Peace, Joy, and Gratitude, I Offer You Every Blessing, Every Good Wish of a Tender, Loving Father
Vol. XXIV No. 25 Catholic Archdiocese of Miami Friday Dec. 25, 1987 'Glory to God on high!' Devotedly Yours Christmas: overture to eternity My dearly beloved: In peace, joy, and gratitude, I offer you every blessing, every good wish of a tender, loving Father. His infinity makes it possible for Him to care lovingly, this Holy Season. personally for each of us~for you. At times the true gift that Christmas is for us lies like and unopened present Glory to God on high! under the tree. Christmas means that you--that we-mean so much to God that to prove it There is the danger that we miss the point of the celebration He became one of us~took on human flesh at Bethlehem. of the Feast. We think of Christmas as a time for parties, Glory to God on high! decorating a tree, shopping, getting out greeting cards, receiving Christmas means that this God love us~loves you so that His Son redeemed gifts, having a day off at work, family reunions, special meals. us for our sins, to heal us. He wants us to become like Him and so gave us They are all good things-but the best is still like the unopened, baptism to be transfoimed, to share forever His divine life, gave us the Eucharist unexplored package under the tree. to nourish our friendship with Him. If we really stop to open Jesus' present under the tree Glory to God on high! Christmas is mind-blowing, is heart-blowing. How tragic, how tragic for the Christmas is the overture of an everlasting Alleluia, for it was the first step in our being with God in the ecstasy of all eternity in heaven. -
January 2006 AAJ-NY.Qxd
NEW YORK January 2006 | No. 45 Your FREE Monthly Guide to the New York Jazz Scene newyork.allaboutjazz.com YUSEF LATEEF Roots & Routes Annie Ross • Ken Vandermark • ArtistShare • Enzo’s Jazz • Event Calendar piano by WORLD’S FINEST JAZZ CLUB & RESTAURANT • 131 W 3RD ST NYC • 212 475-8592 • WWW.BLUENOTEJAZZ.COM MONDAY NIGHTS • 8 & 10:30PM LATE NIGHT GROOVE SERIES • 12:30AM SUNDAY JAZZ BRUNCH • 12:30&2:30PM DEBORAH DAVIS Jan 2 REGGIE WASHINGTON 4TET Fri Jan 6 DANA LEONG QUINTET Fri Jan 20 YUKIJURUSHI Jan 1 BENEFIT FOR LEUKEMIA SOCIETY EISHIN NOSE TRIO Jan 8 ALTER EGOS Sat Jan 7 DANIEL SADOWNICK Sat Jan 21 RONDI CHARLESTON Jan 9 'EnJ' - EIJIRO NAKAGAWA & JIM PUGH Jan 15 ROLAND GUERIN Jan 16 QUEEN AAMINAH Fri Jan 13 JONATHAN MARON Fri Jan 27 AYAKO SHIRASAKI TRIO Jan 22 NEW SOUND OF SOUL JAZZ SERIES ANGELA JOHNSON Jan 30 LICORICE Sat Jan 14 THE SQUARE EGG Sat Jan 28 TRIO RICOCHET Jan 29 NEW YORK MILAN TOKYO OSAKA NAGOYA 4]`@SaS`dObW]\a /ZZaV]ea BcSAc\%(!'(!^[ #&'#'# e(!^[aSb4`WAOb BcSAObOTbS`V]c`aaSb eeeXOZQ]`U C>AB/@BA 4`SRS`WQY>@]aS6OZZ ;]\ROga%(!'(!^[ 6][S]T8OhhOb:W\Q]Z\1S\bS` 0`]OReOgOb$bVAb`SSb#bVÀ]]` 8O\cO`g% ;O`Y=¸1]\\]` BO^G]c`7\\S`8Ohh 6]bAeW\U e@]PS`bO5O[PO`W\W6]eO`R/ZRS\ 0`gO\Acbb]\8]\0c`` /4B3@6=C@A(5`SbQVS\>O`ZOb]1] 8O\cO`g!& 8O\cO`g " ' 8]Sg2S4`O\QSaQ]B`W] ;cZU`Se;WZZS` /4B3@6=C@A(>O^O8]V\2S4`O\QSaQ]B`W] O\REW\Ua^O\ 8O\cO`g# eAbSdS<SZa]\2cO\S3cPO\YaAbSdSEWZa]\ 7dO\BOgZ]`@]R\Sg5`SS\ BVS;caWQ]T /4B3@6=C@A(5S]`US1]ZZWUO\B`W] B][[g4ZO\OUO\ 8O\cO`g!4SP`cO`g# O\R;WZb8OQYa]\ e:SeWa<OaV@S\SS@]a\SaAbSdS<SZa]\ AVORSa]T8ORS >SbS`EOaVW\Ub]\ e;O`Y8]V\a]\8]S:]dO\]3ZWO\S3ZWOa8]Sg0O`]\ /4B3@6=C@A(7/83/eO`REW\\S`a /4B3@6=C@A(<ObVOZWSR4O[WZgeWbV;O`Q1O`g NEW YORK So after turkey overload during Thanksgiving and the exhausting festivity of the holiday season (made extra special by our transit strike), most of us can hope to New York@Night take it easy during January. -
The Image of the Journalist in Silent Film, Part One: 1890 to 1919
Journalist in Silent Film 35 The Image of the Journalist in Silent Film, 1890 to 1929: Part One 1890 to 1919 Joe Saltzman Professor of Journalism Director of the Image of the Journalist in Popular Culture (IJPC) A Project of the Norman Lear Center Annenberg School for Communication and Journalism University of Southern California Los Angeles, CA [email protected] with Liz Mitchell Senior Research Associate Image of the Journalist in Popular Culture (IJPC) Annenberg School for Communication and Journalism University of Southern California Los Angeles, CA [email protected] Introduction This is the first installment in the landmark study of “The Image of the Journalist in Silent Film, 1890 to 1929.” It covers 1,948 films from 1890 to 1919. Part Two will cover the years from 1920 to the beginning of recorded sound in 1929. This is the first comprehensive study of the beginning of cinema’s earliest depictions of the journalist, mostly newspaper reporters, editors, and publishers. Newspaper fiction flourished at a time when journalism “was a revolutionary force, tearing up traditions, redefining public morality, and lending voice and encouragement to the disenfranchised. It reflected currents sweeping through every phase of American life. The skyrocketing circulations, the manic search for exclusive news, the sensational headlines, and the concentration of newspaper ownership were signs of an America changing from a rural society to an urban and industrial one. Since journalism so clearly mirrored and so loudly supported the new order, it became the preeminent symbol for the mechanization, standardization, democratization, and vulgarization of culture.”1 Historian Howard Good points out that the 1890s “represented a watershed not only in American journalism but also in American history.