2019-2020 Season Volume Xxvii • Issue 10

Total Page:16

File Type:pdf, Size:1020Kb

2019-2020 Season Volume Xxvii • Issue 10 2019-2020 SEASON VOLUME XXVII • ISSUE 10 22......Information 26......Royal Winnipeg Ballet 36......The Klezmatics 44......Miss Nelson has a Field Day 68......Davina & The Vagabonds and Hot Club of Cowtown 73......Wharton Circle CONSUMER ALERT REGARDING TICKET PURCHASING With so many high-profile and popular events coming to Wharton Center, we have found more and more patrons are being exploited by unscrupulous ticket resellers. Often our tickets are being marketed on secondary ticket websites before the operator of the website has even purchased tickets – and they are selling at prices far above the price you will pay through whartoncenter.com. Purchasing tickets to Wharton Center events through another source might result in paying too much for your tickets or paying for tickets that are invalid. If there is a problem with your tickets, you may not be able to receive help from Wharton Center’s Ticket Office as there will be no in-house record of your transaction. In addition, we are unable to contact you if there is a change in performance time, traffic notices, etc. To avoid being ensnared by unscrupulous ticket resellers: • Bookmark our website, whartoncenter.com for ticket and show information. • Sign up for our eClub to receive information directly from Wharton Center. We urge you to protect yourself by purchasing directly from the official source for Wharton Center tickets: at whartoncenter.com; by phone at 1-800-WHARTON (1-800-942-7866); or at the Auto-Owners Insurance Ticket Office at Wharton Center. IN CASE OF EMERGENCY Please observe the lighted exit signs located throughout the building and theatre(s). All patrons should note all exits, especially those closest to your seat location. Our staff and ushers are trained to assist patrons through multiple emergency situations. If you have questions regarding our safety and security procedures, please contact the house management staff at Wharton Center by calling 884-3119 or 884-3116. CONCEALED WEAPONS AND FIREARMS Be advised that, per Michigan Compiled Laws, Section 28.425o(1)(f), this is an entertainment facility which has a seating capacity of more than 2,500 individuals. Concealed weapons and firearms are prohibited within the facility. 25 SERIES SPONSOR ROYAL WINNIPEG BALLET: THE WIZARD OF OZ Wednesday, March 25, 2020 Catherine Herrick Cobb Great Hall THIS PERFORMANCE IS SPONSORED BY 26 ROYAL WINNIPEG BALLET THE WIZARD OF OZ Founders: Gweneth Lloyd & Betty Farrally Artistic Director Emeritus: Arnold Spohr, C.C., O.M. Founding Director, School Recreational Division: Jean Mackenzie Founding Director, School Professional Division: David Moroni, C.M., O.M., D.Litt, (h.c.) Artistic Director & CEO: André Lewis ARTISTS Sophia Lee Dmitri Dovgoselets Yayoi Ban, Elizabeth Lamont, Chenxin Liu, Alanna McAdie Tristan Dobrowney, Yosuke Mino, Yue Shi Katie Bonnell, Sarah Davey Stephan Azulay, Liam Caines, Ryan Vetter Jaimi Deleau, Elena Dobrowna, Katie Simpson, Sarah Joan Smith Joshua Hidson, Peter Lancksweerdt, Michel Lavoie, Liam Saito Jenna Burns, Amanda Solheim Parker Long, Bryce Taylor Associate Artistic Director: Tara Birtwhistle Senior Ballet Master: Johnny W. Chang Ballet Masters: Caroline Gruber, Vanessa Léonard, Jaime Vargas School Director: Stéphane Léonard Recreational Division Principal: Nicole Kepp Professional Division Principal: Suzanne André Teacher Training Program Director: Johanne Gingras Stage Manager: Candace Maxwell Assistant Stage Manager: Leslie Watson Today’s performance will run approximately 115 minutes, with a 20-minute intermission. Story lines and visual elements from the classic motion picture The Wizard of Oz provided by Warner Bros. Theatre Ventures. 27 CAST Dorothy ..........................................................................Sophia Lee Miss Gulch/Wicked Witch ..............................................Jaimi Deleau Aunt Em/Glinda/Emerald Ballerina ..................................... Yayoi Ban Uncle Henry/Emerald Officer ............................... Tristan Dobrowney Farmhand/Scarecrow ............................................... Stephan Azulay Farmhand/Tin Man ....................................................... Yosuke Mino Farmhand/Lion..............................................................Liam Caines Prof. Marvel/Green Whiskers/Wizard .....................Dmitri Dovgoselets Toto .............................................................................Jenna Burns Kansas Puppeteers: Curly Cues: Yue Shi Alanna McAdie Liam Saito Chenxin Liu Jenna Burns Elizabeth Lamont Joshua Hidson Ruffians: Peter Lancksweerdt Peter Lancksweerdt Bryce Taylor Yue Shi Ryan Vetter Liam Saito Michel Lavoie Parker Long Tristan Dobrowney Yellow Brick Roadies: Peter Lancksweerdt Parker Long Munchkin Ladies: Bryce Taylor Amanda Solheim Michel Lavoie Elena Dobrowna Ryan Vetter Katie Bonnell Joshua Hidson Rachel Gibbs Tristan Dobrowney Sarah Davey Liam Saito Munchkin Men: Trees: Tristan Dobrowney Amanda Solheim Parker Long Chenxin Liu Bryce Taylor Elena Dobrowna Michel Lavoie Joshua Hidson 28 Female Poppies: Pop Corn Girls: Elizabeth Lamont Chenxin Liu Sarah Davey Elizabeth Lamont Rachel Gibbs Chenxin Liu Katie Bonnell Winged Monkeys: Elena Dobrowna Liam Saito Amanda Solheim Joshua Hidson Alanna McAdie Parker Long Male Poppies: Monkey Puppeteers: Tristan Dobrowney Ryan Vetter Parker Long Yue Shi Peter Lancksweerdt Amanda Solheim Bryce Taylor Bryce Taylor Liam Saito Peter Lancksweerdt Ryan Vetter Michel Lavoie Michel Lavoie Joshua Hidson Joshua Hidson Elena Dobrowna Rachel Gibbs Poser Ladies: Katie Bonnell Winkie Men: Rachel Gibbs Michel Lavoie Amanda Solheim Yue Shi Elena Dobrowna Bryce Taylor Sarah Davey Peter Lancksweerdt Poser Men: Winkie Women: Liam Saito Chenxin Liu Bryce Taylor Rachel Gibbs Michel Lavoie Sarah Davey Parker Long Katie Bonnell Joshua Hidson Elizabeth Lamont Amanda Solheim Elena Dobrowna Bell Hops: Alanna McAdie Peter Lancksweerdt Ryan Vetter Snake Puppeteer: Tristan Dobrowney Elizabeth Lamont 29 SYNOPSIS THE WIZARD OF OZ Kansas It is morning on Uncle Henry and Aunt Em’s farm in Kansas, and the farmhands goof off between chores, ignoring Dorothy, who feels unappreciated and dreams of a place far away. Their unpleasant neighbor, Miss Gulch, arrives to complain about Dorothy’s little dog, Toto, threatening to take him away. Toto escapes and Dorothy runs away with him. On the road, Dorothy meets a showman, Professor Marvel, who urges her to return to the farm as a twister approaches. The Twister & Munchkinland Dorothy is lifted into the sky by the twister and travels for what seems like an eternity. Suddenly she plops to the ground with a thud. The twister has taken her to the Land of Oz, where she meets the Munchkins and Glinda, the Good Witch of the North. Dorothy’s bed has fallen upon the Witch of the East, killing her, and freeing the Munchkins from her power. As the Munchkins celebrate, the Wicked Witch of the West arrives to claim her sister’s magical ruby slippers and avenge her sister’s death. But in a flash, the ruby slippers appear on Dorothy’s feet, thwarting the Witch … for the moment. Dorothy wants to go home to Kansas. The Munchkins tell Dorothy that surely the Wizard of Oz will help her, and she sets off down the Yellow Brick Road towards the Emerald City to find him. Along the Yellow Brick Road Along the way, Dorothy and Toto meet three new friends who need help: a Scarecrow whose head is full of straw; a Tin Man with an empty chest, and a Lion who is afraid of his own tail. Dorothy invites them to join her to see if the Wizard can help them, too. When the Wicked Witch fails to intimidate Dorothy and her friends, she creates a beautiful field of poppies whose scent is poisonous. Glinda causes it to snow, and the poppies melt away, revealing the gates of the Emerald City. Dorothy and her friends boldly knock on the gates, but the Guard with the Green Whiskers and his Assistant send them away. The Emerald City The Guard sees that Dorothy is wearing the ruby slippers and assumes she must be a person of great importance. He welcomes the friends into the Emerald City. As they are preparing to meet the Wizard, the Witch flies by with another warning to Dorothy: give her those slippers! Unsettled, the group is led into the Wizard’s throne room where they ask for his help. He tells them that to prove themselves worthy of his assistance they must bring him the broom stick of the Wicked Witch of the West. Winged Monkeys and the Witch’s Castle Dorothy and her friends depart in haste, and as they make their way to the Witch’s Castle, they are set upon by the Witch’s Winged Monkeys, who capture Dorothy. The Scarecrow, Tin Man and Lion sneak into the castle to try to free Dorothy and Toto, 30 who have been imprisoned by the Witch and the Winkies, her slaves. Amid the chaos, the Witch makes a grab for the ruby slippers; Dorothy defends herself by throwing a bucket of water on the Witch, who melts into nothingness. The friends take her broomstick and return to the Emerald City. The Humbug and Dorothy’s Return Home In the Throne Room, the Wizard is reluctant to help Dorothy and her friends, when Toto discovers a befuddled man behind an emerald wall: it turns out that the Wizard is a humbug. He’s not a wizard at all, but an ordinary man from Kansas who found himself in Oz after he lost control of his hot-air balloon. The Scarecrow, Tin Man and Lion impatiently remind him that he promised to help them, but the Wizard points out that they don’t need his help: they have already shown brains, heart and courage beyond measure. As for Dorothy, he tells her that he will take Toto and her to Kansas himself in his hot-air balloon. As they prepare to depart, Toto runs off, and Dorothy chases him, but it’s too late … the wind has already taken the Wizard, leaving Dorothy and Toto behind. Glinda appears, telling Dorothy that her ruby slippers will take her home. Dorothy says farewell to her friends, and with the aid of the slippers, wills herself home. Dorothy awakens to finds herself at home in Kansas, with Toto asleep at her feet. THE MAKING OF THE WIZARD OF OZ A note from Choreographer Septime Webre My relationship with all things Oz, in four easy steps: 1.
Recommended publications
  • Bulgaria Is Expecting You! the ROSE FESTIVAL KAZANLAK 2012
    Festival: “Wine and Roses in the Valley of Thracian Kings” The Historical • National rosé wine competition;; 08.06.- • Gallery of Modern Bulgarian winemaking practices 10.06 Museum “Iskra” – Exhibition; • Art demonstration of antique painting techniques – THE ROSE FESTIVAL rose oil icon painting; KAZANLAK 2012 Date Time Place Festival Events OpeROSE: “Bulgarians of Yore” to music by Assen 19th May – 24th June “Arsenal” Cultural 19.00 Karastoyanov, performance by the Stara Zagora State 8.06 Center Opera and the “Zagore” folklore ensemble 9.06 10.00 The village of Rajena „Rose picking“ ritual „Queen of the Rose Valley “ – competition - 19.30 “Sevtopolis” Square 9.06 performance Community Center “The best of the Operettas” – concert of the “Petko Imagine a spring field, saturated with the • Evaluate the quality of the Bulgarian wines 15.06 “Iskra” Staynov” choir and soloists scent of roses and lavender. See how in early and vote for the best Bulgarian rosé during summer the sun caresses gently the earth and the “Wine and Roses Festival” in The Valley of how it returns the gesture with the smiles of Thracian Kings (8.06 - 10.06); “The best new Bulgarian cosmetic product based on Information Center the sunflowers. Enjoy the huge dark green 17.06 18.00 Bulgarian rose oil and other essential oils” – The “Rosa • Take part in the rose picking rituals (25.05, 4 “Iskra” Street crowns of the walnut trees, feel the breath of Damascena” Award of the Kazanlak Municipality 03.06 and 09.06); the oak forests on the Balkan mountain, inhale the aroma of the fragrant herbs.
    [Show full text]
  • POLIN Museum of the History of Polish Jews Warsaw 2013 Museum of the City of New York New York 2014 the Contemporary Jewish Muse
    POLIN Museum of the History of Polish Jews Warsaw 2013 Museum of the City of New York New York 2014 The Contemporary Jewish Museum San Francisco 2015 Sokołów, video; 2 minutes Courtesy of the YIVO Institute for Jewish Research, New York Letters to Afar is made possible with generous support from the following sponsors: POLIN Museum of the History of Polish Jews Polish Ministry of Culture and National Heritage Museum of the City of New York Kronhill Pletka Foundation New York City Department of Cultural Affairs Righteous Persons Foundation Seedlings Foundation Mr. Sigmund Rolat The Contemporary Jewish Museum Patron Sponsorship: Major Sponsorship: Anonymous Donor David Berg Foundation Gaia Fund Siesel Maibach Righteous Persons Foundation Taube Foundation for Jewish Life & Culture Anita and Ronald Wornick Major support for The Contemporary Jewish Museum’s exhibitions and Jewish Peoplehood Programs comes from the Koret Foundation. POLIN Museum of the History of Polish Jews, Warsaw 05.18.2013 - 09.30.2013 Museum of the City of New York 10.22.2014 - 03.22.2015 The Contemporary Jewish Museum, San Francisco 02.26.2015 - 05.24.2015 Video installation by Péter Forgács with music by The Klezmatics, commissioned by the Museum of the History of Polish Jews and the YIVO Institute for Jewish Research. The footage used comes from the collections of the YIVO Institute for Jewish Research in New York, the National Film Archive in Warsaw, the United States Holocaust Memorial Museum in Washington, Beit Hatfutsot in Tel Aviv and the Steven Spielberg Jewish Film Archive in Jerusalem. 4 Péter Forgács / The Klezmatics Kolbuszowa, video; 23 minutes Courtesy of the YIVO Institute for Jewish Research, New York 6 7 Péter Forgács / The Klezmatics beginning of the journey Andrzej Cudak The Museum of the History of Polish Jews invites you Acting Director on a journey to the Second Polish-Jewish Republic.
    [Show full text]
  • PAROLE E MUSICA DELLA MEMORIA EBRAICA a Cura Di CARLO BIANCHI
    brescia MUSICA INTERVISTA A ROLANDO ANNI E ALESSANDRO ADAMI DEL GRUPPO “KLEZMORIM” PAROLE E MUSICA DELLA MEMORIA EBRAICA a cura di CARLO BIANCHI n bambino di fronte a dialogo fra ebrei e cristiani, per un albero su un prato un incontro che è stato, credo, circondato da una il nostro primo ‘concerto’. Nel U sconnessa stacciona- corso del tempo i rapporti fra la ta scarna che conduce, voltan- musica e le letture o le mie spie- do, fino a un caseggiato romito. gazioni si è invertito: prima la La copertina del disco che rac- musica accompagnava quello chiude i quindici canti della tra- che avevo da dire, adesso inve- dizione popolare ebraica can- ce sono io a dire delle cose che tati e suonati dal complesso accompagnano la musica. Di- Klezmorim è l’immagine ricreata ciamo che io mi sono preoccu- di Oyfn veg shteyt a boym (“sta, pato di costruire questo proget- lungo la strada, un albero pie- to da un punto vista letterario e gato”), una di queste quindici storico. La nostra particolarità è storie in musica, la ninna-nanna che i nostri non sono dei veri e di un bambino che chiede alla propri concerti, sono ‘incontri’ mamma di potersi arrampicare dove la musica viene inserita in sull’albero per volare verso il un contesto molto preciso per- cielo, anche se fa freddo e la ché siamo convinti ancora oggi mamma gli raccomanda di co- che questa musica pur essendo prirsi, non vuol lasciarlo andare, semplice, popolare, non possa per paura che si smarrisca. essere del tutto compresa senza Sono canti di un popolo – di alcune fondamentali spiegazio- una cultura, di una religione – ni”.
    [Show full text]
  • Table of Contents
    Table of Contents From the Editors 3 From the President 3 From the Executive Director 5 The Sound Issue “Overtures” Music, the “Jew” of Jewish Studies: Updated Readers’ Digest 6 Edwin Seroussi To Hear the World through Jewish Ears 9 Judah M. Cohen “The Sound of Music” The Birth and Demise of Vocal Communities 12 Ruth HaCohen Brass Bands, Jewish Youth, and the Sonorities of a Global Perspective 14 Maureen Jackson How to Get out of Here: Sounding Silence in the Jewish Cabaretesque 20 Philip V. Bohlman Listening Contrapuntally; or What Happened When I Went Bach to the Archives 22 Amy Lynn Wlodarski The Trouble with Jewish Musical Genres: The Orquesta Kef in the Americas 26 Lillian M. Wohl Singing a New Song 28 Joshua Jacobson “Sounds of a Nation” When Josef (Tal) Laughed; Notes on Musical (Mis)representations 34 Assaf Shelleg From “Ha-tikvah” to KISS; or, The Sounds of a Jewish Nation 36 Miryam Segal An Issue in Hebrew Poetic Rhythm: A Cognitive-Structuralist Approach 38 Reuven Tsur Words, Melodies, Hands, and Feet: Musical Sounds of a Kerala Jewish Women’s Dance 42 Barbara C. Johnson Sound and Imagined Border Transgressions in Israel-Palestine 44 Michael Figueroa The Siren’s Song: Sound, Conflict, and the Politics of Public Space in Tel Aviv 46 Abigail Wood “Surround Sound” Sensory History, Deep Listening, and Field Recording 50 Kim Haines-Eitzen Remembering Sound 52 Alanna E. Cooper Some Things I Heard at the Yeshiva 54 Jonathan Boyarin The Questionnaire What are ways that you find most useful to incorporate sound, images, or other nontextual media into your Jewish Studies classrooms? 56 Read AJS Perspectives Online at perspectives.ajsnet.org AJS Perspectives: The Magazine of President Please direct correspondence to: the Association for Jewish Studies Pamela Nadell Association for Jewish Studies From the Editors perspectives.ajsnet.org American University Center for Jewish History 15 West 16th Street Dear Colleagues, Vice President / Program New York, NY 10011 Editors Sounds surround us.
    [Show full text]
  • What Makes Klezmer So Special? Geraldine Auerbach Ponders the World Wide Popularity of Klezmer Written November 2009 for JMI Newsletter No 17
    What Makes Klezmer so Special? Geraldine Auerbach ponders the world wide popularity of klezmer Written November 2009 for JMI Newsletter no 17 Picture this: Camden Town’s Jazz Café on 12 August 2009 with queues round the block including Lords of the realm, hippies, skull-capped portly gents, and trendy young men and women. What brought them all together? They were all coming to a concert of music called Klezmer! So what exactly is klezmer, and how, in the twenty-first century, does it still manage to resonate with and thrill the young and the old, the hip and the nostalgic, alike? In the 18th and 19th centuries, in the Jewish towns and villages of Eastern Europe the Yiddish term 'klezmer' referred to Jewish musicians themselves. They belonged to professional guilds and competed for work at weddings and parties for the Jewish community – as well as the local gentry. Their repertory included specific Jewish tunes as well as local hit songs played on the instruments popular in the locality. Performance was influenced by the ornamented vocal style of the synagogue cantor. When life became intolerable for Jews in Eastern Europe in the late nineteenth century, and opportunity came for moving to newer worlds – musicians brought this music to the west, adapting all the while to immigrant tastes and the new recording scene. During the mid-twentieth century, this type of music fell from favour as the sons and daughters of Jewish immigrants turned to American and British popular styles. But just a few decades later, klezmer was back! A new generation of American musicians reclaimed the music of their predecessors.
    [Show full text]
  • Savage Winter #Bamnextwave No Intermission LOCATION: RUN TIME: DATES: Pittsburgh Opera Approx 1Hr15mins BAM Fisher (Fishman Space) NOV 7—10At7:30Pm
    Brooklyn Academy of Music Adam E. Max, Chairman of the Board William I. Campbell, Vice Chairman of the Board Katy Clark, President Joseph V. Melillo, Savage Winter Executive Producer American Opera Projects and Pittsburgh Opera Music by Douglas J. Cuomo Directed by Jonathan Moore DATES: NOV 7—10 at 7:30pm Season Sponsor: LOCATION: BAM Fisher (Fishman Space) Leadership support for music programs at BAM RUN TIME: Approx 1hr 15mins provided by the Baisley Powell Elebash Fund. no intermission #BAMNextWave BAM Fisher Savage Winter Written and Composed by Music Director This project is supported in part by an Douglas J. Cuomo Alan Johnson award from the National Endowment for the Arts, and funding from The Andrew Text based on the poem Winterreise by Production Manager W. Mellon Foundation. Significant project Wilhelm Müller Robert Signom III support was provided by the following: Ms. Michele Fabrizi, Dr. Freddie and Directed by Production Coordinator Hilda Fu, The James E. and Sharon C. Jonathan Moore Scott H. Schneider Rohr Foundation, Steve & Gail Mosites, David & Gabriela Porges, Fund for New Performers Technical Director and Innovative Programming and The Protagonist: Tony Boutté (tenor) Sean E. West Productions, Dr. Lisa Cibik and Bernie Guitar/Electronics: Douglas J. Cuomo Kobosky, Michele & Pat Atkins, James Conductor/Piano: Alan Johnson Stage Manager & Judith Matheny, Diana Reid & Marc Trumpet: Sir Frank London Melissa Robilotta Chazaud, Francois Bitz, Mr. & Mrs. John E. Traina, Mr. & Mrs. Demetrios Patrinos, Scenery and properties design Assistant Director Heinz Endowments, R.K. Mellon Brandon McNeel Liz Power Foundation, Mr. & Mrs. William F. Benter, Amy & David Michaliszyn, The Estate of Video design Assistant Stage Manager Jane E.
    [Show full text]
  • Instrumental
    Instrumental Intermediate Winds (Christian Dawid) Intermediate| Tuesday-Friday |AM1 - 9:30-10:45 In this class, we’ll work on klezmer ornamentation: how to apply it, phrasing, feel, variation, and more. One topic a day. Tips and tricks generously delivered. Open to all melody wind instrumentalists who want to work at a moderate pace, or are new to klezmer. Depending on group size, we might have time for individual coaching as well. PDFs of workshop material (according to your instrument's tuning: Bb, Concert Eb) will be provided to download before the class. Looking forward to meeting you! Christian Dawid is presented thanks to the generous support of the Consulate General of the Federal Republic of Germany, Montreal. Register for Intermediate Winds Advanced Winds (Zilien Biret) Advanced| Tuesday-Friday |AM1 - 9:30-10:45 Dave Tarras himself once said that he never played the same melodic phrase twice, always ornamenting or articulating in a different way. Working with the repertoire of Naftule Brandwein and Titunschneider, we will repeat phrases by ear and learn how to give a strong klezmer character to a repetitive melody. This is a master-class, so please prepare a tune you would like to share with us. I will help you with little tips to piece together the magic of klezmer. Register for Advanced Winds Intermediate Strings (Amy Zakar) Intermediate| Tuesday-Friday |AM1 - 9:30-10:45 For bowed strings: violin, viola, cello, bass, et. al. Play repertoire and learn string-specific klezmer style to start out your morning with good cheer! This class will be a good fit for you if you are past the beginning technical stage of learning your instrument, but are not yet performing on a regular basis or playing at an orchestral level.
    [Show full text]
  • 2016-2017 Revised Fall 2019
    Student Handbook BA (Hons) Music BA (Hons) Music Performance Frances Rich School of Fine and Performing Arts Deree – The American College of Greece 2016-2017 Revised fall 2019 All degree seeking students entering Deree- The American College of Greece (Deree-ACG) will be required to register for both the US, NECHE accredited bachelor’s degree, and the European - UK award validated by the Open University. The following may be exempted from this rule: a) Students pursuing parallel studies at the Greek University/TEI. b) Transfer students who have transferred 92 US credits or above applicable to their program.c) Readmitted students who have interrupted their studies before 2010 will have the option of pursuing only a Deree US degree. Students who wish to be considered for these exemptions must petition the Committee on Academic Standards and Policies (CASP) through the Student Success Center during the first month after their initial registration at Deree. Contents 1. Welcome to the Music Programme 1.1 Message from the Dean .................................................................................................. 3 1.2 Message from the Department Head…………………………………………………………………………. 3 1.3 Academic Calendar Academic Policies links .................................................................... 4 1.4 Key Contacts ................................................................................................................... 4 1.5 Keeping in Touch ...........................................................................................................
    [Show full text]
  • The Bosstown Sound. PUB DATE Mar 88 NOTE 39P.; Paper Presented at the Annual Meeting of the American Culture Association (10Th, New Orleans, LA, March 23-26, 1988)
    DOCUMENT RESUME ED 292 153 CS 506 070 AUTHOR Burns, Gary TITLE The Bosstown Sound. PUB DATE Mar 88 NOTE 39p.; Paper presented at the Annual Meeting of the American Culture Association (10th, New Orleans, LA, March 23-26, 1988). PUB TYPE Viewpoints (120) -- Speeches/Conference Papers (150) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS *Bands (Music); Content Analysis; Discographies; *Music; Musicians; *Popular Culture IDENTIFIERS Media History; Music Ensembles; *Rock and Roll; *Rock Music ABSTRACT Based on the argument that (contrary to critical opinion) the musicians in the various bands associated with Bosstown Sound were indeed talented, cohesive individuals and that the bands' lack of renown was partially a result of ill-treatment by record companies and the press, this paper traces the development of the Bosstown Sound from its beginnings in the nightclubs of Boston in 1967 to its end in 1969. In addition, the paper provides complete discographies, including critical commentary, of records produced by bands associated with the Bosstown Sound. The bands of the Bosstown Sound include: The Apple Pie Motherhood Band, The Bagatelle, The Beacon Street Union, Bo Grumpus, Eagle, Earth Opera, Eden's Children, Sure Looks Real, The Ill Wind, Jolliver Arkansaw, Orpheus, Phluph, Puff, and Ultimate Spinach. (Thirty-three references are attached.) (ARH) *********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. *********************************************************************** The Bosstown Sound Gary Burns, Assistant Professor Department of Communication University of Missouri-St. Louis St. Louis, MO 63121 314-553-5485 American Culture Association, New Orleans, March 24, 1988 My thanks to Jeff Tamarkin of Goldmine magazine.
    [Show full text]
  • Jamiesmithsmabon-20130131-18753
    electronica coloured with the hip bass too prominent) but unlike Oi Va Voi, who Kathleen Maclnnes is inspired by the Velvet Underground, iill :f Mario Carib6 and a vintage Casio dropped almost all Lheir klezmer I i I r,lr fii Fr r i *l il q ,d.i i n tr l" i +li +r li while the opener, 'Mariloul owes a debt to :eyboard (borrowed from Teenage repertoire upon being signed to Virgin, Kathleen Maclnnes Recordings (50 mins) 90s garage rock. ranclub's singer Norman Blake) Klezmofobia keep ldezmer up front. *** The inspired cacophony uses distorted .'raditional tunes are given a fresh, lively Nussbaum has a pleasantly affecting voice, It's oll obout the voice vocals in a linguistic amalgam, grungy ,rakeover;'Lord Duneagle' is delivered although she tends to overdo the moans squeezebor, fuzzy guitars and banjo, 'ith a pounding dark funk whilst Asturias when staying silent and letting the echoey drums and disconcerting sound )art Two)'sees some bagpipe tunes from instrumentalists play would better suit a balances. A punk sensibility underlies orthern Spain flirt outrageously with song. But Kolerus plays some superb the delivery; considerable velocity and re mandolin of ex-Shooglenifty man Iain clarinet throughout and Sestii has laudable brevity - they pack 13 tracks into iacl-eod. recorded the ensemble beautifully, less than 36 mins. Musically, then,.the . Whilst the majority of the tracks allowing for plenty ofspace and whilst the album doesnt fully reach the Swiss trio is definitely heading for the city. e reinterpreLed trad tunes, Kennedy atmosphere. 1(arfzslzzlfr is a solid addition heights of her debut - there isnt a track Still, the mud of the Louisiana swamps herself to be a gifted writer and to the ongoing klezmer revival.
    [Show full text]
  • BRATIMENE Arcángel & Theodosii Spassov
    BRATIMENE Arcángel & Theodosii Spassov a musical encounter A musical encounter between two geniuses who present a energetic and exquisite multi- flavoured dish of flamenco and Bulgarian rhythms. Flautist Theodosii Spassov is a master of improvisation on the kaval, the Bulgarian wooden shepherd’s flute. He is a storyteller, blending traditional Bulgarian folk music with jazz and classical music into his own unique, highly individual style. In this concert his rich musical world will join up with the extraordinary universe of cantaor Arcángel , who the critics unanimously praise as the heir of the late and great flamencosinger Enrique Morente. The singer from Huelva is one of the leading lights of a new generation of vocalists who is making waves internationally with his creative renditions of the classical jondo repertoire. Arcángel transcends flamenco borders with a subtle and rich imagination, always grasping the roots. He collaborated with the Orchestre Tetuan from Morocco and lent his voice to a number of contemporary pieces of the Spanish composer Mauricio Sotelo, with whom he performed during ‘Flamenco Sin Fin’, the final gala at the III Dutch Flamenco Biennial in 2011. Arcángel and Spassov explore musical horizons from the Balkans to the flamenco breeding grounds of Andalusia and back again. This musical dialogue will offer both maestros the chance to follow their instincts in a swinging “open flamenco space”, demonstrating the ease with which the shepherd’s flute combines with flamenco rhythms, as well as the richness and boundlessness of the world heritage treasure that is flamenco. Arcángel gives part of his solo part away to a phenomenal Bulgarian flute player with whom he initiates a musical dialogue that brings about the deepest feelings of two different cultures.
    [Show full text]
  • "The Culture of the 1970S Reflected Through Bruce Springsteen's Music"
    "The Culture of the 1970s Reflected Through Bruce Springsteen's Music" Senior Honors Thesis Presented To The Honors College Written By Melody S. Jackson Spring, 1983 Advised By Dr. Anthony Edmonds .;,- () -- "The Culture of the 1970s Reflected Through Bruce Springsteen's Music" I have seen the future of rock and roll and it is Bruce Springsteen. Jon Landau the advent of Bruce Springsteen, who made rock and roll a matter of life and death again, seemed nothing short of a miracle to me . Bruce Springsteen is the last of rock's great innocents. Dave Marsh Whether these respected critics see Springsteen as the future of great rock or the end of it, they do regard him with respect for his ability to convey the basic feeling of rock. And they are not alone in this opinion. From the start of his career, Springsteen has received a great deal of critical acclaim. This acclaim, in part because of his performing ability, seems quite fitting since his shows usually last for two and a half hours and often continue for four or even five hours. Relentlessly, he gives of himself to the thousands of fans -- his cult following -- who have come to see their own Rock Messiah. Upon analysis of the lyrics of Springsteen's songs, lyrics which he has written, one sees that he has a unique talent f()r reflecting the situation of the lower-middle class which he grew up in. In fact, in all of the albums he has released up to this time, he has written about the culture of the lower-middle class.
    [Show full text]