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Weeksville Lost Jazz Shrines
1 Weeksville Lost Jazz Shrines Annotated Bibliography and Discography Primary Sources Interviews Note: Most of the artists listed below were interviewed over a period of two years (April, 2010 –October, 2011 through Weeksville’s Lost Jazz Shrine Project). Artists interviewed include: Brooklyn natives; longtime Brooklyn residents; or artists who performed frequently at some of Brooklyn's Lost Jazz Shrines and in some cases, continue to perform in Brooklyn. Abdullah, Ahmed. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 6 April 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 46 mins 36 sec. Barnes, Wade E. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 7 December 2010. Audio. No Transcription. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 51 min. 26 sec. Barron, Kenny. Oral History Interview. Interviewed by Willard Jenkins. 9 October 2010. Audio. No Transcription. Weeksville Heritage Center Lost Jazz Shrines Project. Braithwaite, “Fab 5” Freddie. Oral History Interview. Interviewed by Willard Jenkins and Jennifer Scott. 7 Oct 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 1 hr. 25 mins. 32 secs. Carroll, Alma. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 24 August 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 1 hr. 10 mins. 34 secs. Cheatham, Jo Ann. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 6 April 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. -
ALBUMS EAG -ES, "HOTEL CALIFORNIA" (Prod
DFDICATED TO THE NF SINGLES ALBUMS EAG -ES, "HOTEL CALIFORNIA" (prod. by Bill SPINNERS; "YOU'RE THROWING A GOOD LOVE AMERICA, "HARBOR." This trio has Szymczyk) (writers: Felder -Henley - AWAY" (prod. by Thom Bell) (writ- mastered a form-easy-going, soft rock Frey) (pub. not listed) (6:08). Prob- ers: S. Marshall & T. Wortham) built around three-part harmonies and ably America's hottest group on bath (Mighty Three, BMI) (3:36). The group (on its more recent Ips) the sweet pro- the album and singles levels, The has slowed the tempo from its romp- duction and arrangements of George Eagles have followed the stunning ing "Rubberband Man" but main- Martin. "Don't Cry Baby," -Now She's success of "New Kid In Town" with tains the eclectic sound that has Gone" and "Sergeant Darkness" fill the the title track from their platinum made them a major force through- prescription most eloquently. They'll Ip. A mild reggae flavor pervades out pop and souldom. The track is never be in dry dock. Warner Bros. BSK the tune. Asylum 45386. from their forthcoming Ip. Atl. 3382. 3017 (7.98). THE MANHATTANS, "IT FEELS SO GOOD TO THE ISLEY BROTHERS, "THE PRIDE" (prod. by BAC -ëMAN-TURNER OVERDRIVE, "FREE- ItF LOVED SO BAD' (prod. by The The Isley Brothers) (R. Isley-O. Isley- WAYS." With "Freeways," BTO has Manhattans Co./Bobby Martin) (Raze R. Isley-C. Jasper -E.. Isley-M.Isley) reached a new stage of its career. zle Dazzle, BMI) (3:58). The group (Bovina, ASCAP) (3:25). A growling Hinted at previously _but fully devel- opens the tune with one of its by guitar and loping bass sound sets oped now, the group has retained its now obligatory narrative exhorta- the pace for the group's best effort power while moving to a more melody tions which sets the tors. -
140174NCJRS.Pdf
If you have issues viewing or accessing this file contact us at NCJRS.gov. I' '. o f :, I\ BASIC COURSE i UNIT GUIDE J1 ! ( 6 ) ~__________ C_R_IM_E_S_A_G_A_IN_S_T_P_R_O_P_E_R_TY __________ J This unit guide covers the following performance objectives containe in Performance Objectives for the POST Basic Course: 3.9.1 3.12.2 3.13.5 3.16.2 3.9.2 3.13.1 3.14.1 3.16.3 3.9.3 3.13.2 3.15.1 3.11.1 3.13.3 3.15.2 • 3.12.1 3.13.4 3.16.1 NCJRS nAN 12 199~ ACQUISITIONS THE COMMISSION ON PEACE OFFICER STANDARDS AND TRAINING • STATE OF CALIFORNIA • This unit of instruction is designed as a guideline for performance obJective-based law enforcement basic training. It Is part of the POST Basic Course guidelines system developed by California law enforcement trainers and criminal Justice educators for the California Commission on Peace Officer Standards and Training. This guide is designed to assist the Instructor In developing an ,,' appropriate lesson plan to cover the performance objectives which are required as minimum content of the Basic Course . • 140174 U.S. Department of Justice National Institute of Justice This document has been reproduced exactly as received from the person or organization originating it. Points of view or opinions stated in this document are those of the authors and do not necessarily represent the oHicial position or policies of the National Institute of Justice. Permission to reproduce this copyrighted material has been gr~clt.et.t~ornia Ccnm. on Peace Officer Standards and Training to the National Criminal Justice Reference Service (NCJRS). -
The Big Question: List Prices on Catalog Product Montgomery
Jan. 4, 1975 $1.50 ART ANL bEdORDINGS DEPARTMlI YES/THE ULTIMATE CHART AgFIRMATIVE The Big Question: Here's Our Answer (Ed) Col Canada Drops List Prices On Catalog Product Racks, Retailers, Distribs Separate Meets At NARM Montgomery Named RCA Promo Chief www.americanradiohistory.com 1974 CBS Inc On his first date, Alvin "In Flight" is filled with the Lee went all the way. He superb musicianship that embarked on his new has brought Alvin to the solo career with a simull- forefront of rock 'n' roll- taneous appearance and live recording original tunes and personalized versions at London's prestigious Rainbow Theatre. of classics like "Don't Be Cruel," "Money And the results, captured on his double Honey"and"Keep A KnockinY And a surprise album, "In Flight," are phenomenal. treat: "Freedom for the Stallion." "In Flight"delighted the normally Alvin Lee & Co. are coming right conservative English critics:"the sound behind their new album with an throughout from all angles is exceptional"; extensive international tour, too. "Lee and his band are very tight, almost faultless";"Lee has never played better." Alvin Lee & Co."In Flight." PG 33187` The auspicious beginning of a great new career. On Columbia Records and Tapes THE WINTER TOUR January 16 Pittsburgh, Pa. (Syria Mosque) February 4 Miami, Fla. (Auditorium) 17 Hershey, Pa. (The Arena) 1 St. Louis, Mo. (Ambassador Theatre) 5 Charleston, S.C. (Civic Center) 18 New York, N.Y. (Academy of Music) 6 San Diego, Calif. (Civic Center) 6 Atlanta, Ga. (Municipal Auditorium) 19 Baltimore, Md. (Civic Center) 7 Long Beach, Calif. -
The Job Creation Shell Game: Ending the Wasteful Practice of Subsidizing Companies That Move Jobs from One State to Another
January 2013 The Job Creation Shell Game: Ending the Wasteful Practice of Subsidizing Companies that Move Jobs From One State to Another by Greg LeRoy, Kasia Tarczynska, Leigh McIlvaine, Thomas Cafcas and Philip Mattera A Publication of: Good Jobs First January 2013 © Copyright 2013 Good Jobs First. All Rights Reserved. Acknowledgements Good Jobs First gratefully acknowledges the assistance of various organiza- tions and individuals. Any errors or omissions are ours, not theirs. ThanksWe wish also to to:thank Noah the Berger state ofand the local Massachusetts economic development Budget and Policy officials Center; and Amythe staffers Blouin andof regional Traci Gleason business of theorganizations Missouri Budgetwho answered Project; Kateour queries.Brew- ster of the Center for Economic Progress in Rhode Island; Brett Bursey of - nomic Development Council; Allan Freyer of the North Carolina Budget and Taxthe SouthCenter; Carolina Bill Howell Progressive of Tennesseans Network; forJeff Fair Finkle Taxation; of the InternationalChad Johnson Eco of AFSCME Local 1733 in Memphis; Gordon MacInnes and Jon Whiten of New Jersey Policy Perspective; Craig McDonald of Texans for Public Justice; James Parrott of the Fiscal Policy Institute in New York; Zach Schiller of Policy Matters Ohio; Andria Signore of the Edward Lowe Foundation; Wesley Tharpe of the Georgia Budget and Policy Institute; Don Walls of Walls & Associates; and Angie Wei and Sara Flocks of the California Labor Federation. Finally, thanks to our own Good Jobs New York director Bettina -
The Compass, October 30, 2003
.. _..... .. ,, '. GAINESVILLE COLlEGE P.O. BOX 1358 THE f!] C The Gainesville College Student Newspaper com".• • gc.pac:hnn.edu gccompass.com October 30, 2003 NEWS First Residents Move into Campus Pointe Danger Zone Apartments. Page 3 Landrum CAMPUS LIFE Education Area Employers Make Effort to Drive: RecruitGC Students at Job The Most Fair. Page 6 Dangerous CLUBS Second Wind Road at Club Makes life a Breeze for Gainesville Non-traditiona l Colleg e St udents. College Pag e 9 Full Story Page 3 SPORTS Mountain Bike Race Raises Money For Kids' Charity. A Definitive History of GC Sports Page 10-11 It's "Showtime!" at Gaines· programs in the nation while back with Gainesville ville College ... or at least it was competing in the Georgia CoUege's fll'St presi OCONEE when the Lakers ruled the courts Junior College Athletic Assoc dent. Dr. Hugh Mills, in Oakwood. iation. and many former GC Announces Have you ever wondered Then known as Gainesville coaches. players and about the dozens of trophies that Junior College. the Lakers faculty members in the First Speech Con are housed inside the Hugh (named because o f our prox first comprehensive test To Be Held at Mills Physical Education imity to Lanier) won state titles history of competitive Oconee Campus. Complex lobby? in basketball. golf. tennis. trac k: sports at this school. Page 24 It really was Gainesville Coll and fie ld and a number of other ege that won all those awards sports over that 18-year span. and honors from 1967- 1985. Those days are long since when the school had one of the gone. -
Confidence Tricks - 08-12-2011 by Seolawtransfer - Law Firm Newswire
Confidence Tricks - 08-12-2011 by seolawtransfer - Law Firm Newswire - http://www.lawfirmnewswire.com Confidence Tricks by seolawtransfer - Friday, August 12, 2011 http://www.lawfirmnewswire.com/law-center/criminal-defense/federal-fraud/confidence-tricks/ The term “confidence tricks” comes to mind when someone attends a fair or exhibition, where many games of chance, notably the shell game, are confidence tricks. Over time, this simple game has escalated into many more complex and intricate scams that have taken people in, resulting in them losing money and damaging their self-esteem. A confidence trick is an attempt to defraud someone or a group, by first getting them to trust the trickster. In other words, the goal is to gain their trust and confidence. The fraudster may work alone or with others, and their main goal is to take advantage of people’s weaknesses, such as compassion, vanity, greed, stupidity and/or irresponsibility. Whatever the target is, it is typically of more value than what the confidence trickster offers in return. “Confidence man” first appeared in the English language in 1849 in the news coverage of the trial of William Thompson. Thompson would chat up marks, ask them if they had the confidence to loan him their watch or other personal items, and then walk off with the booty. The police apprehended him when a victim spotted him on the street. Today’s confidence tricks tally up to a very long list of nefarious activities that include, but are not limited to: salting, the Nigerian scam, infomercial manipulation, cons by wire, missionary scam, romance scam, fortune telling fraud, coin collection, pig in a poke, white van speaker, Thai gem, and so on. -
CREATIVITY and INNOVATION in the MUSIC INDUSTRY Creativity and Innovation in the Music Industry
CREATIVITY AND INNOVATION IN THE MUSIC INDUSTRY Creativity and Innovation in the Music Industry by PETER TSCHMUCK Institute of Culture Management and Culture Science, University of Music and Performing Arts Vienna, Austria A C.I.P. Catalogue record for this book is available from the Library of Congress. ISBN-10 1-4020-4274-4 (HB) ISBN-13 978-1-4020-4274-4 (HB) ISBN-10 1-4020-4275-2 (e-book) ISBN-13 978-1-4020-4275-1 (e-book) Published by Springer, P.O. Box 17, 3300 AA Dordrecht, The Netherlands. www.springer.com Printed on acid-free paper Printed with the support of the Austrian Ministery of Education, Science, and Culture All Rights Reserved © 2006 Springer No part of this work may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the Publisher, with the exception of any material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Printed in the Netherlands. TABLE OF CONTENTS Preface ix Acknowledgements xi Introduction xiii 1. Aim and Structure of the Book xiii 2. Implications of Culture Institutions Studies xvi Chapter 1: The Emergence of the Phonographic Industry 1 Within the Music Industry 1. The Phonograph as Business Machine 1 2. “Coin-in-the-Slot:”-Machine 6 3. Records and Gramophones 9 4. “Herr Doctor Brahms Plays the Piano” 15 Chapter 2: The Music Industry Boom until 1920 19 1. -
Space and Voice: Compositions for Contemporary Cello
SPACE AND VOICE: COMPOSITIONS FOR CONTEMPORARY CELLO CHARLES MATTHEW BRUBECK A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO APRIL, 2018 © CHARLES MATTHEW BRUBECK, 2018 ii ABSTRACT This dissertation contains a diverse portfolio of ensemble and solo compositions for contemporary cello. Throughout the accompanying paper, the concepts “space” and “voice” are utilized as analytical lenses, as they are central to my compositional approach. The evolution of cello space in Western art music is contrasted with cello space in jazz, and the modes of sound production in the classical cello tradition are compared to the voice of the jazz cello. While examining jazz cello voice, the notion of idiomatic improvisation is considered and the paper turns to original research regarding the recordings of Harry Babasin, Oscar Pettiford, and Fred Katz, who introduced the cello as an improvising instrument to the jazz genre. The remainder of the written component focuses on my composition process and aesthetic considerations. Composition and improvisation are treated as distinct but interrelated points along a continuum of creative music practice. Within the composition process, improvisation is used to generate musical materials, and various methods of structuring pieces to incorporate improvisation are employed. Commentaries on the composition process, including the salient features pertaining to space and voice, are included for each score. iii ACKNOWLEDGMENTS I would like to thank the members of my committee (Supervisor Michael Coghlan, Dr. Mark Chambers, and, last but not least, Professor Casey Sokol) for their advice and feedback throughout the dissertation process. -
Anthropology
CULTURAL ANTHROPOLOGY ETHNOGRAPHY IN A SHELL GAME: Turtles All the Way Down in Abidjan SASHA NEWELL Université Libre de Bruxelles https://orcid.org/0000-0003-3517-8629 . the seemingly straightforward contrast between clarity and opacity is complicated in regimes of truth that, like the ones found in Inhumbane, encourage ambiguation over clarification, and dissimulation over revelation and confrontation. In other words, in regimes of truth that privilege open- endedness. —Julie Soleil Archambault Dissimulation, deception, postponed dates, false pretexts, and the like are efficient ways of navigating and prolonging relationships. —Françoise Berthomé, Julien Bonhomme, and Grégory Delaplace We are currently living in an era when the North Atlantic faith in the value of transparency and sincerity (Keane 2002) faces severe challenges, as accusations of fake news undermine traditional voices of authority, as the distinction between legitimate news agencies and internet gossip becomes increasingly blurry, and as the workings of power and wealth within the invisible infrastructures of digital communication cause the Habermasian figure of democratic public transparency (see Habermas 1991) to teeter on a tightrope between tragedy and farce. As they CULTURAL ANTHROPOLOGY, Vol. 34, Issue 3, pp. 299–327, ISSN 0886-7356, online ISSN 1548-1360. © American Anthropological Association 2019. Cultural Anthropology journal content published since 2014 is freely available to download, save, reproduce, and transmit for noncommercial, scholarly, and educational purposes. Reproduction and transmission of journal content for the above purposes should credit the author and original source. Use, reproduction, or distribution of journal content for commercial purposes requires additional permissions from the American Anthropological Association; please contact [email protected]. -
Cecil Taylor: Life As
Cecil Taylor: Life As... Structure within a free improvisation Kaja Draksler Trboje, Slovenia, june 2013 Cecil Taylor: Life As... Structure within a free improvisation Acknowledgements! 2 Introduction! 3 Biography and influences! 4 Biography! 4 Influences! 5 Cecil Taylor: Life As... (Momentum Space, Verve 1999)! 8 Language! 8 Four main behaviors! 8 Intervals! 16 Register! 18 Rhythm! 18 Expression Tools! 21 Dynamics! 21 Pedaling! 22 Personal technique! 24 Structure! 28 Introduction! 29 Development! 30 Recapitulation! 35 Implications of tonalities! 37 Notation and its relation to music! 40 Cecil Taylor’s relationship with the European classical music! 42 Conclusion! 45 Sources! 47 Appendix! 50 2 Acknowledgements The majority of the material in this research, was written for my master’s degree thesis, during the study of classical composition at the Conservatorium van Amsterdam. The research coordinator was Michiel Schuijer and the external advisor was Vijay Iyer. The original work has been revised and enriched, resulting in the version you are about to read. I wish to express my deepest gratitude to my mentor Vijay Iyer for his enthusiasm, support, guidance and advising. His precious insights were essential for this research. I would like to extend my sincere thanks to Trevor Grahl for the language revision and refinements made to the text. Finally, my heartfelt thanks to George Dumitriu for his care, encouragement and understanding. 3 Introduction “To play with Cecil Taylor, you need the stamina of an athlete and the imagination of a God!” (Tony Oxley in an interview with Panken, 2001) Cecil Taylor’s free improvisations are beautifully structured compositions. The material Taylor is using is pre-considered and fairly restricted; therefore, cohesive and at the same time, colorful and varied. -
IMPROVISATION and SOCIAL AESTHETICS Improvisation, Community, and Social Practice a New Series Edited by Daniel Fischlin
IMPROVISATION AND SOCIAL AESTHETICS Improvisation, Community, and Social Practice A new series edited by Daniel Fischlin Books in this new series advocate musical improvisation as a crucial model for political, cultural, and ethical dia- logue and action—for imagining and creating alterna- tive ways of knowing and being in the world. The books are collaborations among performers, scholars, and activists from a wide range of disciplines. They study the creative risk- taking imbued with the sense of movement and momentum that makes improvisation an exciting, unpredictable, ubiquitous, and necessary endeavor. IMPROV- ISATION AND SOCIAL AESTHET- GeorGinA born, eric lewis, ICS And will strAw, eds. Duke University Press Durham and London 2017 © 2017 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ♾ Typeset in Charis by Tseng Information Systems, Inc. Library of Congress Cataloging- in- Publication Data Names: Born, Georgina, editor. | Lewis, Eric, [date] editor. | Straw, Will, [date] editor. Title: Improvisation and social aesthetics / Georgina Born, Eric Lewis, and William Straw, eds. Other titles: Improvisation, community, and social practice. Description: Durham : Duke University Press, 2017. | Series: Improvisation, community, and social practice | Includes bibliographical references and index. Identifiers: lccn 2016045052 (print) | lccn 2016048372 (ebook) isbn 9780822361787 (hardcover : alk. paper) isbn 9780822361947 (pbk. : alk. paper) isbn 9780822374015 (e-book) Subjects: lcsh: Improvisation (Music)—Social aspects. | Music—Social aspects. | Aesthetics—Social aspects. | Arts and society. Classification: lcc ml3916.i47 2017 (print) | lcc ml3916 (ebook) | ddc 781.3/6—dc23 lc record available at https://lccn.loc.gov/2016045052 Cover art: The Art Ensemble of Chicago and Cecil Taylor, 1984.