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Russell Gulley Alabama Touring Artist Program
Alabama Touring Artist Program Study Guide Russell Gulley Intro: FROM TRADITIONAL MUSIC TO AMERICAN POP 265-845-0203 [email protected] Artistic Genre: Music Performing Artist: Russell Gulley 1 Alabama Touring Artist Program Study Guide presented by Alabama State Council on the Arts 201 Monroe Street, Suite 110; Montgomery, AL 36130-1800 334-242-4076 Ext. 241 Alabama Touring Artist Program presented by the Alabama State Council on the Arts This Study Guide has been prepared for you by the Alabama State Council on the Arts in collaboration with the performing artist. All vocabulary that is arts related is taken directly from the Alabama Course of Study, Arts Education. With an understanding that each teacher is limited to the amount of time that may be delegated to new ideas and subjects, this guide is both brief and designed in a way that we hope supports your school curriculum. We welcome feedback and questions, and will offer additional consulting on possible curriculum connections and unit designs should you desire this support. Please feel free to request further assistance and offer your questions and feedback. Hearing from educators helps to improve our programs for other schools and educators in the future. Please Contact: Diana F. Green, Arts in Education Program Manager at: 334/242-4076 Ext. 241 [email protected] Set up: Artists typically arrive 60 minutes before their scheduled performance in order to set up. Please have the space available to the artist as soon as she arrives. All artists will need some kind of setup prior to arrival. -
Black Cowboys in the American West: on the Range, on the Stage, Behind the Badge
Civil War Book Review Spring 2017 Article 16 Black Cowboys In The American West: On The Range, On The Stage, Behind The Badge Jennifer Oast Follow this and additional works at: https://digitalcommons.lsu.edu/cwbr Recommended Citation Oast, Jennifer (2017) "Black Cowboys In The American West: On The Range, On The Stage, Behind The Badge," Civil War Book Review: Vol. 19 : Iss. 2 . DOI: 10.31390/cwbr.19.2.21 Available at: https://digitalcommons.lsu.edu/cwbr/vol19/iss2/16 Oast: Black Cowboys In The American West: On The Range, On The Stage, B Review Oast, Jennifer Spring 2017 Glasrud, Bruce A. and Searles, Michael N. Black Cowboys in the American West: On the Range, On the Stage, Behind the Badge. University of Oklahoma Press, $24.95 ISBN 9780806154060 “Wait a minute. Blacks Helped Pioneer the West.” – Herb Jeffries Herb Jeffries, a Detroit jazz singer, was dismayed the first time he saw black audiences in the South lining up outside segregated theaters to watch all white casts in the popular cowboy films of the 1930s. He was inspired to create films that showed that black cowboys helped win the West, too. His story is one of many found in Bruce A. Glasrud and Michael N. Searles’s broad and fascinating collection of essays on African Americans’ experiences in the American West titled Black Cowboys in the American West: On the Range, On the Stage, Behind the Badge. The editors organize thirteen brief scholarly articles into three categories: “Cowboys on the Range,” “Performing Cowboys,” and “Outriders of the Black Cowboys.” Glasrud introduces the essays; Searles provides a “concluding overview” of many of the issues raised in the essays at the end. -
Victory and Sorrow: the Music & Life of Booker Little
ii VICTORY AND SORROW: THE MUSIC & LIFE OF BOOKER LITTLE by DYLAN LAGAMMA A Dissertation submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History & Research written under the direction of Henry Martin and approved by _________________________ _________________________ Newark, New Jersey October 2017 i ©2017 Dylan LaGamma ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION VICTORY AND SORROW: THE MUSICAL LIFE OF BOOKER LITTLE BY DYLAN LAGAMMA Dissertation Director: Henry Martin Booker Little, a masterful trumpeter and composer, passed away in 1961 at the age of twenty-three. Little's untimely death, and still yet extensive recording career,1 presents yet another example of early passing among innovative and influential trumpeters. Like Clifford Brown before him, Theodore “Fats” Navarro before him, Little's death left a gap the in jazz world as both a sophisticated technician and an inspiring composer. However, unlike his predecessors Little is hardly – if ever – mentioned in jazz texts and classrooms. His influence is all but non-existent except to those who have researched his work. More than likely he is the victim of too early a death: Brown passed away at twenty-five and Navarro, twenty-six. Bob Cranshaw, who is present on Little's first recording,2 remarks, “Nobody got a chance to really experience [him]...very few remember him because nobody got a chance to really hear him or see him.”3 Given this, and his later work with more avant-garde and dissonant harmonic/melodic structure as a writing partner with Eric Dolphy, it is no wonder that his remembered career has followed more the path of James P. -
Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter
Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey In partial fulfillment of the requirements for the degree of Master of Jazz History and Research Graduate Program in Arts written under the direction of Dr. Lewis Porter and Dr. Henry Martin And approved by Newark, New Jersey May 2016 ©2016 Zachary Streeter ALL RIGHT RESERVED ABSTRACT Jimmy Raney Thesis: Blurring the Barlines By: Zach Streeter Thesis Director: Dr. Lewis Porter Despite the institutionalization of jazz music, and the large output of academic activity surrounding the music’s history, one is hard pressed to discover any information on the late jazz guitarist Jimmy Raney or the legacy Jimmy Raney left on the instrument. Guitar, often times, in the history of jazz has been regulated to the role of the rhythm section, if the guitar is involved at all. While the scope of the guitar throughout the history of jazz is not the subject matter of this thesis, the aim is to present, or bring to light Jimmy Raney, a jazz guitarist who I believe, while not the first, may have been among the first to pioneer and challenge these conventions. I have researched Jimmy Raney’s background, and interviewed two people who knew Jimmy Raney: his son, Jon Raney, and record producer Don Schlitten. These two individuals provide a beneficial contrast as one knew Jimmy Raney quite personally, and the other knew Jimmy Raney from a business perspective, creating a greater frame of reference when attempting to piece together Jimmy Raney. -
Still on the Road 1980 Saved Sessions
STILL ON THE ROAD 1980 SAVED SESSIONS FEBRUARY 11 Sheffield, Alabama Muscle Shoals Sound Studio, 1st Saved recording session 12 Sheffield, Alabama Muscle Shoals Sound Studio, 2nd Saved recording session 13 Sheffield, Alabama Muscle Shoals Sound Studio, 3rd Saved recording session 14 Sheffield, Alabama Muscle Shoals Sound Studio, 4th Saved recording session 15 Sheffield, Alabama Muscle Shoals Sound Studio, 5th Saved recording session 27 Los Angeles, California Shrine Auditorium, 22nd Annual Grammy Award Ceremony MARCH Los Angeles, California United Western Studios, Keith Green recording session Still On The Road: 1980 Saved Sessions 5551 Muscle Shoals Sound Studio Sheffield, Alabama 11 February 1980 1st Saved recording session produced by Jerry Wexler & Barry Beckett. 1. Covenant Woman 2. Covenant Woman 3. Covenant Woman 4. Covenant Woman 5. Covenant Woman 6. Covenant Woman 7. Covenant Woman 8. Covenant Woman 9. Covenant Woman 10. Covenant Woman 11. Covenant Woman Bob Dylan (vocal & guitar), Fred Tackett (guitar), Spooner Oldham (keyboards), Terry Young (acoustic piano), Barry Beckett (electric piano), Tim Drummond (bass), Jim Keltner (drums). Official release 3 released on Bob Dylan: Trouble No More. The Bootleg Series Vol. 13 1979-1981, Disc Three: Rare and Unreleased, Columbia 88985454652-2, 3 November 2017 References Michael Krogsgaard: Bob Dylan: The Recording Sessions (Part 4). The Telegraph #56, Winter 1997, pp. 168- 176. Clinton Heylin: Bob Dylan. The Recording Sessions [1960 – 1994]. St. Martin’s Press December 1995, pp 131– 136. Clinton Heylin: Trouble In Mind. Bob Dylan’s Gospel Years. What really happened. Chapter 6. Where I Will Always Be Renewed, (January – February 1980). Lesser Gods 2017. -
1St First Society Handbook AFB Album of Favorite Barber Shop Ballads, Old and Modern
1st First Society Handbook AFB Album of Favorite Barber Shop Ballads, Old and Modern. arr. Ozzie Westley (1944) BPC The Barberpole Cat Program and Song Book. (1987) BB1 Barber Shop Ballads: a Book of Close Harmony. ed. Sigmund Spaeth (1925) BB2 Barber Shop Ballads and How to Sing Them. ed. Sigmund Spaeth. (1940) CBB Barber Shop Ballads. (Cole's Universal Library; CUL no. 2) arr. Ozzie Westley (1943?) BC Barber Shop Classics ed. Sigmund Spaeth. (1946) BH Barber Shop Harmony: a Collection of New and Old Favorites For Male Quartets. ed. Sigmund Spaeth. (1942) BM1 Barber Shop Memories, No. 1, arr. Hugo Frey (1949) BM2 Barber Shop Memories, No. 2, arr. Hugo Frey (1951) BM3 Barber Shop Memories, No. 3, arr, Hugo Frey (1975) BP1 Barber Shop Parade of Quartet Hits, no. 1. (1946) BP2 Barber Shop Parade of Quartet Hits, no. 2. (1952) BP Barbershop Potpourri. (1985) BSQU Barber Shop Quartet Unforgettables, John L. Haag (1972) BSF Barber Shop Song Fest Folio. arr. Geoffrey O'Hara. (1948) BSS Barber Shop Songs and "Swipes." arr. Geoffrey O'Hara. (1946) BSS2 Barber Shop Souvenirs, for Male Quartets. New York: M. Witmark (1952) BOB The Best of Barbershop. (1986) BBB Bourne Barbershop Blockbusters (1970) BB Bourne Best Barbershop (1970) CH Close Harmony: 20 Permanent Song Favorites. arr. Ed Smalle (1936) CHR Close Harmony: 20 Permanent Song Favorites. arr. Ed Smalle. Revised (1941) CH1 Close Harmony: Male Quartets, Ballads and Funnies with Barber Shop Chords. arr. George Shackley (1925) CHB "Close Harmony" Ballads, for Male Quartets. (1952) CHS Close Harmony Songs (Sacred-Secular-Spirituals - arr. -
Washington Rucker Drummer Clarence Dixon Told Rucker “This Pair of Sticks Will Take You All Over the World If You Want to Go,” and They Did
Washington Rucker Drummer Clarence Dixon told Rucker “this pair of sticks will take you all over the world if you want to go,” and they did. Chapter 01 – 1:30 Introduction Announcer: Washington Irving Rucker was born in Tulsa, Oklahoma on March 5th, 1937 and attended local schools through graduation from Booker T. Washington High School, developing a talent for the drums along the way. By his teens, Washington was working with bluesman Jimmy “Cry Cry” Hawkins and was soon off to UCLA to study and get into the Los Angeles music scene. A man of many talents, Washington got a degree in history and side careers in acting and cosmetology while playing drums with bands in a variety of genres. Rucker has worked with artists as diverse as Stevie Wonder, Ray Charles, Gospel artists Rev. James Cleveland and Shirley Caesar, Jazz greats like Dizzy Gillespie, Sonny Stitt, Hampton Hawes, and Freddie Hubbard and singers Nancy Wilson and Linda Hopkins. He has also appeared regularly in film and television as a character actor, most notably in Martin Scorsese’s “New York, New York” and Clint Eastwood’s “Bird”. Drummer Clarence Dixon once told him “This pair of sticks will take you all over the world if you want to go” and those words became Washington Rucker’s reality. He is a 1998 inductee of the Oklahoma Jazz Hall of Fame. The song used for this introduction is titled Lucky and is one of many songs written by Washington. You can hear Lucky in its entirety at the end of this interview. -
Singer's Brochure
Our rates are as follows: Within Iosco County $100.00 per ½ hour show Let The $175.00 per hour show Within 100 miles of East Tawas $200.00 per ½ hour show $350.00 per hour show Within Lower Michigan $400 per ½ hour show (and over 100 miles) $500 per hour show We do perform outside of Michigan. Call for rates. Please fill out the following information: Bring Music To Your Ears! Name_________________________________________Phone___________________________ Address_______________________________________________________________________ City_________________________________State_____________Zip______________________ Name of program(s) desired________________________________________________________ Email address ___________________________________________________________________ Performance Date________________________Performance Time_________________________ Location of Performance: Name of building___________________________________________ Street Address______________________________________City_____________Zip__________ Cost of Performance = $_______Payment is expected at the time of the performance. Checks should be made payable to Tawas Bay Players. Please send completed form to: Pat Casey www.tawasbayplayers.com 720 East State 989.362.8373 East Tawas, MI 48730 PATRIOTIC A VAUDEVILLE SHOW DISNEY MADE IN THE U.S.A. 50s & 60s BROADWAY 20th CENTURY MUSIC Oh! How I Hate To Get Up In The Morning A Good Old Vaudeville Show Zip-A-Dee-Doo-Dah Made In The U.S.A. One Of Those Songs That's Entertainment By The Light Of The Silvery Moon Sound Off -
Layout 1 Copy
STACK ROCK 2020 An illustrated guide to sea stack climbing in the UK & Ireland - Old Harry - - Old Man of Stoer - - Am Buachaille - - The Maiden - - The Old Man of Hoy - - over 200 more - Edition I - version 1 - 13th March 1994. Web Edition - version 1 - December 1996. Web Edition - version 2 - January 1998. Edition 2 - version 3 - January 2002. Edition 3 - version 1 - May 2019. Edition 4 - version 1 - January 2020. Compiler Chris Mellor, 4 Barnfield Avenue, Shirley, Croydon, Surrey, CR0 8SE. Tel: 0208 662 1176 – E-mail: [email protected]. Send in amendments, corrections and queries by e-mail. ISBN - 1-899098-05-4 Acknowledgements Denis Crampton for enduring several discussions in which the concept of this book was developed. Also Duncan Hornby for information on Dorset’s Old Harry stacks and Mick Fowler for much help with some of his southern and northern stack attacks. Mike Vetterlein contributed indirectly as have Rick Cummins of Rock Addiction, Rab Anderson and Bruce Kerr. Andy Long from Lerwick, Shetland. has contributed directly with a lot of the hard information about Shetland. Thanks are also due to Margaret of the Alpine Club library for assistance in looking up old journals. In late 1996 Ben Linton, Ed Lynch-Bell and Ian Brodrick undertook the mammoth scanning and OCR exercise needed to transfer the paper text back into computer form after the original electronic version was lost in a disk crash. This was done in order to create a world-wide web version of the guide. Mike Caine of the Manx Fell and Rock Club then helped with route information from his Manx climbing web site. -
Passing for Black: Coon Songs and the Performance of Race Patricia R
Ursinus College Digital Commons @ Ursinus College English Faculty Publications English Department 6-9-2010 Passing for Black: Coon Songs and the Performance of Race Patricia R. Schroeder Ursinus College Follow this and additional works at: https://digitalcommons.ursinus.edu/english_fac Part of the African American Studies Commons, American Studies Commons, Ethnomusicology Commons, Music Performance Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, and the United States History Commons Click here to let us know how access to this document benefits oy u. Recommended Citation Schroeder, Patricia R., "Passing for Black: Coon Songs and the Performance of Race" (2010). English Faculty Publications. 4. https://digitalcommons.ursinus.edu/english_fac/4 This Article is brought to you for free and open access by the English Department at Digital Commons @ Ursinus College. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. 1 Passing for Black: Coon Songs and the Performance of Race Until recently, scholars exploring blackface minstrelsy or the accompanying “coon song craze” of the 1890s have felt the need to apologize, either for the demeaning stereotypes of African Americans embedded in the art forms or for their own interest in studying the phenomena. Robert Toll, one of the first critics to examine minstrelsy seriously, was so appalled by its inherent racism that he focused his 1974 work primarily on debunking the stereotypes; Sam Dennison, another pioneer, did likewise with coon songs. Richard Martin and David Wondrich claim of minstrelsy that “the roots of every strain of American music—ragtime, jazz, the blues, country music, soul, rock and roll, even hip-hop—reach down through its reeking soil” (5). -
Tommy Dorsey 1 9
Glenn Miller Archives TOMMY DORSEY 1 9 3 7 Prepared by: DENNIS M. SPRAGG CHRONOLOGY Part 1 - Chapter 3 Updated February 10, 2021 TABLE OF CONTENTS January 1937 ................................................................................................................. 3 February 1937 .............................................................................................................. 22 March 1937 .................................................................................................................. 34 April 1937 ..................................................................................................................... 53 May 1937 ...................................................................................................................... 68 June 1937 ..................................................................................................................... 85 July 1937 ...................................................................................................................... 95 August 1937 ............................................................................................................... 111 September 1937 ......................................................................................................... 122 October 1937 ............................................................................................................. 138 November 1937 ......................................................................................................... -
Don Williams Examines the Hall of Fame, Recently Celebrated Her 40Th Wedding Anniversary with Johnny Wright
Viewers will be seeing quite a bit of MCA's Mel Tillis on television in the near future. He has recently taped guest appearances on "Dinah" for CBS and "Hollywood Squares" at NBC. This month Tillis will tape "Laugh-ln"and a new comedy show, "Just For Laughs." This will mark the first television appearance for Tillis on an all-comedy show. And early in January he will act as a celebrity "gonger" on "The Gong Show." Taken from his latest album, "Love's Troubled Waters," Tillis' new single, "What Did I Promise Her Last Night," will be released this month. Elektra artist Eddie Babbitt has been touring out west the last few weeks. He has ap- peared in Arizona, and up and down the California coast. Rabbitt played Hollywood's Palomino Club two nights, and he also taped Harry Newman's Ar- med Forces Radio Show which is heard by over 500 million people worldwide. In addition to working on a new album here last week and a renewed concert schedule including numerous upcoming televi- sion appearances, Phonogram/Mercury's Jerry Lee Lewis will play COUNTRY EXCHANGE -A quartet of RCA Records artists recently appeared on the "Morning Exchange"television show, which originates in Cleveland, Ohio. a role in a new movie, "American Hot Wax." Also, Billy Carter has Pictured during the show are (I-r): Dave Roland, Vicki Baker put out the word that he has always wanted to see Jerry Lee per- and Sue Powell of Dave & Sugar; Charley Pride: and the host of the WEWS-TV show, Fred form.