Spring Concerts Vocalessence Witness: Yet They Persist the Times They Are A-Changin’
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Joe Louis Walker
Issue #218 LIVING BLUES #218 • APRIL 2012 Vol. 43, #2 ® © JOE LOUIS WA JOE LOUIS L KER - LEE GATES - KER - LEE GATES WALKER K IRK F L ETCHER - R LEE GATES OSCOE C HENIER - PAU KIRK L RISHE FLETCHER LL - 2012 B L UES FESTIVA ROSCOE L GUIDE CHENIER $6.95 US $6.95 CAN www.livingblues.com 2012 Festival Guide Inside! Joseph A. Rosen Rhythm andBluesCruise,Rhythm October 2007. onthe Legendary Joe LouisWalker In 1985, after a decade of playing and singing nothing but gospel music with a quartet called the Spiritual Corinthians, 35-year-old Joe Louis Walker decided to get back to the blues. The San Francisco–born singer-guitarist had begun playing blues when he was 14, at first with a band of relatives and then with blues-singing pimp Fillmore Slim before becoming a fixture at the Matrix, the city’s preeminent rock club during the psychedelic Summer of Love, backing such visiting artists as Earl Hooker and Magic Sam. Michael Bloomfield became a close friend and mentor. The two musicians lived together for a period, and the famous guitarist even produced a Walker demo for Buddah Records, though nothing came of it. Then, in 1975, Walker walked away from the blues completely in order to escape the fast life and the drugs and alcohol associated with it that he saw negatively affecting Bloomfield and other musician friends. Walker knew nothing about the blues business when he started doing blues gigs again around the Bay Area with a band he’d put together, as a member of Oakland blues singer-guitarist Haskell “Cool Papa” Sadler’s band, and (for a tour of Europe) with the ad hoc Mississippi Delta Blues Band. -
Still on the Road 2000 Us Summer Tour
STILL ON THE ROAD 2000 US SUMMER TOUR JUNE 15 Portland, Oregon Roseland Theater 16 Portland, Oregon Portland Meadows 17 George, Washington The Gorge 18 George, Washington The Gorge 20 Medford, Oregon Jackson County Expo Hall 21 Marysville, California Sacramento Valley Amphitheater 23 Concord, California Chronicle Pavilion 24 Mountain View, California Shoreline Amphitheatre 25 Reno, Nevada Reno Hilton Amphitheatre 27 Las Vegas, Nevada House Of Blues, Mandalay Bay Resort & Casino 29 Irvine, California Verizon Wireless Amphitheater 30 Ventura, California Arena, Ventura County Fairgrounds JULY 1 Del Mar, California Grandstand, Del Mar Fairgrounds 3 Albuquerque, New Mexico Mesa Del Sol Amphitheater 6 Oklahoma City, Oklahoma The Zoo Amphitheater 7 Bonner Springs, Kansas Sandstone Amphitheatre 8 Maryland Heights, Missouri Riverport Amphitheater 9 Noblesville, Indiana Deer Creek Music Center 11 Cincinnati, Ohio Riverbend Music Center 12 Moline, Illinois The Mark of the Quad Cities 14 Minneapolis, Minnesota Target Center 15 East Troy, Wisconsin Alpine Valley Music Theater 16 Clarkston, Michigan Pine Knob Music Theater 18 Toronto, Ontario, Canada Molson Amphitheatre 19 Canandaigua, New York Finger Lakes Performing Arts Center 21 Hartford, Connecticut Meadows Music Theatre 22 Mansfield, Massachusetts Tweeter Center for the Performing Arts 23 Saratoga Springs, Saratoga Performing Arts Center 25 Scranton, Pennsylvania Coors Light Amphitheatre 26 Wantagh, New York Jones Beach Amphitheatre 28 Camden, New Jersey E-Centre, Blockbuster-Sony Music Entertainment Centre 29 Columbia, Maryland Marjorie Merriweather Post Pavilion 30 Stanhope, New Jersey Waterloo Village Bob Dylan: Still On The Road – The 2000 US Summer Tour 21820 Roseland Theater Portland, Oregon 15 June 2000 1. Duncan And Brady (trad.) 2. -
National Arts Awards Monday, October 19, 2015
2015 Americans for the Arts National Arts Awards Monday, October 19, 2015 Welcome from Robert L. Lynch Performance by YoungArts Alumni President and CEO of Americans for the Arts Musical Director, Jake Goldbas Philanthropy in the Arts Award Legacy Award Joan and Irwin Jacobs Maria Arena Bell Presented by Christopher Ashley Presented by Jeff Koons Outstanding Contributions to the Arts Award Young Artist Award Herbie Hancock Lady Gaga 1 Presented by Paul Simon Presented by Klaus Biesenbach Arts Education Award Carolyn Clark Powers Alice Walton Lifetime Achievement Award Presented by Agnes Gund Sophia Loren Presented by Rob Marshall Dinner Closing Remarks Remarks by Robert L. Lynch and Abel Lopez, Chair, introduction of Carolyn Clark Powers Americans for the Arts Board of Directors and Robert L. Lynch Remarks by Carolyn Clark Powers Chair, National Arts Awards Greetings from the Board Chair and President Welcome to the 2015 National Arts Awards as Americans for the Arts celebrates its 55th year of advancing the arts and arts education throughout the nation. This year marks another milestone as it is also the 50th anniversary of President Johnson’s signing of the act that created America’s two federal cultural agencies: the National Endowment for the Arts and the National Endowment for the Humanities. Americans for the Arts was there behind the scenes at the beginning and continues as the chief advocate for federal, state, and local support for the arts including the annual NEA budget. Each year with your help we make the case for the funding that fuels creativity and innovation in communities across the United States. -
CONGRESSIONAL RECORD— Extensions Of
January 7, 2011 CONGRESSIONAL RECORD — Extensions of Remarks E43 with international challenges. Our armed Arms Control and Non-Proliferation; David of the federation’s Executive Council from forces are a uniquely expensive asset and for Gold, Graduate Program in International Af- 1998 until 2005, vice president of the New some tasks no other instrument will do. For fairs, The New School; William Hartung, York State AFL–CIO and of the New York City many challenges, however, the military is Arms and Security Initiative, New America not the most cost-effective choice. We can Foundation. Central Labor Council. An honors graduate of achieve greater efficiency today without di- David Hendrickson, Colorado College; Mi- Brandeis University and Harvard Law School, minishing our security by better discrimi- chael Intriligator, UCLA and Milken Insti- he previously served as Chief House Counsel nating between vital, desirable, and unneces- tute; Robert Jervis, Columbia University; of the Democratic National Committee and as sary military missions and capabilities. Sean Kay, Ohio Wesleyan University; Eliza- Executive Assistant to the Secretary of the There is a variety of specific options that beth Kier, University of Washington; Charles State of Connecticut. would produce savings, some of which we de- Knight, Project on Defense Alternatives; A skilled and tireless political activist who scribe below. The important point, however, Lawrence Korb, Center for American has dedicated his life to progressive causes, is a firm commitment to seek savings Progress; Peter Krogh, Georgetown Univer- through a reassessment of our defense strat- sity; Richard Ned Lebow, Dartmouth Col- Stu Appelbaum was elected a Delegate to the egy, our global posture, and our means of lege; Walter LaFeber, Cornell University; 1996, 2000, 2004, and 2008 Democratic Na- producing and managing military power. -
P36-37Spe Layout 1
lifestyle WEDNESDAY, JUNE 25, 2014 Gossip Former ‘GMA’ host Lunden has breast cancer ormer “Good Morning America” host Joan Lunden says she has breast chemotherapy. She said after the initial shock of the diagnosis, she cancer. She disclosed her diagnosis on yesterday’s edition of the ABC resolved to learn everything she can about the illness and go into what Fmorning show, which she co-anchored from 1980 through 1997. She she called “warrior mode.” She said she expects to make a full recovery. The spoke with “GMA” host Robin Roberts, who has also been treated for breast 63-year-old Lunden is now a health and wellness advocate. She has writ- cancer recently, as has “GMA” co-host Amy Robach. Lunden said her treat- ten eight books. ment will include surgery and radiation. She said she’s already started Sting: My kids won’t inherit my fortune ith every step they take and every move they make, Sting’s kids will have to make their own Wfinancial way. The singer-songwriter says he does- n’t plan to leave anything for his three daughters and three sons, and that they’re fine with that. “I told them there won’t be much money left because we are spending it! We have a lot of commitments. What comes in, we spend, and there isn’t much left,” he said in an interview with The Daily Mail. “I certainly don’t want to leave them trust funds that are albatrosses round their necks,” added the singer-song- writer, whose semi-autobiographical musical “The Last Ship” premiered last week in Chicago. -
Press All JEAN PIGOZZI to EXHIBIT HIS PHOTOGRAPHS in ST
10 February 2017 Jean Pigo zzi t o Exhibit HiHiss PPhh o t ogr a p hhss in StSt.. Moritz Called "Pool Party in the Snow", the exhibition lines up black-and-white images portraying Calvin Klein, Mick Jagger and Sharon Stone, among others. Elle Macpherson, 1991. Jean Pigozzi, courtesy of Galerie Gmurzynska. French photographer, entrepreneur and art collector Jean “Johnny” Pigozzi will stage a solo show of his images at the Ga-lerie Gmurzynska in St. Moritz, Switzerland. Running Feb. 19 to March 26, the “Pool Party in the Snow” exhibit will showcase over 30 black-and-white images shot in the Eighties and Nineties around Pigozzi’s kidney-shaped pool at his family’s Villa Dorane in Cap d’Antibes, in Southern France. Sharon Stone, 1992. Jean Pigozzi, courtesy of Galerie Gmurzynska. The photographs offer a rare glimpse into the glamorous world of Pigozzi’s celebrity guests gathered at the location. These included fashion, music, movie and photography’s A-listers such as Calvin Klein, Elle Macpherson, Mick and Bianca Jagger, Bono, Jack Nicholson, Sharon Stone, Elizabeth Taylor and Hel-mut Newton, to name a few. "For cultiv really Wu' ll, we were transported to the Scottish ds. The collection was inspired by the us beauty of this region." - Shoshanna Calvin and Kelly Klein with Jann Wenner, 1989. Jean Pigozzi, courtesy of Galerie Gmurzynska. Born in Paris in 1952, Pigozzi was passionate about photography ever since his teenage years and developed this art attending Harvard University, where he studied film and photography. During his studies, he often traveled to New York, where he became part of the local social scene. -
Tell-Tale Signs - Edgar Allan Poe and Bob Dylan: Towards a Model of Intertextuality
ATLANTIS. Journal of the Spanish Association of Anglo-American Studies. 31.2 (December 2009): 41–56 ISSN 0210-6124 Tell-Tale Signs - Edgar Allan Poe and Bob Dylan: Towards a Model of Intertextuality Christopher Rollason Metz, France [email protected] This article shows how the poetry and prose of Edgar Allan Poe (1809-1849) cast a long shadow over the work of America’s greatest living songwriter, Bob Dylan (1941-). The work of both artists straddles the dividing-line between ‘high’ and ‘mass’ culture by pertaining to both: read through Poe, Dylan’s work may be seen as a significant manifestation of American Gothic. It is further suggested, in the context of nineteenth- century and contemporary debates on alleged ‘plagiarism’, that the textual strategy of ‘embedded’ quotation, as employed by both Poe and Dylan, points up the need today for an open and inclusive model of intertextuality. Keywords: culture; Dylan; Gothic; intertextuality; Poe; quotation Tell-tale signs - Edgar Allan Poe y Bob Dylan: hacia un modelo de intertextualidad Este artículo explica cómo la poesía y la prosa de Edgar Allan Poe (1809-1849) proyectan una larga sombra sobre la obra del mayor cantautor vivo de Estados Unidos, Bob Dylan (1941-). Ambos artistas se ubican en una encrucijada entre la cultura ‘de elite’ y la ‘de masas’, puesto que la obra de cada uno se sitúa en ambos dominios a la vez: leída a través de Poe, la obra dylaniana aparece como una importante manifestación del gótico norteamericano. Se plantea igualmente la hipótesis de que, en el marco de los debates, tanto decimonónicos como contemporáneos, sobre el supuesto ‘plagio’, la estrategia textual, empleada tanto por Poe como por Dylan, de la cita ‘encajada’ señala la necesidad urgente de plantear un modelo abierto y global de la intertextualidad. -
BIOGRAPHIES, INTERVIEWS, ITINERARIES, WRITINGS & NOTES BOX 1: BIOGRAPHY,1940S-1950S
HOLT ATHERTON SPECIAL COLLECTIONS MS4: BRUBECK COLLECTION SERIES 1: PAPERS SUBSERIES D: BIOGRAPHIES, INTERVIEWS, ITINERARIES, WRITINGS & NOTES BOX 1: BIOGRAPHY,1940s-1950s 1D.1.1: Biography, 1942: “Iola Whitlock marries Dave Brubeck,” Pacific Weekly, 9-25-42 1.D.1.2: Biography, 1948: Ralph J. Gleason. “Long awaited Garner in San Francisco…Local boys draw comment” [Octet at Paradise in Oakland], Down Beat (12-1-48), pg. 6 1.D.1.3: Biography, 1949 a- “NBC Conservatory of Jazz,” San Francisco, Apr 5, 1949 [radio program script for appearance by the Octet; portion of this may be heard on Fantasy recording “The Dave Brubeck Octet”; incl. short biographies of all personnel] b- Lifelong Learning, Vol. 19:6 (Aug 8, 1949) c- [Bulletin of University of California Extension for 1949-50, the year DB taught “Survey of Jazz”] d- “Jazz Concert Set” 11-4-49 e- Ralph J. Gleason. “Finds little of interest in lst Annual Jazz Festival [San Francisco],” Down Beat (12-16-49) [mention of DB Trio at Burma Lounge, Oakland; plans to play Ciro’s, SF at beginning of 1950], pg. 5 f- “…Brubeck given musical honors” Oakland Tribune, December 16, 1949 g- DB “Biographical Sketch,” ca Dec 1949 h- “Pine Tree Club Party at Home of Mrs. A. Ellis,” <n.s.> n.d. [1940s] i- “Two Matrons are Hostesses to Pine Tree Club,” <n.s.> n.d. [1940s] (on same page as above) 1.D.1.4: Biography, 1950: “Dave Brubeck,” Down Beat, 1-27-50 a- Ralph J. Gleason. “Swingin the Golden Gate: Bay Area Fog,” Down Beat 2- 10-50 [DB doing radio show on ABC] 1.D.1.5: BIOGRAPHY, 1951: “Small band of the year,” Jazz 1951---Metronome Yearbook, n.d. -
ENG 351 Lecture 33 1 Let's Finish Discussing Gwendolyn Brooks. I
ENG 351 Lecture 33 1 Let’s finish discussing Gwendolyn Brooks. I would like your indulgence to make up for last time. I really was blind. It was — and one of you saved my life, with my visual migraine which sent me into something of a panic. Something else I’ve learned is you should never — you should never read a poem in public that you haven’t read for many years. It can sneak up on you and kick you, and that’s what this poem did. I haven’t looked at The Chicago Defender poem for a long, long, long time. And here I am, half blinded, and then I got emotional at the end of it. So I apologize for that and see if I can get through this with a decent reading. That happened to me one time before with a poem called “April Inventory” by W. D. Snodgrass. And sometimes, you know, poetry has a — has a way of getting to you, whether you want it to or not. But let me — it’s a good poem. It’s only a few minutes long. If you can bear with it, I wanted to get that on in the lesson. This was the poem that I asked Gwendolyn Brooks why she didn’t read it while she was here and she said she no longer liked the ending of it. So I particularly want you to pay attention to the ending of it. She asked me why I liked it and I said because I’m from Little Rock, and then she inquired, “How old were you in 1957?” And when I told her I was eleven, it was okay. -
University Interscholastic League Literary Criticism Contest • Invitational a • 2021
University Interscholastic League Literary Criticism Contest • Invitational A • 2021 Part 1: Knowledge of Literary Terms and of Literary History 30 items (1 point each) 1. A line of verse consisting of five feet that char- 6. The repetition of initial consonant sounds or any acterizes serious English language verse since vowel sounds in successive or closely associated Chaucer's time is known as syllables is recognized as A) hexameter. A) alliteration. B) pentameter. B) assonance. C) pentastich. C) consonance. D) tetralogy. D) resonance. E) tetrameter. E) sigmatism. 2. The trope, one of Kenneth Burke's four master 7. In Greek mythology, not among the nine daugh- tropes, in which a part signifies the whole or the ters of Mnemosyne and Zeus, known collectively whole signifies the part is called as the Muses, is A) chiasmus. A) Calliope. B) hyperbole. B) Erato. C) litotes. C) Polyhymnia. D) synecdoche. D) Urania. E) zeugma. E) Zoe. 3. Considered by some to be the most important Irish 8. A chronicle, usually autobiographical, presenting poet since William Butler Yeats, the poet and cele- the life story of a rascal of low degree engaged brated translator of the Old English folk epic Beo- in menial tasks and making his living more wulf who was awarded the 1995 Nobel Prize for through his wit than his industry, and tending to Literature is be episodic and structureless, is known as a (n) A) Samuel Beckett. A) epistolary novel. B) Seamus Heaney. B) novel of character. C) C. S. Lewis. C) novel of manners. D) Spike Milligan. D) novel of the soil. -
Michael Bloomfield & Friends
Now here is something I haven't gotten to the bottom of yet!!! MICHAEL BLOOMFIELD & FRIENDS (These recordings have been released so many times on different LP’s and CD’s that I have given up trying to pin them down! Sorry. I know it’s a mess. Paul Thompson has tried to sort it out and I have used his numbering to the left. Anyway it’s fine music!) 1977 Recorded live at McCabe’s, Santa Monica, California - producer Denny Bruce - Mike Bloomfield, guitar, vocals - Mark Naftalin, piano - Buddy Helm, drums - Buell Neidlinger, bass Paul’s: 1 1. “Eyesight to the Blind” (4:11) band 2 14. “Women Lovin’ Each Other” (8.19) band 3 2. “Linda Lu” (3.51) band 4 3. “Kansas City Blues” (3:34) solo 5 1a. “Toilet story” (0.56) 6 2. “Frankie And Johnny” (4.38) 7 7. “Lord, Though I Am with Thee” (3:38) solo (“I’m With You Always”) 8 8. “Jockey Blues (3:50) piano + guitar (“My Father Was A Jockey”) 9 16. “Blues In B-flat” (5.56) piano + guitar 10 4. “Darktown Strutters' Ball/Mop Mop/Call Me A Dog” (3.59) solo 11 9. “Stagger Lee” (4.20) 12 5. “I'm Glad I'm Jewish” (3:02) solo 13 6. “Great Gifts From Heaven” (3:32) solo 14 9. “Between the Hard Place and the Ground” (6.56) band 15 17. “Don’t You Lie To Me” (3.30) band 16 15. “Cherry Red” (4.40) band 17 “We Love You” (6.08) 18 11. -
Seattle Symphony February 2018 Encore Arts Seattle
FEBRUARY 2018 LUDOVIC MORLOT, MUSIC DIRECTOR LISA FISCHER & G R A N D BATON CELEBRATE ASIA IT TAKES AN ORCHESTRA COMMISSIONS &PREMIERES CONTENTS EAP full-page template.indd 1 12/22/17 1:03 PM CONTENTS FEBRUARY 2018 4 / CALENDAR 6 / THE SYMPHONY 10 / NEWS FEATURES 12 / IT TAKES AN ORCHESTRA 14 / THE ESSENTIALS OF LIFE CONCERTS 15 / February 1–3 RACHMANINOV SYMPHONY NO. 3 18 / February 2 JOSHUA BELL IN RECITAL 20 / February 8 & 10 MORLOT CONDUCTS STRAUSS 24 / February 11 CELEBRATE ASIA 28 / February 13 & 14 LA LA LAND IN CONCERT WITH THE SEATTLE SYMPHONY 30 / February 16–18 JUST A KISS AWAY! LISA FISCHER & GRAND BATON WITH THE SEATTLE SYMPHONY 15 / VILDE FRANG 33 / February 23 & 24 Photo courtesyPhoto of the artist VIVALDI GLORIA 46 / GUIDE TO THE SEATTLE SYMPHONY 47 / THE LIS(Z)T 24 / NISHAT KHAN 28 / LA LA LAND Photo: Dale Robinette Dale Photo: Photo courtesyPhoto of the artist ON THE COVER: Lisa Fischer (p. 30) by Djeneba Aduayom COVER DESIGN: Jadzia Parker EDITOR: Heidi Staub © 2018 Seattle Symphony. All rights reserved. No portion of this work may be reproduced in any form or by any electronic or mechanical means without written permission from the Seattle Symphony. All programs and artists are subject to change. encoremediagroup.com/programs 3 ON THE DIAL: Tune in to February Classical KING FM 98.1 every & March Wednesday at 8pm for a Seattle Symphony spotlight and CALENDAR the first Friday of every month at 9pm for concert broadcasts. SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY ■ FEBRUARY 12pm Rachmaninov 8pm Symphony No.