Références Bibliographiques « Le Jazz En France D'hier Et D'aujourdhui »

Total Page：16

File Type：pdf, Size：1020Kb

Références bibliographiques « Le jazz en France d'hier et d'aujourdhui » Les poilus de Harlem « L'epopee des hellfighters dans la Grande Guerre » De Thomas Saintourens - Éditions Tallandier Une histoire du jazz en France Tome 1 : du milieu du XIXe siecle a 1929 De Laurent Cugny Collection Jazz en France - Éditions Outre Mesure New Orleans sur Seine Histoire du jazz en France De Ludovic Tournes - Éditions Fayard Hugues Panassie « L'oeuvre panassiéenne et sa réception » De Laurent Cugny Collection Jazz en France - Éditions Outre Mesure Josephine Baker De Jacques Pessis Collection Folio biographies - Éditions Folio Références des extraits audios et vidéos « Le jazz en France d'hier et d'aujourdhui » James Reese et les Hell Fighters Menphis blue Louis Mitchell's jazz king Pathé 1921 – 1922 / 3 titres : J'en ai marre / Sheik of Arabia / Dans la vie faut pas s'en faire Darius Mihlaud « La création du monde » 1923 …/.. Josephine Baker Extrait vidéo « La sirene des tropiques » 1927 Gregor Kelekian Gregor et ses Gregoriens Columbia DF 48 1930 « Je chante sous la pluie » Ray Ventura et ses collegiens Extrait vidéo « Le nez de Cléopatre » 1938 Quintette du Hot Club de France Minor swing - 1937 Alix Combelle et le Jazz de Paris - Hier et aujourd'hui (Sent For You Yesterday) – Paris 1941 The Be-bop Minstrels Hubert Fol Swingin' At the Lutétia de Allan Jeffreys Paris 1947 - Premier groupe de be-bop en France Hubert Fol sax alto Emmanuel Soudieux contrebasse André Persiany piano Jack Carmen trombone Benny Bennet batterie Alan Jeffreys trompette Miles Davis « Ascenseur pour l'échafaud » bande Annonce 1957 Pierre Michelot contrebasse Barney Wilen saxophone René Urtreger piano Kenny Clarke Batterie Christian Chevallier et Stephanie Weis : Fiction Andre Hodeir Jazz et jazz Extrait de l'album éponyme Emmanuel Soudieux contrebasse Richie Frost batterie Martial Solal piano Roger Guérin trompette Sons cassettes pré-enregistrées et travaillés. Les doubles six Tickle Toe - Le Racket Et Les Balles Album: Les Double Six Music: Lester Young French Lyrics: Mimi Perrin Claudine Barge, Jean- Claude Briodin, Claude Germain, Eddy Louiss, Mimi Perrin & Ward Swingle (voc) Georges Arvanitas (p), Michel Gaudry (b), Daniel Humair (d), Paul Piguilhem (g) Paris, late 1961 .

Copy Link

Recommended publications

Biography-George-ROBERT.Pdf
George ROBERT Born on September 15, 1960 in Chambésy (Geneva), Switzerland, George Robert is internationally reCognized as one of the leading alto saxophonists in jazz today. He started piano at a very early age and at age 10 he began Clarinet lessons at the Geneva Conservatory with LuC Hoffmann. In 1980 he moved to Boston and studied alto saxophone with Joe Viola at the Berklee College of MusiC. In 1984 he earned a Bachelor of Arts in Jazz Composition & Arranging and moved to New York where he enrolled at the Manhattan SChool of MusiC. He studied with Bob Mintzer and earned a Master’s Degree in Jazz PerformanCe in 1987. He played lead alto in the Manhattan SChool of MusiC Big Band for 2 years, whiCh earned in 1985 the 1st Prize in the College Big Band Category in the Down Beat Magazine Jazz Awards In July 1984 he performed on the main stage of the Montreux Jazz Festival and earned an Outstanding PerformanCe Award from Down Beat Magazine. In 1985 & 1986 he toured Europe extensively. In 1987 he met Tom Harrell and together they founded the George Robert-Tom Harrell Quintet (with Dado Moroni, Reggie Johnson & Bill Goodwin). The group Completed 125 ConCerts worldwide between 1987 & 1992, and reCorded 5 albums. He remained in New York City and free-lanCed for 7 years, playing with Billy Hart, Buster Williams, the Lionel Hampton Big Band, the Toshiko Akiyoshi-Lew Tabackin Jazz OrChestra, Joe Lovano, and many others. He met Clark Terry and started touring with him extensively, Completing a 16- week, 65-ConCert world tour in 1991.
[Show full text]
Disco Gu”Rin Internet
ISCOGRAPHIE de ROGER GUÉRIN D Par Michel Laplace et Guy Reynard ● 45 tours ● 78 tours ● LP ❚■● CD ■●● Cassette AP Autre prise Janvier 1949, Paris 3. Flèche d’Or ● ou 78 Voix de son Maitre 5 février 1954, Paris Claude Bolling (p), Rex Stewart (tp), 4. Troublant Boléro FFLP1031 Jacques Diéval et son orchestre et sex- 5. Nuits de St-Germain-des-Prés ● ou 78 Voix de son Maitre Gérard Bayol (tp), Roger Guérin (cnt), ● tette : Roger Guérin (tp), Christian Benny Vasseur (tb), Roland Evans (cl, Score/Musidisc SCO 9017 FFLP10222-3 Bellest (tp), Fred Gérard (tp), Fernard as), George Kennedy (as), Armand MU/209 ● ou 78 Voix de son Maitre Verstraete (tp), Christian Kellens (tb), FFLP10154 Conrad (ts, bs), Robert Escuras (g), Début 1953, Paris, Alhambra « Jazz André Paquinet (tb), Benny Vasseur Guy de Fatto (b), Robert Péguet (dm) Parade » (tb), Charles Verstraete (tb), Maurice 8 mai 1953, Paris 1. Without a Song Sidney Bechet avec Tony Proteau et son Meunier (cl, ts), Jean-Claude Fats Sadi’s Combo : Fats Sadi (vib), 2. Morning Glory Orchestre : Roger Guérin (tp1), Forhenbach (ts), André Ross (ts), Geo ● Roger Guérin (tp), Nat Peck (tb), Jean Pacific (F) 2285 Bernard Hulin (tp), Jean Liesse (tp), Daly (vib), Emmanuel Soudieux (b), Aldegon (bcl), Bobby Jaspar (ts), Fernand Verstraete (tp), Nat Peck (tb), Pierre Lemarchand (dm), Jean Paris, 1949 Maurice Vander (p), Jean-Marie Guy Paquinet (tb), André Paquinet Bouchéty (arr) Claude Bolling (p), Gérard Bayol (tp), (tb), Sidney Bechet (ss) Jacques Ary Ingrand (b), Jean-Louis Viale (dm), 1. April in Paris Roger Guérin (cnt), Benny Vasseur (as), Robert Guinet (as), Daniel Francy Boland (arr) 2.
[Show full text]
The Singing Guitar
August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW.
[Show full text]
100 Titres Sur Le JAZZ — JUILLET 2007 SOMMAIRE
100 TITRES SUR LE JAZZ À plusieurs époques la France, par sa curiosité et son ouverture à l’Autre, en l’occurrence les hommes et les musiques de l’Afro-Amérique, a pu être considérée, hors des États-Unis, comme une « fille aînée » du juillet 2007 / jazz. Après une phase de sensibilisation à des « musiques nègres » °10 constituant une préhistoire du jazz (minstrels, Cake-walk pour Debussy, débarquement d’orchestres militaires américains en 1918, puis tour- Hors série n nées et bientôt immigration de musiciens afro-américains…), de jeunes pionniers, suivis et encouragés par une certaine avant-garde intellectuelle et artistique (Jean Cocteau, Jean Wiener…), entrepren- / Vient de paraître / nent, dans les années 1920, avec plus de passion que d’originalité, d’imiter et adapter le « message » d’outre-Atlantique. Si les traces phonographiques de leur enthousiasme, parfois talentueux, sont qua- CULTURESFRANCE siment inexistantes, on ne saurait oublier les désormais légendaires Léon Vauchant, tromboniste et arrangeur, dont les promesses musica- les allaient finalement se diluer dans les studios américains, et les chefs d’orchestre Ray Ventura, (qui, dès 1924, réunissait une formation de « Collégiens ») et Gregor (Krikor Kelekian), à qui l’on doit d’avoir Philippe Carles Journaliste professionnel depuis 1965, rédacteur en chef de Jazz Magazine (puis directeur de la rédaction à partir de 2006) et producteur radio (pour France Musique) depuis 1971, Philippe Carles, né le 2 mars 1941 à Alger (où il a commencé en 1958 des études de médecine, interrompues à Paris en 1964), est co-auteur avec Jean-Louis Comolli de Free Jazz/Black Power (Champ Libre, 1971, rééd.
[Show full text]
Flamenco Sketches”
Fyffe, Jamie Robert (2017) Kind of Blue and the Signifyin(g) Voice of Miles Davis. PhD thesis. http://theses.gla.ac.uk/8066/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten:Theses http://theses.gla.ac.uk/ [email protected] Kind of Blue and the Signifyin(g) Voice of Miles Davis Jamie Robert Fyffe Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow October 2016 Abstract Kind of Blue remains one of the most influential and successful jazz albums ever recorded, yet we know surprisingly few details concerning how it was written and the creative roles played by its participants. Previous studies in the literature emphasise modal and blues content within the album, overlooking the creative principle that underpins Kind of Blue – repetition and variation. Davis composed his album by Signifyin(g), transforming and recombining musical items of interest adopted from recent recordings of the period. This thesis employs an interdisciplinary framework that combines note-based observations with intertextual theory.
[Show full text]
Jazz Sur Le Vif
Jazz sur le vif ÉMILE PARISIEN & VINCENT PEIRANI DUO DANIEL HUMAIR QUARTET SAMEDI 9 JUIN 20H Daniel Humair © Olivier Degen En soixante ans de carrière, depuis son arrivée à Paris en 1958, Daniel Humair a joué avec toute la planète jazz. En quartette avec trois interlocuteurs aussi créatifs que virtuoses, le trompettiste Fabrice Martinez, le guitariste Marc Ducret et le contrebassiste Bruno Chevillon, le batteur célèbre ce soir son quatre-vingtième anniversaire. Et pour que la fête soit complète, deux de ses jeunes partenaires préférés, le saxophoniste Émile Parisien et l’accordéoniste Vincent Peirani, ouvrent la soirée. ÉMILE PARISIEN/VINCENT PEIRANI DUO Daniel Humair a côtoyé et travaillé avec des artistes légendaires comme Don Byas, Émile Parisien saxophone soprano Lucky Thompson, Kenny Dorham, Bud Powell, Oscar Pettiford, Chet Baker ou Eric Vincent Peirani Dolphy. Depuis la fin des années 1950, Daniel Humair multiplie les collaborations accordéon ponctuelles et de longue date avec, notamment, le pianiste René Urtreger et le contrebassiste Pierre Michelot (le célèbre trio HUM), le pianiste Martial Solal, ou - Entracte - encore le violoniste Jean-Luc Ponty et l’organiste Eddy Louiss avec lesquels il forme le trio HLP. Le trio qu’il réunit ensuite avec François Jeanneau et Henri Texier est DANIEL HUMAIR QUARTET considéré comme l’un des catalyseurs de la nouvelle scène du jazz en France dans les années 70. Tout en continuant sa carrière de free-lance, Daniel Humair Daniel Humair batterie invente, avec Joachim Kühn et Jean-François Jenny-Clark, un trio équilatéral qui Fabrice Martinez trompette lui permet de développer pleinement sa conception de la batterie et son activité de compositeur.
[Show full text]
Enrico Crolla “Henri”
1 The GUITAR of ENRICO CROLLA “HENRI” Solographers: Christian Dangleterre & Jan Evensmo Last update: June 20, 2020 2 Born: Napoli (Naples), Italy, Feb. 26, 1920 Died: Paris, Oct. 17, 1960 Introduction: What Oslo Jazz Circle knew about French jazz when I grew up there can be summed up with one name: Django Reinhardt. It took my good friend and guitarist Jon Larsen, the motor and godfather behind the string swing rejuvenation in the 1980s, to point out that France had so much more to offer with regard to jazz guitar. Henri Crolla is a perfect example! History: Born to a family of itinerant Neapolitan musicians, he moved with his family to Porte de Choisy in France 1922 following the rise of fascism in Italy. One of his neighbours was a young Django Reinhardt, with whose family he became close. He died in Paris from lung cancer (ref. Wikipedia). 3 HENRI CROLLA SOLOGRAPHY JOSEPH REINHARDT ET SON ENSEMBLE Paris, April 1944 Claude Laurence alias Andre Hodeir (vln), Joseph Reinhardt solo (g), G.Milpat alias Henri Crolla (g), Marcel Fabre (b), Pierre Fouad (dm), Odette Pacou (vo). Two titles were recorded for French Decca, but no guitar soli by HC. LEO CHAULIAC TRIO Paris, July 2-4, 1946 Leo Chauliac (p), Henri Crolla (g), Emmanuel Soudieux (b). Gerard Levecque (cl), Pierre Fouad (dm) added on some titles. Fourteen titles were recorded for French Pacific 5000-5006, four have been available (5003-5004): 1544-2 Three Little Beans Solo 32 bars. (FM) 1545-2 Bouncing Boogie Woogie Solo 24 bars. (M) 1547-2 Margie Solo 32 bars.
[Show full text]
Name Year Date Place Year Date Place Adolphe Sax 1814 11.06
Name Birthday Deathday Year Date Place Year Date Place Adolphe Sax 1814 11.06 Dinant, Belgium 1894 2.07 Paris, France Victor Herbert 1859 2.01 Dublin, Ireland 1924 5.26 New York, NY Scott Joplin 1868 11.24 Bowie City, TX 1917 4.01 New York, NY Otto Harbach 1873 8.18 Salt LakeCity, UT 1963 1.24 New York, NY William C. Handy 1873 11.16 Muscle Shoals, AL 1958 3.28 New York, NY Fred Fisher 1875 9.3 Cologne, Germany 1942 1.14 New York, NY Buddy Bolden 1877 9.06 New Orleans, LA 1931 11.04 Jackson, LA Mamie Smith 1883 5.26 Cincinnati, OH 1946 8.16 New York, NY Isham Jones 1884 1.31 Coalton, OH 1956 10.19 Hollywood, FL Jerome Kern 1885 1.27 New York, NY 1945 11.11 New York, NY King Oliver 1885 5.11 New Orleans, LA 1938 4.08 Savannah, GA Art Hickman 1886 6.13 Oakland, CA 1930 1.16 San Francisco, CA Gus Kahn 1886 11.06 Coblentz, Germany 1941 10.08 Beverly Hills, CA Kid Ory 1886 12.25 La Place, LA 1973 1.23 Honolulu, HI Ma Rainey 1886 4.26 Columbus, GA 1939 12.22 Columbus, GA Luckey Roberts 1887 8.07 Philadelphia, PA 1968 2.05 New York, NY Irving Berlin 1888 5.11 Tumen, Russia 1989 9.22 New York, NY Tom "Red" Brown 1888 6.03 New Orleans, LA 1958 3.25 New Orleans, LA Freddie Keppard 1889 2.27 New Orleans, LA 1933 12.21 Chicago, IL Nick LaRocca 1889 4.11 New Orleans, LA 1961 2.22 New Orleans, LA Jelly Roll Morton 1890 10.2 New Orleans, LA 1941 7.1 Los Angeles, CA Paul Whiteman 1890 4.28 Denver, CO 1967 12.29 New Hope, PA Cole Porter 1891 6.09 Peru, IN 1964 10.15 Santa Monica, CA Fred E.
[Show full text]
Vocal Ecosystems Beyond Pedagogy: Working with Challenges
Literacy Information and Computer Education Journal (LICEJ), Special Issue, Volume 4, Issue 1, 2015 Vocal Ecosystems Beyond Pedagogy: Working With Challenges Jeri Brown Concordia University Canada Abstract Knowledge of vocal improvised music, whether demonstrated in the communication of the two demonstrated by high or low obscure pitch sounds, principal artists. The use of tone matching also the beating of the chest while making music sounds, stimulates the harmonic musical language and mood vocal pitch matching or vocal animation with or in this piece. In both pieces, composer, trumpet and without the use of technology, has paved the way for flugelhorn player Kenny Wheeler creates poetic a steady stream of vocal artists through the years, artistry with voice, tenor and arranged orchestra. each dedicated to vocal exploration. While jazz vocal Horn and voice are well suited to the complex improvisation appears on the surface to involve few material fusing personas in the signature over or no rules, it is a form of communication between layering of cadenzas that reoccur in his works with a artist and listener, where the artist adheres to a set focus on emotion and sentiment [4]. of rules or principles. Here the jazz improviser is The use of vocal language and musical treated as part of an ecosystem, a concept in the intelligence in improvisation creates added biological sciences that comprises a set of stimulation in the improvised vocal delivery. interacting organisms and environments in a particular place. Within the jazz vocal 2. Characteristics of jazz vocal improvisational ecosystem there are various roles, improvisation approaches and activities.
[Show full text]
Neuzugänge Lieber Kunde, Diese Nachfolgende Liste Haben Wir Neu
Sonderposten https://www.deepgroove-schallplatten.de/web/de/sonderposten.afp Neuzugänge Lieber Kunde, diese nachfolgende Liste haben wir neu hereinbekommen. Bitte beachten Sie, diese Liste ist nicht in unserem Shopsystem integriert! Bestelllungen bitte per E-Mail, Telefon oder per Post. Labelbeschreibung und Abkürzungsverzeichnis Nummer: Interpret: Titel: Preis (€): 0 -More chords- 1969 w/ Woode,Clare. MPS 15032 (17) F M-/M- N0108 Buckner, Milt 19 ST; GLANZ-FOC -More chords- 1969 w/ Woode,Clare. MPS 15 237ST (47/V) D N0110 Buckner, Milt 26 VG++/M- ST; GLANZ-FOC N0111 Buckner, Milt Trio -Locked hands- MPS 15 199ST (47/V) D M--/M-- ST; GLANZ-FOC 20 -Play chords- 1966 w/Woode,Joe Jones. pink Saba SB 15 110ST N0112 Buckner, Milt Trio 16 M--/M-- ST; GLANZ-FOC -Play chords- 1966 w/Woode,Joe Jones. Saba SB 15 110ST (89/V) N0113 Buckner, Milt Trio 29 Erstausgabe mit Tannenbaum, M--/M-- ST; GLANZ-FOC -For all we know/Recorded live at Basin Street West,S.F.- 1971 N0116 Byrd, Charlie 20 w/Airto Moreira,etc. Columbia G 30622 (165) DOLP US M-/M- ST -The guitar artistry of- w/Keter Betts,Buddy Deppenschmidt. N0117 Byrd, Charlie 35 Riverside OLP 3007 (115/V) Mono NL VG++/M-; GLANZ -Guitars- rec.1975 w/Mariano, van´t Hof a.o. Atlantic 50193 D N0125 Catherine, Philip 16 M--/M-- ST -Live at the Berlin Philharmonie, with J.A.Rettenbacher, Intercord N0132 Cicero, Eugen 20 28779-7/1-2, DoLP, DE M-/VG++ -Klavierspielereien- w/Witte,Antolini. MPS 12 005ST (47/V/transition N0133 Cicero, Eugen 28 lbl.) D M--/M- ST; GLANZ -Klavierspielereien- w/Witte,Antolini.
[Show full text]
Joe Henderson: a Biographical Study of His Life and Career Joel Geoffrey Harris
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-5-2016 Joe Henderson: A Biographical Study of His Life and Career Joel Geoffrey Harris Follow this and additional works at: http://digscholarship.unco.edu/dissertations © 2016 JOEL GEOFFREY HARRIS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School JOE HENDERSON: A BIOGRAPHICAL STUDY OF HIS LIFE AND CAREER A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Joel Geoffrey Harris College of Performing and Visual Arts School of Music Jazz Studies December 2016 This Dissertation by: Joel Geoffrey Harris Entitled: Joe Henderson: A Biographical Study of His Life and Career has been approved as meeting the requirement for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies Accepted by the Doctoral Committee __________________________________________________ H. David Caffey, M.M., Research Advisor __________________________________________________ Jim White, M.M., Committee Member __________________________________________________ Socrates Garcia, D.A., Committee Member __________________________________________________ Stephen Luttmann, M.L.S., M.A., Faculty Representative Date of Dissertation Defense ________________________________________ Accepted by the Graduate School _______________________________________________________ Linda L. Black, Ed.D. Associate Provost and Dean Graduate School and International Admissions ABSTRACT Harris, Joel. Joe Henderson: A Biographical Study of His Life and Career. Published Doctor of Arts dissertation, University of Northern Colorado, December 2016. This study provides an overview of the life and career of Joe Henderson, who was a unique presence within the jazz musical landscape. It provides detailed biographical information, as well as discographical information and the appropriate context for Henderson’s two-hundred sixty-seven recordings.
[Show full text]
2018 Program Book 2007 Conference Program.Qxd
Alabama A&M University Choir The Alabama A&M University Choir, directed by Dr. Horace Carney, provides students with the opportunity to experience participation in a cooperative activity. Emphasis is placed on fundamental vocal training, posture, breathing, sight-reading, expressive interpretation and tone development. The choir performs for campus convocations, off-campus concerts, religious services, radio and television appearances as well as a Christmas Musicale and spring concert. There is a prerequisite for participation: students must have had some experience in a high school choir or ensemble. Dr. Horace R. Carney, Jr. was born in Nashville, Tennessee but grew up in Tuskegee, Alabama. He graduated with honors from Tuskegee Institute High School fourth in his class. His post-secondary education includes a Bachelor of Arts in Music at Fisk University (magna cum laude), Master of Arts in Music Theory at the Eastman School of Music as a Woodrow Wilson Fellow, and the Doctor of Philosophy in Music Theory from the University of Iowa. He has attended choral workshops at Potsdam Choral Institute, Sarasota, New York, University of South Florida, and Georgia State University. Dr. Carney’s career in music began in elementary school and continued through high school as a member of the choir, pianist, and leader of a dance band. While in high school, he studied at Tuskegee Institute with Lexine Weeks, Charlotte Giles, and Hildred Roach. His studies continued at Fisk University as a music major, a member of the university choir and the renowned Fisk Jubilee Singers for four years. His professional career includes Talladega College where he served for fourteen years as Choral Director and Acting Chairman of the Music Department, Lincoln University, Lincoln, PA; Coordinator of Choral Activities and Chairman of the Humanities Division for three years; and Sixth Avenue Baptist Church, where he served as Minister of Music and Coordinator of Cultural Affairs.
[Show full text]