DOCSLIB.ORG

Thanks for a Wonderful Concert

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Thanks for a Wonderful Concert NN eewwss && NNootteess Building Community One Song at a Time March 22, 2012 Week 6 MARK YOUR CALENDARS FOR THESE UPCOMING EVENTS… THE INSIDE SCOOP… Here’s a little background information about Rick Krizman, the composer of “Remember Me” as well as March 25 3:00 Sectionals / Bass the producer of many of our published CDs. Read on to March 29 10:00 Solo Audition: learn a little about how he came to write “Remember Me” Baba Yetu as well as how he became involved with ACC! Sukla-Krsne In Rick’s own words… APRIL 5 NO REHEARSAL I was raised in suburban Kansas City but left when I was April 12 10:00 Solo Audition: 17 to attend college on the east coast and never really Dry Your Tears looked back. Now every Christmas I visit my parents and Remember Me extended family in KC, and it was on a plane ride back to Los Angeles that I wrote most of "Remember Me". I QUOTE OF THE WEEK fleshed it out at the piano a few days later--it came very quickly. The "Road Home" CD was in planning stages, Without music to decorate it, Time is just a but I didn't consciously write it for the project. bunch of boring production deadlines or dates by which bills must be paid. Songs really have a life of their own and sometimes you can put too fine a point on what they're really about, but ~Frank Zappa I'll try. When I got out of college I turned my back on a possible career in academia and became a musician and Angel City Chorale News & Notes is also available on our web site: songwriter. It was a tenuous path and I came close to www.angelcitychorale.org tipping off the edge many times. I became alienated from my family and from the mainstream of life. Later I found Editor: Gail Levy Lead Contributor: Deborah Bogen some mainstream success but as I grew a career as a Printed by: commercial composer I ultimately became alienated from PREMIER PRINT AND DESIGN my own muse and believe I was feeling a sense of Larry and Charlotte Lechlak chronic loss and "homelessness". Newsletter items are due by NOON, Meanwhile, the more I learned about actual Tuesday. If you have ACC info, articles, or homelessness the more I realized the fine line that personal items (printed when space permits) separated me, and maybe all of us, from the people in to contribute to the newsletter, please send to Gail by e-mail: [email protected] the street. Perhaps the song is about falling off the path in a broader sense that embraces not only literal Note: The Angel City Chorale is not homelessness but also the sense of loss or alienation responsible for any misinformation in the personals. March 22, 2012 Angel City Chorale News & Notes 2 that I believe we all suffer from at times. BIRTHDAYS Ultimately our recording of "The Road Home" was a time of recovery for me, and the times I spent sitting in front of the choir with my eyes We have lots of closed with the beautiful voices washing over people to sing to this me were profound moments of personal week whose birthdays are salvation. coming up before our next rehearsal! I first heard the choir at an open mic night at Joyce Linder March 22 McCabe's. I was there to hear a friend's Mariann Santora March 22 teenage punk band, (which was predictably Winifred Neisser March23 awful.) But afterwards the stage was adorned Pilar Kuhn March 25 with a couple dozen singers whose version of Chris Harrott March 26 Why Walk When You Can Fly touched me to Tom O’Neill March 26 the core. It was like hearing a bunch of best Lynn Jordan March 27 friends singing around a campfire. I was thrilled to find that a mediocre tenor/baritone such as * * * * me could join this heart felt ensemble and so I signed right up. (1996?) I subsequently produced a recording with the choir, a Christmas recording, at Mt. Olive By Deborah Bogen church. We didn't release this, but some cuts This week’s AOTW is Nancy Felixson, Alto. appeared later on the Chanukah CD. I later In Nancy’s own words… produced the "Why Walk" album as well as "Gift of the Angels". I stopped singing with the choir I was born and raised in Los Angeles; I regularly after a few years but "grandfathered" attended Bellagio Road Elementary School, myself in for the DNC 2000 convention and the Emerson Jr. High School, University High Christmas gig at Disney Hall with the Mancini School and UC-Santa Cruz (class of '75). orchestra. I've also occasionally played There was always music in our home and my keyboards for the concerts. parents took us to the stage productions of "Man of La Mancha" and "Fiddler on the Roof" * * * * so I developed a love for musical theater at a SNACKS! young age. SNACKS! Dad loved to sing along with all the soundtrack SNACK S! recordings, as well as with his favorite songs by Frank Sinatra and Robert Goulet. My older sister listened to the Rock n' Roll Snack Team for March 29th crooners of the late '50s and early 60's like Gordon Glor Hiromi Lathrop Ricky Nelson, Dion, Brian Hyland ... and then, Grainne Ward Hui Lim of course, the Beatles, the Beach Boys and the Harry Eden Jackie Murphy Rolling Stones. She also played folk records by Heather Jaramillo Jane Hope Bob Dylan and Joan Baez. In fact, in 1963 my Helen Iammarino folks took us to hear Joan Baez with special guest Bob Dylan in concert at the Hollywood March 22, 2012 Angel City Chorale News & Notes 3 Bowl. What a thrill for a 10-year old kid! continue to play almost 50 years later. In addition to guitar, I also play electric bass, My 2nd grade teacher taught an after-school ukulele, a bit of mandolin, old-time banjo, Autoharp class. The first songs I learned to play dulcimer, hammered dulcimer & jawharp. were "Lavender Blue" and "Tom Dooley". In 7th grade my music appreciation teacher was In the late '80's I played string bass and sang none other than ACC's own Carol Reich. I tenor in a bluegrass band. Over the decades, I remember Carol as very energetic and have been in old-time string bands & folk-rock- encouraging.... and I was a member of the blues bands, and have occasionally Madrigal group and Girl's Glee under her accompanied singer/songwriters at various direction. clubs. Of course, I loved the Beatles ... even saw them From 1963 thru 1971 I attended Camp Hess on Ed Sullivan. My favorite was Paul ("the cute Kramer in Malibu. I always brought my guitar one"). with me and took guitar classes whenever they were offered. There was always "group singing" I listened a lot to the Rolling Stones in my early after meals. When I joined the staff as a teens. In the late '60's and early '70's (my counselor-in-training and then as a Junior "musically formative" years) I also listened to Counselor, my friends and I would jam for hours Joan Baez, Judy Collins, Laura Nyro, Linda after the campers were asleep. Ronstadt, Simon and Garfunkel, Cat Stevens, Buffalo Springfield, the Byrds, CSN&Y, the In my first year at college, I took a great class Who, Creedence Clearwater Revival, James called "The Anthology of American Folk Taylor, Carole King and Joni Mitchell. Music”, that changed my life. Because of that Living in Los Angeles, I had the great good class, I developed a love for early Country and fortune to see many of those artists in concert Old Timey and Bluegrass music. The first at such venues as the Greek Theatre, the assignment was to go the Music Library and Hollywood Bowl and the Troubadour. listen to the "Anthology of American Music", a great collection of recorded music from 1926- In 1973 and 1974 I worked at the Hollywood 1932. This was my earliest exposure to Cajun Bowl as an usher. The greatest benefit of that and Zydeco music, as well as Shape-Note job was the opportunity to hear truly world-class Sacred Harp songs, the Carter Family and the performers from many different genres such as: Cannon Jug-Stompers. Beverly Sills, Ella Fitzgerald, Stevie Wonder, Elton John, Roger Miller, Marty Robbins, Merle In addition, I enrolled in other college courses Haggard, Aretha Franklin, Sly and the Family that could only have been offered at UC-Santa Stone, Jackson Browne, the Grateful Dead, and Cruz in the early '70's: "Contemporary Musical the L.A. Philharmonic Orchestra. Subcultures in American Society" (basically a history of Rock and R&B) and "Women in I guess you could ascribe my interest in playing American Music" (my introduction to early guitar to sibling rivalry. When my sister started "feminist" recording artists Cris Williamson, taking guitar lessons in 1963, I asked my Margie Adam, Meg Christian).I also played in parents to buy a guitar for me, too. They were the Gamelan orchestra (music of Sunda, nice enough to indulge me in a guitar and Western Java) and had a chance to try my lessons.... and then they bought guitars and hand at the Saz (a Turkish instrument). started taking lessons, too. As it turned out, I was the only one who kept up with it.... and I Because I have worked at McCabe's Guitar March 22, 2012 Angel City Chorale News & Notes 4 Shop since 1978, I first learned about ACC in combinations.
Load more

Recommended publications
  • FY14 Tappin' Study Guide
    Student Matinee Series Maurice Hines is Tappin’ Thru Life Study Guide Created by Miller Grove High School Drama Class of Joyce Scott As part of the Alliance Theatre Institute for Educators and Teaching Artists’ Dramaturgy by Students Under the guidance of Teaching Artist Barry Stewart Mann Maurice Hines is Tappin’ Thru Life was produced at the Arena Theatre in Washington, DC, from Nov. 15 to Dec. 29, 2013 The Alliance Theatre Production runs from April 2 to May 4, 2014 The production will travel to Beverly Hills, California from May 9-24, 2014, and to the Cleveland Playhouse from May 30 to June 29, 2014. Reviews Keith Loria, on theatermania.com, called the show “a tender glimpse into the Hineses’ rise to fame and a touching tribute to a brother.” Benjamin Tomchik wrote in Broadway World, that the show “seems determined not only to love the audience, but to entertain them, and it succeeds at doing just that! While Tappin' Thru Life does have some flaws, it's hard to find anyone who isn't won over by Hines showmanship, humor, timing and above all else, talent.” In The Washington Post, Nelson Pressley wrote, “’Tappin’ is basically a breezy, personable concert. The show doesn’t flinch from hard-core nostalgia; the heart-on-his-sleeve Hines is too sentimental for that. It’s frankly schmaltzy, and it’s barely written — it zips through selected moments of Hines’s life, creating a mood more than telling a story. it’s a pleasure to be in the company of a shameless, ebullient vaudeville heart.” Maurice Hines Is .
    [Show full text]
  • 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.................................................................
    [Show full text]
  • The Uuiversitj Musical Souietj of the University of Michigan
    The UuiversitJ Musical SouietJ of The University of Michigan Presents ANN ARBOR THE PHILADELPHIA ORCHESTRA E UGENE ORMANDY , Music Director and Conduct01' WILLIAM SMITH, Assistant Conductor EUGENE ORMANDY, Conducting Soloist BEVERLY SILLS, Soprano SATURDAY EVENING , MAY 4, 1974, AT 8 :30 HILL AUDITORIUM , ANN ARBOR , MICHIGAN PROGRAM Five Pieces for Small Orchestra, Op. 42 SHOSTAKOVI CH Moderato Andante Largo Moderato Allegretto Symphony No. 88 in G major HAYDN Adagio; allegro La rgo Menuetto : a llegretto Allegro con spirito Motet, "Exsultate, jubilate," K. 165 MOZART Exsul tate, jubilate Tu virginum corona Fulge t arnica di es .-\lIelu ja BEVERL Y S ILLS IN TERiVIISSION " Depuis Ie jour," fr om Louise CHARPENTIER Fin al Scene from Anna Bolena DON IZETTl MISS SILLS ';'Roman Festivals R ESPIGHI *A vailable on Columbia R ecords RCA R ed Seal F ourth Concert Eighty-first Annua l May Festi n ll Complete Conce rts 3885 PROGRAM NOTES by G LENN D. MCGEOCH Five Pieces for Small Orchestra, Op. 42 DMITRI SHOSTAKOVICH (1906- ) The Fi ve Pieces, written by Shostakovich at the age of twenty-nine, were never mentioned or listed among his major works, until Ivan M artynov, in a monograph ( 1947) referred to them as "Five Fragments for Orchestra, 193 5 manuscript, op. 42." A conflict, which had begun to appear between the compose r's natura l, but advanced expression, and the Soviet official sanction came to a climax in 1934 wh en he produced his "avant guarde" opera Lady Ma cbeth of Mzensk. He was accuse d of "deliberate musical affectation " and of writing "un Soviet, eccent ric music, founded upon formalistic ideas of bourge ois musical conce ptions." Responding to this official castigation, he wrote a se ries of short, neoclassic, understated works, typical of the Fi ve Pieces on tonight's program.
    [Show full text]
  • Prefaces to Scalia/Ginsburg: a (Gentle) Parody of Operatic Proportions
    WANG, SCALIA/GINSBURG: A (GENTLE) PARODY OF OPERATIC PROPORTIONS, 38 COLUM. J.L. & ARTS 237 (2015) Prefaces to Scalia/Ginsburg: A (Gentle) Parody of Operatic Proportions Preface by Justice Ruth Bader Ginsburg: Scalia/Ginsburg is for me a dream come true. If I could choose the talent I would most like to have, it would be a glorious voice. I would be a great diva, perhaps Renata Tebaldi or Beverly Sills or, in the mezzo range, Marilyn Horne. But my grade school music teacher, with brutal honesty, rated me a sparrow, not a robin. I was told to mouth the words, never to sing them. Even so, I grew up with a passion for opera, though I sing only in the shower, and in my dreams. One fine day, a young composer, librettist and pianist named Derrick Wang approached Justice Scalia and me with a request. While studying Constitutional Law at the University of Maryland Law School, Wang had an operatic idea. The different perspectives of Justices Scalia and Ginsburg on constitutional interpretation, he thought, could be portrayed in song. Wang put his idea to the “will it write” test. He composed a comic opera with an important message brought out in the final duet, “We are different, we are one”—one in our reverence for the Constitution, the U.S. judiciary and the Court on which we serve. Would we listen to some excerpts from the opera, Wang asked, and then tell him whether we thought his work worthy of pursuit and performance? Good readers, as you leaf through the libretto, check some of the many footnotes disclosing Wang’s sources, and imagine me a dazzling diva, I think you will understand why, in answer to Wang’s question, I just said “Yes.” Preface by Justice Antonin Scalia: While Justice Ginsburg is confident that she has achieved her highest and best use as a Supreme Justice, I, alas, have the nagging doubt that I could have been a contendah—for a divus, or whatever a male diva is called.
    [Show full text]
  • Black History Month
    Black History Month As part of our passionaTe commitment to building an inclusive future for our communities, The Adecco Group proudly celebraTes the contributions, achievements, heritage and culture of African Americans during Black HisTory Month and throughout the year. To fosTer a culture of belonging and purpose, we’re offering this downloadable resource on our Diversity and Inclusion resource page. Here, you can learn more about the origins of Black HisTory Month, as well as ways to appreciaTe Black music, literature and entrepreneurship during this month and beyond. Black History Month: How It Started What started out as one week dedicated to the contributions and celebration of African American’s by Carter G. Woodson in 1926, expanded into one month starting in 1976. Woodson chose the month of February because it housed the birthdays of two men –Frederick Douglass and Abraham Lincoln– who greatly influenced the history of the Black American culture. For more information on the observance of Black History Month (also known as National African American History Month), please refer to the links provided below: Origins of Black History Month African American History Month The Continuing Importance of Black History Month The Black American Music Experience African American influence permeates every facet of our lives and culture throughout history, and music is no exception. Much of the struggle and triumph from Black Americans has been continuously chronicled through music. We present this curated playlist of artists, from sacred music to hip hop and rap, who have made a long-lasting impression throughout different genres and periods in history.
    [Show full text]
  • Selected Highlights of Women's History
    Selected Highlights of Women’s History United States & Connecticut 1773 to 2015 The Permanent Commission on the Status of Women omen have made many contributions, large and Wsmall, to the history of our state and our nation. Although their accomplishments are too often left un- recorded, women deserve to take their rightful place in the annals of achievement in politics, science and inven- Our tion, medicine, the armed forces, the arts, athletics, and h philanthropy. 40t While this is by no means a complete history, this book attempts to remedy the obscurity to which too many Year women have been relegated. It presents highlights of Connecticut women’s achievements since 1773, and in- cludes entries from notable moments in women’s history nationally. With this edition, as the PCSW celebrates the 40th anniversary of its founding in 1973, we invite you to explore the many ways women have shaped, and continue to shape, our state. Edited and designed by Christine Palm, Communications Director This project was originally created under the direction of Barbara Potopowitz with assistance from Christa Allard. It was updated on the following dates by PCSW’s interns: January, 2003 by Melissa Griswold, Salem College February, 2004 by Nicole Graf, University of Connecticut February, 2005 by Sarah Hoyle, Trinity College November, 2005 by Elizabeth Silverio, St. Joseph’s College July, 2006 by Allison Bloom, Vassar College August, 2007 by Michelle Hodge, Smith College January, 2013 by Andrea Sanders, University of Connecticut Information contained in this book was culled from many sources, including (but not limited to): The Connecticut Women’s Hall of Fame, the U.S.
    [Show full text]
  • 2016 English Language Arts Item and Scoring Sampler Grade 3
    The Pennsylvania System of School Assessment English Language Arts Item and Scoring Sampler 2016–2017 Grade 3 Pennsylvania Department of Education Bureau of Curriculum, Assessment and Instruction—September 2016 TABLE OF CONTENTS INFORMATION ABOUT ENGLISH LANGUAGE ARTS Introduction . 1 General Introduction . 1 Pennsylvania Core Standards (PCS) . 1 What Is Included . 1 Purpose and Uses . 1 Item Format and Scoring Guidelines . 2 English Language Arts Grade 3 . 3 English Language Arts Test Directions for Reading Passages and Questions . 4 Passage 1 . 6 Multiple-Choice Questions . 8 Evidence-Based Selected-Response Question . .14 Passage 2 . .15 Multiple-Choice Questions . .18 Evidence-Based Selected-Response Question . .22 Short-Answer Question . .23 Short-Answer Scoring Guideline . .24 English Language Arts Test Directions for Language Questions and Writing Prompt . .29 Standalone Multiple-Choice Questions . .30 Writer’s Checklist and Narrative Writing Prompt . .35 Narrative Scoring Guideline. .39 English Language Arts—Sample Item Summary Data . .48 ACKNOWLEDGEMENTS . .49 PSSA Grade 3 English Language Arts Item and Scoring Sampler—September 2016 ii INFORMATION ABOUT ENGLISH LANGUAGE ARTS INTRODUCTION General Introduction The Pennsylvania Department of Education provides districts and schools with tools to assist in delivering focused instructional programs aligned with the Pennsylvania Core Standards (PCS). These tools include Academic Standards, Assessment Anchor documents, assessment handbooks, and content-based item and scoring samplers. This Item and Scoring Sampler is a useful tool for Pennsylvania educators in preparing local instructional programs. It can also be useful in preparing students for the statewide assessment. Pennsylvania Core Standards (PCS) This sampler contains examples of test questions that are aligned to the new Pennsylvania Core Standards-based 2016 PSSA Assessment Anchors and Eligible Content.
    [Show full text]
  • The Influence of Female Jazz Musicians on Music and Society Female Musicians Tend to Go Unrecognized for Their Contributions to Music
    Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2016 yS mposium Apr 20th, 3:00 PM - 3:20 PM Swing It Sister: The nflueI nce of Female Jazz Musicians on Music and Society Kirsten Saur Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Musicology Commons, Music Performance Commons, and the Women's Studies Commons Saur, Kirsten, "Swing It Sister: The nflueI nce of Female Jazz Musicians on Music and Society" (2016). The Research and Scholarship Symposium. 15. http://digitalcommons.cedarville.edu/research_scholarship_symposium/2016/podium_presentations/15 This Podium Presentation is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Kirsten Saur, 1 Kirsten Saur Swing It, Sister: The Influence of Female Jazz Musicians on Music and Society Female musicians tend to go unrecognized for their contributions to music. Though this has changed in recent years, the women of the past did not get the fame they deserved until after their deaths. Women have even tried to perform as professional musicians since ancient Greek times. But even then, the recognition did not go far. They were performers but were not seen as influences on music or social standings like male composers and performers were. They were not remembered like male performers and composers until past their time, and the lives of these women are not studied as possible influences in music until far past their times as well.
    [Show full text]
  • Comes to Life in ELLA, a Highly-Acclaimed Musical Starring Tina Fabrique Limited Engagement
    February 23, 2011 Jazz’s “First Lady of Song” comes to life in ELLA, a highly-acclaimed musical starring Tina Fabrique Limited engagement – March 22 – 27, 2011 Show features two dozen of the famed songstresses’ greatest hits (Philadelphia, February 23, 2011) — Celebrate the “First Lady of Song” Ella Fitzgerald when ELLA, the highly-acclaimed musical about legendary singer Ella Fitzgerald, comes to Philadelphia for a limited engagement, March 22-27, 2011, at the Annenberg Center for the Performing Arts. Featuring more than two-dozen hit songs, ELLA combines myth, memory and music into a stylish and sophisticated journey through the life of one of the greatest jazz singers of the 20th century. Broadway veteran Tina Fabrique, under the direction of Rob Ruggiero (Broadway: Looped starring Valerie Harper, upcoming High starring Kathleen Turner), captures the spirit and exuberance of the famed singer, performing such memorable tunes as “A-Tisket, A-Tasket,” “That Old Black Magic,” “They Can’t Take That Away from Me” and “It Don’t Mean A Thing (If It Ain’t Got That Swing).” ELLA marks the first time the Annenberg Center has presented a musical as part of its theatre series. Said Annenberg Center Managing Director Michael J. Rose, “ELLA will speak to a wide variety of audiences including Fitzgerald loyalists, musical theatre enthusiasts and jazz novices. We are pleased to have the opportunity to present this truly unique production featuring the incredible vocals of Tina Fabrique to Philadelphia audiences.” Performances of ELLA take place on Tuesday, March 22 at 7:30 PM; Thursday, March 24 at 7:30 PM; Friday, March 25 at 8:00 PM; Saturday, March 26 at 2:00 PM & 8:00 PM; and Sunday, March 27 at 2:00 PM.
    [Show full text]
  • The Art of Jazz Singing - “Diane's Enthusiasm for Her Subject Was Infectious
    Audience feedback: - “Diane Nalini demonstrated particular aspects of various singers' jazz artistry and brought her points across with concrete and specific details. I heard nuances in various singers' styles that I had never heard before. Brava!” - “Nalini’s engagement with the audience, and her superb vocals, aided her demonstrations of jazz singing. She's a very good teacher.” The Art of Jazz Singing - “Diane's enthusiasm for her subject was infectious. Her own vocal demonstrations WED. OCT 15, ONLINE were lovely to listen to, but also very instructive.” 6:30 P.M. – 8:30 P.M. $25.00 (HST INCLUDED) Join jazz singer and songwriter Diane Nalini for an entertaining Singer/songwriter Diane Nalini and engaging exploration of the art of jazz singing. With composes and sings in four examples from Bessie Smith, Ella Fitzgerald, Nat King Cole, languages. She has been a Sarah Vaughan, Billie Holiday, and others, she will provide professional jazz singer for insights into what made these singers so unique. over 25 years and has recorded and produced four Diane will also do live demonstrations, so participants will come critically-acclaimed albums, with a fifth out this year. She away with a better understanding of how singers approach has sung at jazz festivals phrasing, interpreting a song, and interacting with musicians. around the globe, and given This lecture is open to anyone with an interest in music - but no gala performances for musical background is required. President Bill Clinton and Sir Paul McCartney. To register, visit: carleton.ca/linr/registration/ Offered through Carleton University carleton.ca/linr .
    [Show full text]
  • Ella Fitzgerald Biography Mini-Unit
    Page 1 Ella Fitzgerald Biography Mini-Unit A Mini-Unit Study by Look! We’re Learning! ©2014 Look! We’re Learning! ©Look! We’re Learning! Page 2 This printable pack is an original creation from Look! We’re Learning! All rights are reserved. If you would like to share this pack with others, please do so by directing them to the post that features this pack. Please do not redistribute this printable pack via direct links or email. This pack makes use of several online images and includes the appropriate permissions. Special thanks to the following authors for their images: Lewin/Kaufman/Schwartz, Public Relations, Beverly Hills via Wikimedia Commons U.S. Library of Congress via Wikimedia Commons William P. Gottlieb Collection via Wikimedia Commons Hans Bernhard via Wikimedia Commons White House Photo Office via Wikimedia Commons ©Look! We’re Learning! Page 3 Ella Fitzgerald Biography Ella Fitzgerald was an American jazz singer who became famous during the 1930s and 1940s. She was born on April 25, 1917, in Newport News, Virginia to William and Temperance Fitzgerald. Shortly after Ella turned three, her mother and father separated and the family moved to Yonkers, New York. When Ella was six, her mother had another little girl named Frances. As a child, Ella loved to sing and, like many jazz and soul musicians, she gained most of her early musical experience at church. When Ella got older, she developed a love for dancing and frequented many of the famous Harlem jazz clubs of the 1920s, including the Savoy Ballroom and the Cotton Club.
    [Show full text]
  • Harlem Renaissance Special Points of Interest
    Harlem Renaissance Special points of interest: The Harlem Renaissance was also know as the New Negro Movement. Plainfield Public Library Pathfinder September 2010 This captivating period of African American history began after Harlem Renaissance WWI and lasted until about 1935, in the mid- Do you have a special project for Black History dle of the Great involving ? Per- Depression. Month The Harlem Renaissance haps you are working on a college paper and are This great out flux of currently studying this very interesting and creative creativity, artistic period of American arts and letters. If you are start- expression, and ing a book club at home, and would like to begin it intellectualism repre- investing some time in this period of African Ameri- sented a marked can writing, can help concentration of pro- The Plainfield Public Library test, ideological you find the materials you need to form an outline advancement, and the for a discussion group. Or perhaps you saw a film furthering of civil rights or documentary on a title or author in this time peri- for African Americans. od, and you would like to simply find the printed ver- sion for your reading enjoyment. The goal of the move- ment was to create a Romare Bearden doubled disconnect between The Reference Department staff can help you find throughout his life as a social peoples’ perception of printed and electronic resources/items to enlighten worker by day and a visual African Americans and you about this time in American history, and the per- artist by night and weekends. those perpetuated by sonalities and talents that contributed to the flower- The prolific artist was a part mainstream American of the Harlem Artists Guild culture and its ing of African American arts and literature in the after studying art in NYC and institutions.
    [Show full text]