DOCSLIB.ORG

Sci. Center Goes Hollywood the Reality of Fishbone This Music Has

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sci. Center Goes Hollywood the Reality of Fishbone This Music Has MAY 7, 1991 THE RETRIEVER / PAGE 9 Sci. Center goes Hollywood (from SCIENCE, page 8) second floor. "Special Effects" uses Ward noted, "That's the way we they may just be beautiful films like more than 100 miniatures, masks, survive, by sharing costs with Chronos, which has no words. "You models, drawings, animation cells sponsors." may get something educational out and other artifacts on loan from "Not having enough money to do of it, but it's all in your own mind." major studios and artists to take everything we want, as we are non- Ward said. visitors behind the scenes into the profit, is always a problem," Ward In the same way that the Center special effects studios that created admitted. "We are always trying to shows films during the day, which Aliens, Ghostbusters and Masters raise money." Despite money wor- are supposed to teach people some- of the Universe. •-*&- ries, the Science Center is having thing, Ward explained that at night, The exhibition is' divided into a "Free Day," on June 19. On Free people have such a great time, they seven sections: Why do movies Days everything in the building is forget that they are learning. Ward move?; Animation; Matte Paint- free. Free Days are offered four added, "IMAX is five stories high, ings; Miniatures; Projection; Make- times a year and are made possible it's the clearest motion picture up and Optical Effects. Addition- because of the City and State money format, it's a little bit educational, ally, the Alien Queen from the film the Center receives at the end of so you have a guaranteed thing. Aliens will be featured along with their fiscal year. "It's our way of You are not going to some murder the Power Loader that Sigourney saying Thank you' to the City and film to be offended at. It's going Weaver used to battle the beast. The State," Ward said. to be a good [movie]." Alien Queen stands sixteen feet To keep from being discouraged Even though IMAX films, alone, high, weighs three hundred pounds about money problems, Ward light- seem to be able to pack the Science and has three inch fangs. Ward heartedly said, "My idea is that if Center, this summer the Center's expects the exhibit "to be a I do my job well, that the people "Special Effects" exhibit is guaran- blockbuster." out there with a lot of money will teed to be equally, if not more, "Special Effects" has been travel- keep reading about the Science promising to lure visitors from far ing for two years. Over the two Center and say 'Gosh they're doing and near. years, the makers of the exhibit a lot. It's a really wonderful pro- Properly titled, "Special Effects: have had to update it. They orig- gram and kids are really learning The Science of Movie and Televi- inally started with the "Jaws" shark something. Therefore, when I have sion Magic" is coming to the and are now up to the Alien Queen. to leave a million dollars, or if I [Maryland Science Center on May Unfortunately, this exhibit is have an extra million dollars, this •25 and continuing through Sep- incredibly expensive. To help cover is where I'm going to send it!' You tember 3. This 6,000 foot exhibit the renting costs, the Science Center kind of hope that ten years down jis going to take up almost the entire must seek out corporate sponsors. the road that might happen." photo by D. Maignaul/1991 Share some "Acoustic Moments" with the great, gypsy guitarist, Bireli Lagrene. The Reality of Fishbone (from ALBUM, page 8) adding anything of interest or the vocoder, so strange and weird This music has sax appeal worth. voices are everywhere ("Behauoi tried to expand into new types of Finally, it's time for the sparks Control Technician," "Pressure," (from MUSIC, page 8) cent band, including accomplished invokes unpretentious, uninhibited music, and their songwriting of hope. "How Does It Feel To "Fight The Youth," "Pray To The horn players Marcus Belgrave and love, joy and soulful dance. remains the same. The result: a Feel" is a strong song and it has Junkiemaker"). 29TH STREET SAXOPHONE Kenny Garrett, affirms the positive mediocre album. a strange psychedelic feel that is Fishbone has even made their QUARTET: "Underground" route modern jazz has begun to JOEY CALDERAZZO: "In The All the songs on this release seem intriguing. It's different than the own concept song ("Junkies (Antilles/Island) swing toward undertaking daring Door" (Blue Note) to suffer from a lack of energy. Even rest of the songs, and it has inter- Prayer"'!, obviously constructed by This spastic sax attack comes solos and striking compositions The debut effort from 25 year the tunes that pretend to rock out esting lyrics that talk; about some- recording track after track after courtesy of Bobby Watson and Ed penned by each member of the unit. Calderazzo marks him as one of the on big issues that seem ripe for one who just had their emotional track of vocals, guitars, and instru- Jackson on altos, Rich Rothenberg, From the lyrical, subtle passages to brightest youthful jazz pianists on exploitation seem listless and by- barriers broken. ments. Some songs ("Pressure," tenor, and Jim Hartog on the beefy innovative bop blowing, Allen's the contemporary scene. His adroit the-numbers. "1 Love What's Happening to "Pray to the Junkiemaker") sound baritone. When they squeal in studio project never fails to capture playing is at home on the subtle, "Unreal World" and "This Is Me" is the best written song, a like there are two Fishbones playing divergent unison, as on "Manteca/ undivided attention. mellower tunes as well as the flat War" both have great topics (the; lovely little song that talks about the same time. Freedom Jazz Dance," there's no out jams, especially on the final hopelessness of everyday life, oppo- falling in love and the ambiguous But in spite of all the studio sweeter sound blast anywhere. RICHARD KASTLE: "Street- track "Pest," which highlights sition to the Gulf War), but fail to feelings that one has in the process. wizardry, the songs sound tight and Their fun and funky kinda rap wise" (Virgin/Variations) Michael Brecker blowing like a live up to their promises either The lead singer finally gets his cords powerful. The lyrics and the music version of the Isley brothers' "It's Strange as it may seem, Kastle is madman. musically or lyrically. They don't together and delivers a performance all rock the house. Only two songs Your Thing," adds to the cool and a masterful classical pianist with carry the power that "Birth" or "She that projects some feeling out to the don't quite measure up to the rest kinky squawkin' throughout. something of a punk rock attitude BOBBY WATSON & HORIZON: Gives Me Love" had. "Unreal" listener. • ■ of the album. (to accompany his spiked jet black "Post-Motown Bop" (Blue Note) sounds a bit like a Seventies disco Final judgement: Get the singles "Babyhead" sounds like it's, SANOUGUE KOUYATE: "Balen- haircut, no doubt) through his bold, Saxophonist Watson fronts song, fer Chrissake! you like, but don't buy the album. supposed to be an ethereal ballad dala Djibe" (Mango/Island) unconventional compositional Horizon, featuring drum master/ This leitmotif of wimpiness is True fans only. that compares a beautiful black Mali vocalist Kouyate is an extraor- flair. The textural development and composer Victor Lewis, on this 12th woven throughout this album. Fishbone: The Reality of My woman to a candy bar. But it dinary song writer and singer. She transcendent colors invoked in his recording of his as a band leader. Songs like "King Of Misery" really Surroundings (Columbia) - Now sounds like it was recorded live at transcends traditional Mandingo works are inspiring. On this 9 song His harmonic developments with need some venom added. Without this album kicks ass. Mighty Fish- a concert, and it's rough. The songs with thoughtful, fresh arran- CD, he augments his own pieces trumpeter Melton Mustafa are the the rage, anv good lines (like "Let's bone, the funk-reggae-metal-ska- singers sound like they're out of gements, while keeping true to this with glorious interpretations of most enticing pieces on the CD as talk about the government /they're hardcore blend band from L. A. has tune, and their voices overwhelm time tested African celebration of Liszt, Bach, Mozart, Beethoven and they subtly engage the listener with selling England by the gram") struck again, with a release that is the rest of the song. I think that life and nature. Though Kouyate Gershwin. smooth melody. Lewis' composi- sound wimpy and halt-ass. Most a worthy successor to their previous most ethereal ballads need a little sings in her native tongue, no tions, particularly "Bah-Da-Da- songs on this album would sound release "Truth And Soul." studio slickness to make the song translation is necessary as her vocal AH FARKA TOURE: "The Da-Dah-Dah," swing solid and good if they put the power they once The; tunes keep their distinctive sing, and perhaps a version done strength seems limitless in its River" (Mango/Island) steady. had into the tunes. But they don't. sound and style, but they are in the studio would be better. forthright passion. The guitars, On this follow-up CD to last year's And their experimentation with beginning to become ambitious. In The other song 1 have problems harp and native percussion accom- debut, Ali Farka Toure has TUCK & PATTI: "Dream" (Wind- new types of music are average at "Truth and Soul," Fishbone began with is "Those Days Are Gone." paniment are nothing less than arranged and adapted traditional ham Hill Jazz) best.
Load more

Recommended publications
  • Dani Felber Big Band Explosion – Glenn Gould Plays Bach (3-DVD-Box), Sony Thank You Fos Stabe Z Fehlt
    Das Schweizer Jazz & Blues Magazin Nov./Dez. 6/2012 S Schweiz CHF 11.– / Deutschland € 5.90 / Österreich € 6.10 , ROOT ‚ N BLUES ‘‘ NN ''MMOORREE MICHEL Legrand HowlIN’ WolF Andreas VARADY MATTHIAS SPILLMANN OMRI ZIegele FABIAN Anderhub DAVE FEUSI & FRIends STRAYMONK LESTER MENEZES Don LI'S OrbITAL Garden MALI MUSIC IIRO RANTALA Sarah BÜCHI ANSON Funderburgh Andrew HILL URS LEImgruber ChrIS MARK SATTLER MAX FRANKL ED PARTYKA WIesendanger ORIOXY AUS DEM Innern MEHR ALS 80 CD-BESPRECHUNGEN JNM_06_2012_01_def.indd 1 26.10.12 09:41 Andreas Homoki wird nicht ruhen, das Opernhaus Zürich neuen Künstlern und neuen Besuchern zu öffnen. Qualität. Das verbindet uns mit dem Intendanten des Opernhauses Zürich. Als eine der weltweit erfolgreichsten Bühnen zeigt das Opernhaus Zürich seit Jahren Opern und Ballette auf höchstem Niveau. Andreas Homoki sichert mit Zuhören, präzisen Analysen und harmonischem Zusammenspiel des ganzen Ensembles künstlerische Spitzenleistungen, die ein breites Publikum begeistern. Unermüdliches Streben nach dem Besten und leidenschaftliches Teamwork kennzeichnen auch unsere Arbeit für alle Kunden in der Schweiz. Deshalb unterstützt UBS das Opernhaus Zürich seit 1987 als Partner. Bis Sie von der Nachhaltigkeit unseres Engagements überzeugt sind, dürfen Sie sich auf eines verlassen: Wir werden nicht ruhen www.ubs.com/sponsoring Die Verwendung von Namen oder sonstiger Bezeichnungen Dritter in dieser Werbung erfolgt mit der entsprechenden Genehmigung. © UBS 2012. Alle Rechte vorbehalten. 10157_Ad Andreas Homoki Opernhaus Bühne - Publication Jazz'n'More_2012_10_12.indd 1 10/15/2012 4:03:21 PM JNM_06_2012_02-03.indd 2 26.10.12 09:43 EDITORIAL INHALT Andreas Homoki wird nicht ruhen, das Opernhaus Zürich neuen Künstlern und neuen Besuchern zu öffnen.
    [Show full text]
  • Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
    Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A.
    [Show full text]
  • Neglected Literature: an Experimental Curriculum Resource Bulletin for Secondary Schools
    DEPARTMENT OF HEALTH. EDUCATION, AND WELFARE . OE FORM 6000, 2/69 OFFICE OF EDUCATION fr-cd-Utt ERIC ACC. NO. tallt.... I. FCC.UMt. ED 032 315 IS DOCUMENTCOPYRIGHTED? YES 0 NOEl CH ACC. NO. P.A.PUBL. DATEno 7`EPICREPRODUCTIONRELEASE? YESIIINOEa TE 001 546 56r ILEVELOF AVAILABILITY I I I I I AUTHOR TITLE Neglected Literature: An Experimental Curriculum Resource Bulletin for Secondary Schools. SOURCECODEINSTITUTION(SOURCE) FGK22275 SP. AG. CODESPONSORING AGENCY EDRS PRICE CONTRACT NO. GRANT NO. 0.25;2.55 REPORT NO. BUR EAU NO. AVAILABILITY JOURNAL CITATION DESCRIPTIVE NOTE 49p. DESCRIPTORS *Negro Literature; *English Instruction; *Instructional Materials; *Teaching Guides; Literature Appreciation; Negro History; Negro Culture; Negroes; African American Studies; Novels; Short Stories; Poetry; Drama; Essays; Biographies; American Literature; Chronicles . IDENTIFIERS 1 ABSTRACT The materials presented in this teaching guide for Negro literature, prepared under an ESEA Title 3 grant, were collected for inclusion into the traditional English . curriculum "to enable students to regard the works of .Negro writers as a' sharing of diversified human experiences." Sample units on the novel, slave narration, short story,' poetry, drama,'essay, biography; and argumentation and debate illustrate how literature of the Negro may be used in planning lessons. One or more literary works are reviewed in each unit which also lists questions and activities for class discussion. Following each unit are short bibliographies that suggest alternatives , to the units presented. (LH) . We acknowledge with appreciation theservice of Mr. James E. Taylor, Deputy Director Educational Resources Center and. Staff in duplicating and collating thispamphlet. 59 77". ^It U.S. DEPARTMENT OF HEALTH, EDUCATION & WELFARE OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE LC1 PERSON OR ORGANIZATION ORIGINATING IT.POINTS OF VIEW OR OPINIONS r-4 STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION 141 POSITION OR POLICY.
    [Show full text]
  • Focus 2020 Pioneering Women Composers of the 20Th Century
    Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers.
    [Show full text]
  • Plaintiff Must Prove Service on Motion to Vacate Default Judgment by Erin Louise Palmer , Litigation News Contributing Editor – May 12, 2015
    Plaintiff Must Prove Service on Motion to Vacate Default Judgment By Erin Louise Palmer , Litigation News Contributing Editor – May 12, 2015 Service by certified mail is insufficient to satisfy the plaintiff’s burden in a motion to vacate a default judgment, according to the U.S. District Court for the Eastern District of Pennsylvania . In Myers v. Moore , the district court granted the defendants’ motion to vacate a default judgment of more than $1 million where the plaintiff failed to demonstrate that the defendants had actual knowledge of the lawsuit and where the plaintiff failed to establish that she properly served the complaint on defendants or their authorized agents. Observers question how a plaintiff would satisfy these evidentiary hurdles. Plaintiff Awarded $1 Million Default Judgment The lawsuit arises out of a stage-diving incident at a music venue in Philadelphia, Pennsylvania. During a performance, the lead singer of the band Fishbone, Angelo C. Moore, dove into the crowd and knocked over the plaintiff, causing her serious injuries. The plaintiff sued Moore, John Noorwood Fisher (Fishbone’s bass player), Fishbone, Fishbone’s manager, and other parties associated with the venue for negligence and civil conspiracy in producing the concert and failing to warn the audience that the concert would feature stage diving. The plaintiff also sued Moore, Fisher, and Fishbone for assault and battery. After the plaintiff reached settlements with some of the defendants, the court dismissed the plaintiff’s claims against the non-settling defendants, including Moore and Fisher. The plaintiff brought another action on February 3, 2012, against the non-settling defendants for negligence, civil conspiracy, and assault and battery.
    [Show full text]
  • The Rolling Stones and Performance of Authenticity
    University of Kentucky UKnowledge Theses and Dissertations--Art & Visual Studies Art & Visual Studies 2017 FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY Mariia Spirina University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.135 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Spirina, Mariia, "FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY" (2017). Theses and Dissertations--Art & Visual Studies. 13. https://uknowledge.uky.edu/art_etds/13 This Master's Thesis is brought to you for free and open access by the Art & Visual Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Art & Visual Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • JUBILEE EDITION to His Artistic Choice
    WINTE R&WINTER JthUe fBirsIt L30EyE earsE1D98I5 T–I2O01N 5 SOUND JOURNEYS 30 Years of Music Recordings by Stefan Winter It is a kind of stage anniversary behind the scenes: 30 years ago Stefan Winter founds the JMT (Jazz Music Today) label and records the debut production of the young saxo - STEFAN WINTER AND MARIKO TAKAHASHI phonist Steve Coleman . The starting point is the new Afro-American conception M-Base . The protagonists of this movement are Cassandra Wilson (vocals), Geri Allen (piano), Robin Eubanks (trombone), Greg Osby and Gary Thomas (sax ophones). In antithesis to this artistic movement Winter do cu ments the development of the young jazz avant- garde and produces path-breaking recordings with Tim Berne (saxophone), Hank Roberts (cello), Django Bates (piano), Joey Baron (drums), Marc Ducret (guitar) and the ensemble Miniature . After 1995 his working method changes fundamentally from a documentarist to a sound director. This is the actual beginning of WINTER&WINTER. Together with Mariko Takahashi he dares to implement a new label concept. At the end of the 80s, Stefan Winter and Mariko Takahashi meet in Japan. Under the direction of Mariko Takahashi the festival »Taboo-Lu« is initiated in Ginza in Tokyo (Japan), a notable presentation with live concerts, an art exhibition and recordings. With »Taboo-Lu« the idea of and for WINTER&WINTER is quasi anticipated: Border crossing becomes a programme. Art and music cooperate together, contemporary meets tradition, composition improvisation. Mariko Takahashi and Stefan Winter want to open the way with unconventional recordings and works for fantastic and new experiences. Stefan Winter has the vision to produce classical masterpieces in radical new interpretations.
    [Show full text]
  • Glenn Siegel, Ken Irwin, (413) 545-2876
    Contact: Glenn Siegel, Ken Irwin, (413) 545-2876 www.fineartscenter.com/magictriangle THE 2010 MAGIC TRIANGLE JAZZ SERIES PRESENTS: STEVE COLEMAN & FIVE ELEMENTS The Magic Triangle Jazz Series, produced by WMUA-91.1FM and the Fine Arts Center at the University of Massachusetts, Amherst, concludes its 22nd season on Thursday, April 26, at Bezanson Recital Hall, at 8:00pm with a performance by Steve Coleman & Five Elements. The group features Coleman on alto saxophone with Jonathan Finlayson (trumpet), Tim Albright (trombone), Jen Shyu (vocals), Thomas Morgan (bass) and Tyshawn Sorey (drums). A mentor and something of a pied piper, Coleman is a hugely influential figure who has aided the careers of peers like Geri Allen, Greg Osby and Cassandra Wilson, as well as nurturing the development of such important younger musicians as Vijay Iyer, Steve Lehman and Rudresh Mahanthappa. Over the past two decades, he's turned his band Five Elements into an improviser's academy, attracting a steady flow of exceptional young musicians. “To me, Steve Coleman is as important as John Coltrane,” says pianist Vijay Iyer, “he has contributed an equal amount to the history of the music. He deserves to be placed in the pantheon of pioneering artists.” Born in Chicago in 1956, Coleman moved to New York City in 1978 and has been identified with the City ever since. Initially influenced by saxophonists Charlie Parker, Sonny Rollins, John Coltrane, Von Freeman and Bunky Green, Coleman has performed and recorded with Thad Jones, Sam Rivers, drummer Doug Hammond, Cecil Taylor, Abbey Lincoln and Dave Holland. One of the founders of the so-called M-Base movement, Coleman has led several groups and has 25 recordings under his name.
    [Show full text]
  • 158 Kansas History the Hard Kind of Courage: Labor and Art in Selected Works by Langston Hughes, Gordon Parks, and Frank Marshall Davis
    Gordon Parks’s American Gothic, Washington, D.C., which captures government charwoman Ella Watson at work in August 1942. Photograph courtesy of the Library of Congress, Prints and Photographs Division, Washington, D.C. Kansas History: A Journal of the Central Plains 36 (Autumn 2013): 158–71 158 Kansas History The Hard Kind of Courage: Labor and Art in Selected Works by Langston Hughes, Gordon Parks, and Frank Marshall Davis by John Edgar Tidwell hen and in what sense can art be said to require a “hard kind of courage”? At Wichita State University’s Ulrich Museum, from September 16 to December 16, 2012, these questions were addressed in an exhibition of work celebrating the centenary of Gordon Parks’s 1912 birth. Titled “The Hard Kind of Courage: Gordon Parks and the Photography of the Civil Rights Era,” this series of deeply profound images offered visual testimony to the heart-rending but courageous sacrifices made by Freedom Riders, the bombing victims Wat the Sixteenth Street Baptist Church in Birmingham, the energized protesters at the Great March on Washington, and other participants in the movement. “Photographers of the era,” the exhibition demonstrated, “were integral to advancing the movement by documenting the public and private acts of racial discrimination.”1 Their images succeeded in capturing the strength, fortitude, resiliency, determination, and, most of all, the love of those who dared to step out on faith and stare down physical abuse and death. It is no small thing that all this was done amidst the challenges of being a black artist or writer seeking self-actualization in a racially charged era.
    [Show full text]
  • The Evolution of Ornette Coleman's Music And
    DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style.
    [Show full text]
  • Petr Eben's Oratorio Apologia Sokratus
    © 2010 Nelly Matova PETR EBEN’S ORATORIO APOLOGIA SOKRATUS (1967) AND BALLET CURSES AND BLESSINGS (1983): AN INTERPRETATIVE ANALYSIS OF THE SYMBOLISM BEHIND THE TEXT SETTINGS AND MUSICAL STYLE BY NELLY MATOVA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Choral Music in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctoral Committee: Associate Professor Donna Buchanan, Chair Professor Sever Tipei Assistant Professor David Cooper Assistant Professor Ricardo Herrera ABSTRACT The Czech composer Petr Eben (1927-2007) has written music in all genres except symphony, but he is highly recognized for his organ and choral compositions, which are his preferred genres. His vocal works include choral songs and vocal- instrumental works at a wide range of difficulty levels, from simple pedagogical songs to very advanced and technically challenging compositions. This study examines two of Eben‘s vocal-instrumental compositions. The oratorio Apologia Sokratus (1967) is a three-movement work; its libretto is based on Plato‘s Apology of Socrates. The ballet Curses and Blessings (1983) has a libretto compiled from numerous texts from the thirteenth to the twentieth centuries. The formal design of the ballet is unusual—a three-movement composition where the first is choral, the second is orchestral, and the third combines the previous two played simultaneously. Eben assembled the libretti for both compositions and they both address the contrasting sides of the human soul, evil and good, and the everlasting fight between them. This unity and contrast is the philosophical foundation for both compositions.
    [Show full text]
  • Claimed Studios Self Reliance Music 779
    I / * A~V &-2'5:~J~)0 BART CLAHI I.t PT. BT I5'HER "'XEAXBKRS A%9 . AFi&Lkz.TKB 'GMIG'GCIKXIKS 'I . K IUOF IH I tt J It, I I" I, I ,I I I 681 P U B L I S H E R P1NK FLOWER MUS1C PINK FOLDER MUSIC PUBLISH1NG PINK GARDENIA MUSIC PINK HAT MUSIC PUBLISHING CO PINK 1NK MUSIC PINK 1S MELON PUBL1SHING PINK LAVA PINK LION MUSIC PINK NOTES MUS1C PUBLISHING PINK PANNA MUSIC PUBLISHING P1NK PANTHER MUSIC PINK PASSION MUZICK PINK PEN PUBLISHZNG PINK PET MUSIC PINK PLANET PINK POCKETS PUBLISHING PINK RAMBLER MUSIC PINK REVOLVER PINK ROCK PINK SAFFIRE MUSIC PINK SHOES PRODUCTIONS PINK SLIP PUBLISHING PINK SOUNDS MUSIC PINK SUEDE MUSIC PINK SUGAR PINK TENNiS SHOES PRODUCTIONS PiNK TOWEL MUSIC PINK TOWER MUSIC PINK TRAX PINKARD AND PZNKARD MUSIC PINKER TONES PINKKITTI PUBLISH1NG PINKKNEE PUBLISH1NG COMPANY PINKY AND THE BRI MUSIC PINKY FOR THE MINGE PINKY TOES MUSIC P1NKY UNDERGROUND PINKYS PLAYHOUSE PZNN PEAT PRODUCTIONS PINNA PUBLISHING PINNACLE HDUSE PUBLISHING PINOT AURORA PINPOINT HITS PINS AND NEEDLES 1N COGNITO PINSPOTTER MUSIC ZNC PZNSTR1PE CRAWDADDY MUSIC PINT PUBLISHING PINTCH HARD PUBLISHING PINTERNET PUBLZSH1NG P1NTOLOGY PUBLISHING PZO MUSIC PUBLISHING CO PION PIONEER ARTISTS MUSIC P10TR BAL MUSIC PIOUS PUBLISHING PIP'S PUBLISHING PIPCOE MUSIC PIPE DREAMER PUBLISHING PIPE MANIC P1PE MUSIC INTERNATIONAL PIPE OF LIFE PUBLISHING P1PE PICTURES PUBLISHING 882 P U B L I S H E R PIPERMAN PUBLISHING P1PEY MIPEY PUBLISHING CO PIPFIRD MUSIC PIPIN HOT PIRANA NIGAHS MUSIC PIRANAHS ON WAX PIRANHA NOSE PUBL1SHING P1RATA MUSIC PIRHANA GIRL PRODUCTIONS PIRiN
    [Show full text]