Whats the Word' Names Barnet Ork As Second Prize

Total Page:16

File Type:pdf, Size:1020Kb

Whats the Word' Names Barnet Ork As Second Prize Whats The Word' Names Barnet Ork s VOL. 16—NO. 14 CHICAGO, JULY 29, 1949 As Second Prize (Copyright. I»4», Daws lout, lac.) Chicago—Charlie Barnet will be the second prize in Down Old Name, New Band, Ensconced In Nick s Hmt'z gigantic “What’s the Word” contest! Through arrange­ ments with the Mail Mah himself, and hi» manager, Eddie Green, Barnet and his 21-piece dance hand will be delivered In the -rvond prize winner in his9------------------------ ■------------------------------------------ wr her home town anywhere with- in continental United Staten, and TD, Mrs. Shaken will pla» gratis for nne evening. Barnet’s group, one of the hot- test dance units in the country to Up In Bus Crash day, completed a lun it the Steel New York—Tommy Dorsey and Pier in AHantic City late in June, his wife were shaken up but un­ and is on its way now to the Pa­ injured last month when his but cific coast to play at the Ren­ was hit by a car near Wahoo, dezvous in Balhoa. Calif., until Iowa. Bus is a combination office late in August. md home which Tommy uses when Can't Commercialise he’s on the road. Mrs. Dorsey, S’ who is pregnant, was ordered to Ah previously stated in the rules, bed by a doctor. Tommy had to the w inner of this band w ill not be fly to make his next date. New lurk—New bund at Nick’s in the Village Signorelli were with the Original Memphis five, permitted to commercialize on the Car which hit the bus was re- here i» Phil Napoleon’s revived Memphis five, wilh Jimmy Lyteli, clarinet; Jack Roth, drum«, and Miff free engagemi nt, may charge ad poitedly being driven by a 15-year- Phil Olivella, clarineti Frank Signorelli, piano; Na- Mole or Vincent Grande, trombone, made up the mission only if the entire proceed» old boy. He and a man with him poleon, trumpet'. Andy Russo, trombone Tony Spar' old unit. Since this shot was taken, Signorelli was are donated to some rt cognized were badly injured. go, drums, and Jack Fay, bass. Only Napoleon and replaced by Joe Rann. charity. The winner may hire >r promote u hall and invite all his friends and neighbors to u free dancing party, nr may hold a block party in front of his own home by making arrangements with the Square' Produces Condon TV Shot city authorities. -------------------------------------------- g “What’s the Word" contest is a By JOHN S. WILSON $-------------------------------------------------------------- — competition set up for readers of New York—One of the earliest television shows to be Ford Leary Dies; Down Rent to select u new word I. to replace the term jazz, which Barnet Drops hulled for its imaginative production was Eddie Cundon'z Joss musicians und writers regal <1 as Concert, which bowed on WPIX last fall« moved to NBC dur­ Ex-Clinton Tram outmoded. The new word will be ing the winter. Since imaginative production still is a pretty used to designate all of our music Afro Influence New York — Ford Leary, 41, New York—First setback for th<- rarei quality in TV. general im-6------------------------------------------- from Dixieland to be-bop. The first trombonist and vocalist with a pression after the fir«l few »hows prize will be $500 in cash, but, if Afro-Cuban influence since several number of top bands during the leaders suffered a rush of bongos was that an old jazz hand mutt be Continental Club In the winner is a subsci iber to Dou n last 15 years, died here in June directing the Condon bashes. Beat, the amount will be doubled to the brain last winter came His body lay in Bellevue hospital last month, when Charlie Barnet Milwaukee Is Sold - and he will receive $1,000. The man at the helm was Clark for ti week before it war identified dropped his conga player, Carlos Jones. And, Lucely speaking, no Milwaukee — The Continental; by his son Leary buried by The same is true of five other Vyaal. At press time, Barnet was jazzist he He had never heard club here has been purchased from। Local 802. Bellevue withheld cause cash prizes m amounts <<f $100, uncertain about a replacement but $75, $50, $25, and $1U. Each of | Eddie Condon before the first show Bob Paliaflto by a group of four , of his death as ‘ confidential.” definite that it would not be an­ was tossed at him as a routine these will be doubled in amount if New owners, wb > say the club willI Leary reached his greatest fame other conga man. Probability is assignment. open after remodeling Aug 1, are with Larry Clinton’s band in the the respectne winners are Down that he’ll bring in a guitarist late '30s, whin that band was rid­ Beat subscribers at the time they “I’d never heard any music like Nick Williams, Jimmy Metrie, instead. it before,” he says; now “All I’d Tony Surgis, and Tony Reno. ing a crest of popularity. He had submit their entries. A subscrip­ Other changes in the Mab’s heard wen big commercial bands, Club will continue to spot big’ been sick for the last year He is tion blank will be found on page crew brought Manny Albani, who and I couldn’t make head or tail names, though not necessarily jazzi survived by his wife and four 15 of thia issue, for the conveni­ has done many of Charlie’s ar­ of what Eddie was playing.” units. children. ence of those readers who wish to rangements, in on baritone in plac<- Bull Session« subscribe at the time they enter of Danny Banks. Drummer Cliff the contest. Leeman is out, with Tiny Kahn At first, it was all he could do Everyone Eligible (from Chubby Jackson) filling in to get the camera on the right in­ You do NOT have to be a sub­ .■nd possibly staying on. Trombon­ strument at the right time. But Slump In Biz Due To scriber to enter and win in this ist Bob Burges? has left to join after long bull sessions with Eddie contest, however. Any reader any­ Herbie Fields because his recently and Ernie Anderson, Clark began to find out what was going on and where in the world is eligible, and acquired wife, Connie Gonzales, began to develop the technique the only persons barred are em­ went with Herbie as vocalist. which has become the best video Skirt Length-Woody ployes, contributors, und corre­ presentation of jazz musicians at spondents of Down Beat and their Like Io win $1,000? Iteutl the work turned up thus far. families and the employes of the Chicago—Wood) Herman haa an idea. And it might cause contest detail» on page 5! Clark found that the show was John Maher Printing Co. and their »ociidogiats to go scurrying around for material to write families. built around eight to 10 star mu­ paper» on it. He thinks the main cause for the retrogression All that’s required in that you sicians from the 100 who, Eddie clip the official entry blank from ! In Pastor Flock | says, can play the stuff “Thi and slump, not only in the music business hut in the whole page 5 of this issue, fill in your ituff,” according to Eddie, is not country, cun be laid to the length $--------------------- ' choice of the word, your name and Dixie and it’s not swing: it might of women’s skirts. Sues Holiday For sddress, then write a letter of not be Chicago, but not positively. “You know, when thoee design­ less than 20 words nor more than Having learned this much, Clark ers in Paris decided to make skirts Missing Some Dates 200 worde telling what you believe decided the thing to do wae to real long a few years ago-called the term jazz means today, und to study the men at work, to show it “the new look ’—they were the Hollywood— Billie Holiday, who what section of our music it should what they do, how they do it, .ind cause of what’s happening now,” started her comeback with a rocko be applied, if it is to be retained what they feel while they do it. says Woodrow. stand at L.A.’s Million Dollar the­ in our vocabulary. To get across what the musi­ “They made styles look like ater last month, ran into some Then mail the entry blank and cians feel, he uses a big closeup of styles of 30 or 40 years ago.' he more legal difficulties during her letter to What’s the Word, c/o a man’s face when he .seems to tie says, “and jieople now are thinking stay here. A damage suit was filed Down Beat, 203 North Wabash, hitting a high spot. He studied the and acting the same way they did against her for allegedly failing to Chicago, Ill., before midnight, Aug. various men during rehearsals to appear on some dates in small discover surface clues to their ex­ then. 31, 1949, which is when the contest Just ii Slip northern California cities in officially closes. You may submit pression. March. “One thing about this ‘slump’ as many different words as you Difference« The action was filed by Van please, but each must be written “Each one has a different way gives me a laugh. Government Tonkin J. promoter mi a separate entry blank, and a of expressing himself,” he ways. heads keep saying ‘it’s <ust a little separate letter must accompany “Sidney Bechet closes his eyes slip to help get adjusted.’ Man, that each.
Recommended publications
  • Download the Vocal of Frank Foster
    1 The TENORSAX of FRANK BENJAMIN FOSTER Solographer: Jan Evensmo Last update: Oct. 7, 2020 2 Born: Cincinnati, Ohio, Sept. 23, 1928 Died: Chesapeake, Virginia, July 26, 2011 Introduction: Oslo Jazz Circle always loved the Count Basie orchestra, no matter what time, and of course we became familiar with Frank Foster’s fine tenorsax playing! Early history: Learned to play saxes and clarinet while in high school. Went to Wilberforce University and left for Detroit in 1949. Played with Wardell Gray until he joined the army in 1951. After his discharge he got a job in Count Basie's orchestra July 1953 after recommendation by Ernie Wilkins. Stayed until 1964. 3 FRANK FOSTER SOLOGRAPHY COUNT BASIE AND HIS ORCHESTRA LA. Aug. 13, 1953 Paul Campbell, Wendell Cully, Reunald Jones, Joe Newman (tp), Johnny Mandel (btp), Henry Coker, Benny Powell (tb), Marshal Royal (cl, as), Ernie Wilkins (as, ts), Frank Wess (fl, ts), Frank Foster (ts), Charlie Fowlkes (bar), Count Basie (p), Freddie Green (g), Eddie Jones (b), Gus Johnson (dm). Three titles were recorded for Clef, two issued, one has FF: 1257-5 Blues Go Away Solo with orch 24 bars. (SM) Frank Foster’s first recorded solo appears when he just has joined the Count Basie organization, of which he should be such an important member for years to come. It is relaxed and highly competent. Hollywood, Aug. 15, 1953 Same personnel. NBC-TV "Hoagy Carmichael Show", three titles, no solo info. Hoagy Carmichael (vo). Pasadena, Sept. 16, 1953 Same personnel. Concert at the Civic Auditorium. Billy Eckstine (vo).
    [Show full text]
  • 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.
    [Show full text]
  • QUASIMODE: Ike QUEBEC
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ QUASIMODE: "Oneself-Likeness" Yusuke Hirado -p,el p; Kazuhiro Sunaga -b; Takashi Okutsu -d; Takahiro Matsuoka -perc; Mamoru Yonemura -ts; Mitshuharu Fukuyama -tp; Yoshio Iwamoto -ts; Tomoyoshi Nakamura -ss; Yoshiyuki Takuma -vib; recorded 2005 to 2006 in Japan 99555 DOWN IN THE VILLAGE 6.30 99556 GIANT BLACK SHADOW 5.39 99557 1000 DAY SPIRIT 7.02 99558 LUCKY LUCIANO 7.15 99559 IPE AMARELO 6.46 99560 SKELETON COAST 6.34 99561 FEELIN' GREEN 5.33 99562 ONESELF-LIKENESS 5.58 99563 GET THE FACT - OUTRO 1.48 ------------------------------------------ Ike QUEBEC: "The Complete Blue Note Forties Recordings (Mosaic 107)" Ike Quebec -ts; Roger Ramirez -p; Tiny Grimes -g; Milt Hinton -b; J.C. Heard -d; recorded July 18, 1944 in New York 34147 TINY'S EXERCISE 3.35 Blue Note 6507 37805 BLUE HARLEM 4.33 Blue Note 37 37806 INDIANA 3.55 Blue Note 38 39479 SHE'S FUNNY THAT WAY 4.22 --- 39480 INDIANA 3.53 Blue Note 6507 39481 BLUE HARLEM 4.42 Blue Note 544 40053 TINY'S EXERCISE 3.36 Blue Note 37 Jonah Jones -tp; Tyree Glenn -tb; Ike Quebec -ts; Roger Ramirez -p; Tiny Grimes -g; Oscar Pettiford -b; J.C. Heard -d; recorded September 25, 1944 in New York 37810 IF I HAD YOU 3.21 Blue Note 510 37812 MAD ABOUT YOU 4.11 Blue Note 42 39482 HARD TACK 3.00 Blue Note 510 39483 --- 3.00 prev. unissued 39484 FACIN' THE FACE 3.48 --- 39485 --- 4.08 Blue Note 42 Ike Quebec -ts; Napoleon Allen -g; Dave Rivera -p; Milt Hinton -b; J.C.
    [Show full text]
  • Download Booklet
    559216-18 bk Bolcom US 12/08/2004 12:36pm Page 40 AMERICAN CLASSICS WILLIAM BOLCOM Below: Longtime friends, composer William Bolcom and conductor Leonard Slatkin, acknowledge the Songs of Innocence audience at the close of the performance. and of Experience (William Blake) Soloists • Choirs University of Michigan Above: Close to 450 performers on stage at Hill Auditorium in Ann Arbor, Michigan, under the School of Music baton of Leonard Slatkin in William Bolcom’s Songs of Innocence and of Experience. Symphony Orchestra University Musical Society All photographs on pages 37-40 courtesy of Peter Smith/University Musical Society Leonard Slatkin 8.559216-18 40 559216-18 bk Bolcom US 12/08/2004 12:36pm Page 2 Christine Brewer • Measha Brueggergosman • Ilana Davidson • Linda Hohenfeld • Carmen Pelton, Sopranos Joan Morris, Mezzo-soprano • Marietta Simpson, Contralto Thomas Young, Tenor • Nmon Ford, Baritone • Nathan Lee Graham, Speaker/Vocals Tommy Morgan, Harmonica • Peter “Madcat” Ruth, Harmonica and Vocals • Jeremy Kittel, Fiddle The University Musical Society The University of Michigan School of Music Ann Arbor, Michigan University Symphony Orchestra/Kenneth Kiesler, Music Director Contemporary Directions Ensemble/Jonathan Shames, Music Director University Musical Society Choral Union and University of Michigan Chamber Choir/Jerry Blackstone, Conductor University of Michigan University Choir/Christopher Kiver, Conductor University of Michigan Orpheus Singers/Carole Ott, William Hammer, Jason Harris, Conductors Michigan State University Children’s Choir/Mary Alice Stollak, Music Director Leonard Slatkin Special thanks to Randall and Mary Pittman for their continued and generous support of the University Musical Society, both personally and through Forest Health Services. Grateful thanks to Professor Michael Daugherty for the initiation of this project and his inestimable help in its realization.
    [Show full text]
  • The Recordings
    Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr.
    [Show full text]
  • VI. Meanwhile Back at the Ranch
    VI. Meanwhile, Back at the Ranch… Classical music was in a confused and confusing state of flux during the Jazz Age and the Swing Era. The first crack in its façade came in 1860, when Richard Wagner’s opera Tris- tan und Isolde first explored atonal harmonies and unusual chord positions to create a sound world that was uncertain and, to many listeners, difficult to grasp, but the first wave of com- posers influenced by this aesthetic didn’t appear until the 1890s. The earliest and most famous of these were Richard Strauss, whose tone poems Death and Transfiguration, Also Sprach Zarathustra, Till Eulenspiegel and Don Juan opened up a new sound world to thousands of listeners, but concurrent with Strauss were the even more complex scores of Gustav Mahler and Claude Debussy, who fused Wagnerian harmony onto new melodic forms that were even more complex than Strauss’. Debussy, with his slightly more congenial melodic structure and transparent orchestration, was moderately accepted by the greater body of classical listeners, yet when Toscanini premiered his opera Pelléas et Mélisande at La Scala in 1904 it created a riot almost as vociferous as that which greeted Stravinsky’s ballet Le Sacre du Printemps in Paris seven years later. Mahler’s music, with its very complex and (to contemporary listeners) confusing structures, was rejected not only by classical audiences but also by most musicians and critics until 1910, when his Eighth Symphony was premiered to an enthusiastic audience, but even after that point most conductors wouldn’t touch his music with the exception of Wil- lem Mengelberg and Mahler’s protégés, Otto Klemperer, Bruno Walter and Oskar Fried.
    [Show full text]
  • In This Issue
    THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC In This Issue ab baars Charles Gayle woody herman Coleman Hawkins kidd jordan joe lovano john and bucky pizzarelli lou marini Daniel smith 2012 Critic’s poll berlin jazz fest in photos Volume 39 Number 1 Jan Feb March 2013 SEATTLE’S NONPROFIT earshotCREATIVE JAZZ JAZZORGANIZATION Publications Memberships Education Artist Support One-of-a-kind concerts earshot.org | 206.547.6763 All Photos by Daniel Sheehan Cadence The Independent Journal of Creative Improvised Music ABBREVIATIONS USED January, February, March 2013 IN CADENCE Vol. 39 No. 1 (403) acc: accordion Cadence ISSN01626973 as: alto sax is published quarterly online bari s : baritone sax and annually in print by b: bass Cadence Media LLC, b cl: bass clarinet P.O. Box 13071, Portland, OR 97213 bs: bass sax PH 503-975-5176 bsn: bassoon cel: cello Email: [email protected] cl: clarinet cga: conga www.cadencejazzmagazine.com cnt: cornet d: drums Subscriptions: 1 year: el: electric First Class USA: $65 elec: electronics Outside USA : $70 Eng hn: English horn PDF Link and Annual Print Edition: $50, Outside USA $55 euph: euphonium Coordinating Editor: David Haney flgh: flugelhorn Transcriptions: Colin Haney, Paul Rogers, Rogers Word flt: flute Services Fr hn: French horn Art Director: Alex Haney g: guitar Promotion and Publicity: Zim Tarro hca: harmonica Advisory Committee: kybd: keyboards Jeanette Stewart ldr: leader Colin Haney ob: oboe Robert D. Rusch org: organ perc: percussion p: piano ALL FOREIGN PAYMENTS: Visa, Mastercard, Pay Pal, and pic: piccolo Discover accepted. rds: reeds POSTMASTER: Send address change to Cadence Magazine, P.O.
    [Show full text]
  • History of Jazz Tenor Saxophone Black Artists
    HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz.
    [Show full text]
  • Aaron SACHS: Frank SACKENHEIM: Fats SADI: Eddie SAFRANSKI
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Aaron SACHS: "Clarinet & Co" Phil Sunkel, Bernie Glow -tp; Frank Rehak -tb; AARON SACHS -cl,ts; Gene Allen -bs; Nat Pierce - p; Aaron Bell -b; Osie Johnson -d; recorded February 18 and 21, 1957 in New York 33134 RONDO BLUES 3.45 Rama RLP 1004 33135 JUST SICK BLUES 2.54 --- 33136 BLUE SOPHISTICATE 4.02 --- 33137 CONVERSATION 2.39 --- 33138 MONA'S KIMONA 4.01 --- 33139 COUNTRYFIELD 3.46 --- 33140 WIGGINS 3.26 --- Aaron Sachs -cl,ts; Hal Overton -p; Jimmy Raney -g; Aaron Bell -b; Osie Johnson -d; recorded March 04, 1957 in New York 33141 GORME HAS HER DAY 3.07 --- 33142 I CAN'T BELIEVE 2.58 --- 33143 HAL'S LOFT 2.43 --- 33144 NANCY 3.22 --- ------------------------------------------ Frank SACKENHEIM: "WDR3:Jazz.Cologne" Frank Sackenheim Trio: Frank Sackenheim -ts; Henning Gailing -b; Jonas Burgwinkel -d; recorded July 10, 2005 in Funkhaus Wallrafplatz, Köln 77097 DEIN IST MEIN GANZES HERZ 7.55 Aircheck 77098 L.O.V.E. 5.22 --- 77099 RED ROSES 8.16 --- 77100 SPEAK LOW 11.40 --- 77101 ICH BIN VON KOPF BIS FUSS AUF LIEBE EINGESTELLT 7.53 --- 77102 GAMES THAT LOVERS PLAY 8.05 --- ------------------------------------------ Fats SADI: "Ensadinado" Fats Sadi -vib; Jimmy Woode -b; Francy Boland -p; Kenny Clarke -d; recorded March 21, 1966 in Köln 16279 NIGHT LADY 4.18 Saba SB15111 16280 ENSADINADO 4.46 --- 16281 GOODBYE 3.16 --- 16282 THE SAME 5.06 --- 16283 ALL OF YOU 3.24 --- 16284
    [Show full text]
  • Adéla Jonášová
    Wikipedista:Alfi51 Žiji v Českém Těšíně. Aleš Havlíček Jsem důchodce a rád si hraji s počítačem. Články mnou založené Alannah Currie Aldeburgh Angie Dickinson Alexandre Francois Debain Alex Sadkin Andělín Grobelný Adéla Jonášová Anita Carter Axel Stordahl The Beatmen Beatles For Sale Bedřich Havlíček Berthold Bartosch Biela voda (přítok Teplice) Billy Vera Bob Chester Bobbi Kristina Brown Bobby Vee Bobby Vinton Carlene Carter Carl Perkins Chuck Jackson Dana Vrchovská Eydie Gormé Emil Vašek Festival Kino na hranici Flora Murrayová Frankie Avalon Frank P. Banta French press Aleš v roce 2008 George Dunning George Botsford Gene Greene Hal Základní informace David Hans Mrogala Harmonium Harry James Helen Carter Help! (album) Howard Deutch Ida Münzbergová Narození 21. dubna 1951 Ina Ray Hutton Ipeľská pahorkatina Ivana Ostrava, Česko Wojtylová Izabela Trojanowska Jakub Mátl James Scott Žánry pop, blues (hudebník) Jan Hasník Javorianska hornatina Jerzy Povolání hudební skladatel, počítačový Kronhold Jimmy Durante John Keeble José Feliciano Joseph Lamb Judy Clay June Hutton Jungle fanatik a wikipedista Funk Kateřina Kornová Koruna (hudba) Kunešovská Nástroje kytara hornatina Ladislav Báča Largo (Florida) LaVerne Sophia Aktivní roky dosud Andrews Les Brown (hudebník) Let It Be (album) Louis Manžel(ka) Dagmar Krzyžánková Prima Louisa Garrett Andersonová Madelyn Deutch Maggi Hambling Martha a Tena Maxene Angelyn Andrews Děti Aleš, Martin Mezinárodní divadelní festival Na hranici Millicent Garrett Rodiče Bedřich Havlíček, Fawcett Mira Kubasińska Mud
    [Show full text]
  • May 2020 AFM LOCAL 47
    AFM LOCAL 47 May 2020 online ALONE TOGETHER Navigating a New Musical Landscape Through COVID-19 Filing for Unemployment? Pension Reform NOW! What You Need to Know Tell Congress to Protect our Pensions online - Official monthly electronic magazine of the ISSN: 2379-1322 American Federation of Musicians Local 47 - Publisher: Editor: Gary Lasley AFM Local 47 Managing Editor/Layout/ 3220 Winona Ave. Graphics: Linda A. Rapka Burbank CA 91504 Advertising Manager: 323.462.2161 Dan Walding www.afm47.org AFM LOCAL 47 EXECUTIVE BOARD & COMMITTEES Titled Officers Fair Employment Practices President John Acosta Committee Vice President Rick Baptist Ray Brown, Beverly Dahlke-Smith Secretary/Treasurer Gary Lasley Grievance Committee Trustees Ray Brown, Lesa Terry Dylan Hart, Bonnie Janofsky, Lydia Reinebach (pro tem) Hearing Representative Lydia Reinebach Directors P. Blake Cooper, Pam Gates, Legislative Committee John Lofton, Phil O’Connor, Lisa Haley, Tawnee Lillo, Bill Reichenbach, Vivian Wolf Jason Poss, Lydia Reinebach, Brooke Wharton Hearing Board Allen Savedoff, chair Orientation Committee Alan Estes, Jon Kurnick, John Acosta, Rick Baptist, Jeff Lass, Norman Ludwin, Gary Lasley Helen Nightengale, Marc Sazer Relief Committee Delegates to AFM Convention Gary Lasley, Kevin Brandon, John Acosta, Rick Baptist, Ed Vodicka, Vivian Wolf Pam Gates, Bonnie Janofsky, Gary Lasley, Lydia Reinebach Salary Review Board Gabriel Golden, Stephen Green, 1st Alternate Delegate Kris Mettala, Lydia Reinebach, Phil O’Connor Paul Sternhagen 2nd Alternate Delegate Wage Scale Committee Norman Ludwin P. Blake Cooper, Michael Davis, Phil O’Connor, Danielle Ondarza Election Board Mark Zimoski, chair Officers Emeritus Stephen Green, Mike Deutsch, Serena Kay Williams, Scott Higgins, Kris Mettala, Secretary/Treasurer Paul Sternhagen, Nick Stone Hal Espinosa, President Vince Trombetta, President Contents Navigate back to Contents by tapping the “O” Overture Online / Vol.
    [Show full text]
  • After a Decade, Grosse Pointe Cable Sees Profits
    -.-.-.~-..--~--~-~~-~--~----..- After a decade, Grosse Pointe Cable sees profits By John Minnis AssISlantEdllor CUIrently Comcm,;t being paid off slightly more comphcat.ed 10 that Slsts of only four common shares troIs three of the shares, while After almost 10 yems In oper The fin,t technltal opemtor WIth the probpect of dividends Grosse Po1Ot.e Cable equIty con- The War Memorial legally can- Comcast has the fourth share at IOn, Grosse POinte Cable faceb was Teleprompter, which was to stockholders, RIckel saId the One half of the War MemOrial's the possibility of being able to later bought out by Wer-,tlng. cable !>ystem IS faCing the POSSI- Grosse Pointe Cable shares I!>spht beneficIally among pay diVIdends thiS yea! to ItS house'b Group W cable Group W billty of being able to consider the five CIties served by Grosse stockholders _ whIch Include cable's 25 percent lI1tele"t In holdmg down rates to subbCrl ownership Pomte Cable, based on the reve four of the Pomtes and Harpel Grosse Pomte Cable was then berb. Stockholders, for example, nue generated over the years Woods. acqulled by Comcast. may deude to forgo diVIdends m from each of the cltleb John M RIckel, chUirman, The lnter.company debt exchange for lower bubscnber Rickel IS the founder of Grosse president and treasul el of reached a hIgh of almost $24 rates Pomte Cable It was hiS Idea Grosse Pomte Cable, said last million, but the company stead Grosse POinte Cable is umque The orgaOlzatlOnal structure, week that the cable system Ily paId down the prmclpal As m that It ib 75 percent owned by Comcas125% ownershIp and financmg scheme hopes to payoff all Its Inter.
    [Show full text]