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Guide to Ella Fitzgerald Papers
Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996................................................................. -
Aaamc Issue 9 Chrono
of renowned rhythm and blues artists from this same time period lip-synch- ing to their hit recordings. These three aaamc mission: collections provide primary source The AAAMC is devoted to the collection, materials for researchers and students preservation, and dissemination of materi- and, thus, are invaluable additions to als for the purpose of research and study of our growing body of materials on African American music and culture. African American music and popular www.indiana.edu/~aaamc culture. The Archives has begun analyzing data from the project Black Music in Dutch Culture by annotating video No. 9, Fall 2004 recordings made during field research conducted in the Netherlands from 1998–2003. This research documents IN THIS ISSUE: the performance of African American music by Dutch musicians and the Letter ways this music has been integrated into the fabric of Dutch culture. The • From the Desk of the Director ...........................1 “The legacy of Ray In the Vault Charles is a reminder • Donations .............................1 of the importance of documenting and • Featured Collections: preserving the Nelson George .................2 achievements of Phyl Garland ....................2 creative artists and making this Arizona Dranes.................5 information available to students, Events researchers, Tribute.................................3 performers, and the • Ray Charles general public.” 1930-2004 photo by Beverly Parker (Nelson George Collection) photo by Beverly Parker (Nelson George Visiting Scholars reminder of the importance of docu- annotation component of this project is • Scot Brown ......................4 From the Desk menting and preserving the achieve- part of a joint initiative of Indiana of the Director ments of creative artists and making University and the University of this information available to students, Michigan that is funded by the On June 10, 2004, the world lost a researchers, performers, and the gener- Andrew W. -
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158. -
The Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas the the Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas the Dave Oliphant
Oliphant: The Wisconsin Texas Jazz Nexus The Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas The The Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas The Dave Oliphant The institution of slavery had, of course, divided the nation, and Chicago. Texas blacks had earlier followed the cattle trails and on opposite sides in the Civil War were the states of Wis- north, but, in the 1920s, they also felt the magnetic pull of consin and Texas, both of which sent troops into the bloody, entertainment worlds in Kansas City and Chicago that catered decisive battle of Gettysburg. Little could the brave men of the to musicians who could perform the new music called jazz that Wisconsin 6th who defended or the determined Rebels of the had begun to crop up from New Jersey to Los Angeles, beholden Texas Regiments who assaulted Cemetery Ridge have suspected to but superseding the guitar-accompanied country blues and that, one day, musicians of their two states would join to pro- the repetitive piano rags. The first jazz recordings had begun to duce the harmonies of jazz that have depended so often on the appear in 1917, and, by 1923, classic jazz ensembles had begun blues form that was native to the Lone Star State yet was loved performing in Kansas City, Chicago, and New York, led by such and played by men from such Wisconsin towns and cities as seminal figures as Bennie Moten, King Oliver, Fletcher Jack Teagarden, courtesy of CLASSICS RECORDS. Teagarden, Jack Fox Lake, Madison, Milwaukee, Waukesha, Brillion, Monroe, Henderson, and Duke Ellington. -
Boston Symphony Orchestra Concert Programs, Season 97, 1977-1978
97th SEASON BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA AI//J-/C Director . TRUST BANKING. A symphony in financial planning. Conducted by Boston Safe Deposit and Trust Company Decisions which affect personal financial goals are often best made in concert with a professional advisor. However, some situations require consultation with a number of professionals skilled in different areas of financial management. Real estate advisors . Tax consultants Estate planners . Investment managers To assist people with these needs, our venerable Boston banking institution has developed a new banking concept which integrates all of these professional services into a single program. The program is called trust banking. Orchestrated by Roger Dane, Vice President, 722-7022, for a modest fee. DIRECTORS Hans H. Estin George W. Phillips C. Vincent Vappi Vernon R. Alden Vice Chairman, North Executive Vice President, Vappi & Chairman, Executive American Management President Company, Inc. Committee Corporation George Putnam JepthaH. Wade Nathan H. Garrick, Jr. DvvightL. Allison, Jr. Chairman, Putnam Partner, Choate, Hall Chairman of the Board Vice Chairman of the Management & Stewart Board David C. Crockett Company, Inc. William W.Wolbach Donald Hurley Deputv to the Chairman J. John E. Rogerson Vice Chairman Partner, of the Board of Trustees Goodwin, Partner, Hutchins & of the Board Proctor and to the General & Hoar Wheeler Honorarv Director Director, Massachusetts Robert Mainer Henry E. Russell Sidney R. Rabb General Hospital Senior Vice President, President Chairman, The Stop & The Boston Company, F. Stanton Deland, Jr. Mrs. George L. Sargent Shop Companies, mc. Partner, Sherburne, Inc. Director of Various Powers & Needham William F. Morton Corporarions Director of Various Charles W. -
Selina Trieff
COVER FEATURE Selina Trieff “I’m on a Quest” By André van der Wende 36 PROVINCETOWNARTS 2012 volleys of productive activity despite her considerable physical disability. A recent rogue fall resulted in a broken ankle and six weeks of convalescence at Provincetown’s Seashore Point Wellness and Rehab Center. She took it in stride, bringing her drawing materials along and filling volumes of sketch- books with her muscular drawings of heads. “I did a whole book after book of these strange drawings and that was fine,” she says with typically dry understatement. The accident has necessitated a move from her spacious ground-floor studio, where she produced her large paintings, up to the smaller confines of the second floor. “I miss working big, really big,” she admits, referring to her large six-by-five-foot drawings and paintings, but concedes that the light up here is far superior—“just terrific.” So is the view, beyond the lum- beryard onto the teeming petri dish of Wellfleet’s Duck Creek. One of her sketchbooks is propped open at the drawing table, where she sits in an arm- chair surrounded on both sides by an arsenal of black Sharpies. She has only recently returned to painting, able to stand at her easel with minimal assis- tance, her brushes and paints pulled in close for easy access. An audience with Trieff is to bask in her sanguine presence while sharing in the benefits of her lifelong exploration of what makes a good painting. A direct line to art history, the inside of the large, white triple-decker house is like a trapezium museum of multiple rooms and hidden corners crammed A necessary tool in the creative act, articulation is an aggressive, expressive act in defiance of death itself. -
The Response of African Americans to the Nigerian Civil War, 1967-1970
‘Black America Cares’: The Response of African Americans to the Nigerian Civil War, 1967-1970 By James Austin Farquharson B.A, M.A (Research) A thesis submitted in fulfillment of the requirements of the degree of Doctor of Philosophy Faculty of Education and Arts Australian Catholic University 7 November 2019 Statement of Originality This thesis contains no material that has been extracted in whole or in part from a thesis that I have submitted towards the award of any other degree or diploma in any other tertiary institution. No other person’s work has been used without due acknowledgment in the main text of the thesis. ‘Black America Cares’: The response of African Americans to the Nigerian Civil War, 1967-1970 Abstract Far from having only marginal significance and generating a ‘subdued’ response among African Americans, as some historians have argued, the Nigerian Civil War (1967-1970) collided at full velocity with the conflicting discourses and ideas by which black Americans sought to understand their place in the United States and the world in the late 1960s. Black liberal civil rights leaders leapt to offer their service as agents of direct diplomacy during the conflict, seeking to preserve Nigerian unity; grassroots activists from New York to Kansas organised food-drives, concerts and awareness campaigns in support of humanitarian aid for Biafran victims of starvation; while other pro-Biafran black activists warned of links between black ‘genocide’ in Biafra and the US alike. This thesis is the first to recover and analyse at length the extent, complexity and character of such African American responses to the Nigerian Civil War. -
The George-Anne Student Media
Georgia Southern University Digital Commons@Georgia Southern The George-Anne Student Media 11-9-2006 The George-Anne Georgia Southern University Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/george-anne Part of the Higher Education Commons Recommended Citation Georgia Southern University, "The George-Anne" (2006). The George-Anne. 2027. https://digitalcommons.georgiasouthern.edu/george-anne/2027 This newspaper is brought to you for free and open access by the Student Media at Digital Commons@Georgia Southern. It has been accepted for inclusion in The George-Anne by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. Flag football tourney in town Saturday i HIATUS, P.I B Rock show at the Apex I HIATUS, P.IB Hey Hooligans Culture on display at We preview what to look for as the Saturday International Fest. Volume 79 I Number 57 basketball season nears I SPORTS, p.4A NEWS, p. 2A DAILY THE GEORGE THURSDAY, NOVEMBER Q,2006 CENTENNIAL MIDTERM ELECTIONS 190 6-2006 _ Band questioned Democrats' Day G-A ethics with HOUSE POWER musical lashing Democrats had a solid majority (232-203) Wednesday with By Casey Altman several seats still "Sr. staff writer undecided. The Eagles' Fight Song was writ- SENATE ten and performed for the first time by the Georgia Southern College POWER marching band in 1982, the year Democrats seemed that Coach Erk Russell resurrected poised to take control the Eagle football program. of the Senate (51-49) While Russell was preparing the with upset, but Eagles for their first flight, another close, wins in Missouri and Virginia. -
Latino/A Pop Music in the Cultural Mainstream
Denver Law Review Volume 78 Issue 4 Latcrit V Symposium - Class in LatCrit: Theory and Praxis in a World of Economic Article 12 Inequality December 2020 Will the World Survive: Latino/a Pop Music in the Cultural Mainstream Steven W. Bender Follow this and additional works at: https://digitalcommons.du.edu/dlr Recommended Citation Steven W. Bender, Will the World Survive: Latino/a Pop Music in the Cultural Mainstream, 78 Denv. U. L. Rev. 719 (2001). This Article is brought to you for free and open access by Digital Commons @ DU. It has been accepted for inclusion in Denver Law Review by an authorized editor of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. WILL THE WOLF SURVIVE?:* LATINO/A POP MUSIC IN THE CULTURAL MAINSTREAM STEVEN W. BENDER* 2 The American' news media dubbed 1999 as the year of the Latino based almost entirely on the runaway sales success3 and appeal4 of La- *. Titled after track number 11 of the same name from Los Lobos' debut album in 1984 How Will the Wolf Survive? Los LOBos, How WILL THE WOLF SURVIVE (Wea/Warner Bros. 1984). That track is an anthem of hope for cultural and spiritual survival in a challenging and changing America, as is the less hopeful Los Lobos tune One Time, One Night [In America] from 1987. Los LOBOS, One Time, One Night, on BY THE LIGHT OF THE MOON (Wea/Warner Bros. 1987). **. Associate Professor of Law, University of Oregon School of Law. Thanks to the partici- pants at LatCrit V where I presented this paper as part of the plenary Multi/Cultural Artistic Re/Presentations in Mass Media: Capitalism, Power, Privilege and Cultural Production. -
1V10-AGIS Nssi
1V10-AGIS nssi 41332 KY GREEN HAZEL H70 ACA) GREEN HAZEL SEPI ELCHANAN C A000209 REGRO 031 HAZE301 BCAO i1413?? introduction her 202, thaneverbefore in d high fidelity. So it may surprise you to learn how good Baxandall controls, though they're more the 202's AM section is. expensive than the simple attenuators most Sensitivity? 10 microvolts. Selectivity? 44 low-priced (and many high-priced) receivers dB. Image rejection? 40 dB. use,are a much better way of boosting or cut- Sounds more like FM than AM specifica- ting back bass and treble. tions, right? That's exactly what we had in mind. Besides bass and treble controls, the 202 Even on the 202, our lowest -priced AM / FM has an illuminated computer -type function stereo receiver, AM sounds almost as good as switch (AM, FM, phono, and two auxiliary func- FM mono. tions), a volume control, balance control, 100 watts is a lot of power for $249.95. speaker selector switch. And there's a loudness contour switch, FM muting switch, stereo/mono Technology has brought us a long way. We switch and a tape -monitor switch. can remember (and it wasn't so long ago) when In the back are jacks for almost every func- even the top receivers made didn't have as tion conceivable. much power as the new $249.95 Fisher 202. Power is important, not just to blast the The appearance. neighbors, but to drive today's watt -eating Some people think the new Fisher 202 is speakers at any volume level without strain. -
Előadó Album Címe a Balladeer Panama -Jewelcase- a Balladeer Where Are You, Bambi
Előadó Album címe A Balladeer Panama -Jewelcase- A Balladeer Where Are You, Bambi.. A Fine Frenzy Bomb In a Birdcage A Flock of Seagulls Best of -12tr- A Flock of Seagulls Playlist-Very Best of A Silent Express Now! A Tribe Called Quest Collections A Tribe Called Quest Love Movement A Tribe Called Quest Low End Theory A Tribe Called Quest Midnight Marauders A Tribe Called Quest People's Instinctive Trav Aaliyah Age Ain't Nothin' But a N Ab/Cd Cut the Crap! Ab/Cd Rock'n'roll Devil Abba Arrival + 2 Abba Classic:Masters.. Abba Icon Abba Name of the Game Abba Waterloo + 3 Abba.=Tribute= Greatest Hits Go Classic Abba-Esque Die Grosse Abba-Party Abc Classic:Masters.. Abc How To Be a Zillionaire+8 Abc Look of Love -Very Best Abyssinians Arise Accept Balls To the Wall + 2 Accept Eat the Heat =Remastered= Accept Metal Heart + 2 Accept Russian Roulette =Remaste Accept Staying a Life -19tr- Acda & De Munnik Acda & De Munnik Acda & De Munnik Adem-Het Beste Van Acda & De Munnik Live Met Het Metropole or Acda & De Munnik Naar Huis Acda & De Munnik Nachtmuziek Ace of Base Collection Ace of Base Singles of the 90's Adam & the Ants Dirk Wears White Sox =Rem Adam F Kaos -14tr- Adams, Johnny Great Johnny Adams Jazz.. Adams, Oleta Circle of One Adams, Ryan Cardinology Adams, Ryan Demolition -13tr- Adams, Ryan Easy Tiger Adams, Ryan Love is Hell Adams, Ryan Rock'n Roll Adderley & Jackson Things Are Getting Better Adderley, Cannonball Cannonball's Bossa Nova Adderley, Cannonball Inside Straight Adderley, Cannonball Know What I Mean Adderley, Cannonball Mercy -
The Evolution of the Jazz Vocal Song: What Comes After the Great American Song Book?
University of Huddersfield Repository Thomas, Robin The evolution of the jazz vocal song: what comes after the Great American Song Book? Original Citation Thomas, Robin (2013) The evolution of the jazz vocal song: what comes after the Great American Song Book? Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/19275/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ School of Music and Music Technology MA by Research Dissertation The evolution of the jazz vocal song: what comes after the Great American Song Book? Robin Thomas U1078561 28 June 2013 Supervisor: Geoffrey Cox 1 2 TABLE OF CONTENTS PAGE Preface 3 Abstract 4 CHAPTER ONE: Introduction 5 1.1 Background including