Oral History Interview with Robert Chesley Osborn, 1974 Oct. 21
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UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title The Second Line: A (Re)Conceptualization of the New Orleans Brass Band Tradition Permalink https://escholarship.org/uc/item/09z2z2d7 Author GASPARD BOLIN, MARC TIMOTHY Publication Date 2021 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles The Second Line: A (Re)Conceptualization of the New Orleans Brass Band Tradition A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Marc Timothy Gaspard Bolin 2021 i © Copyright by Marc Timothy Gaspard Bolin 2021 i ABSTRACT OF THE DISSERTATION The Second Line: A (Re)Conceptualization of the New Orleans Brass Band Tradition by Marc Timothy Gaspard Bolin Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2021 Professor Cheryl L. Keyes, Chair In New Orleans, Louisiana, nearly every occasion is marked with a celebratory parade, most famously the Mardi Gras processions that seemingly take over the city during Carnival Time. But throughout the year, there are jazz funerals and parades known as "second lines" that fill the Backatown neighborhoods of New Orleans, with the jubilant sounds of brass band music. These peripatetic parades and their accompanying brass bands have become symbolic of New Orleans and its association with social norm-breaking and hedonistic behavior. The second line constitutes cultural practice and group identification for practitioners serving as a site for spiritual practice and renewal. In Los Angeles, California, practitioners are transposing the second line, out of which comes new modes of expression, identities, meanings, and theology. -
Ers PRICE 812-$0.83 HC-$10.03 Plus 4Postage
. DOCUMENT RESUME ',ED 125 541 Ih 003 625 TITLE Annual Report of the Librarian of Congressfor the Fiscal Year Ending June 30, 1975.Ninety-Fourth Congress, Second'Session.. INSTITUTION library of Congress, Washingtoni* c.c. PUB LATE 76 NOTE 185p.; House Document No. 94-442 Ers PRICE 812-$0.83 HC-$10.03 Plus 4Postage. DESCRIPTORS *Annual Reports; Copyrights; Exhibits;*Government Libra-ries; Iw .Libraries-; *LeaialativeReference Libraries; Library Administration; Library Automation; Library Expenditures;, LibraryReference Services; Library Services; LibraryTechnical Processes; *National Libraries;Publications IDENTIFIERS *Library of Congress ABSTRACT A short history of the Library ofCongress since its \establishmentin 1800 is traced in the introduction,which also contains a brief narrative overview ofthe year's activities including special services, a Bicentennialprogram, exhibits, publications, appropriaticns, copyright, andautomation. Separate chapters are devoted to the activities andachievements of six major components of the Library of Congress:Processing Department, Congressional Research Service, ReferenceDepartment, Law Library, Administrative Department, and CopyrightOffice. Appendixes include statistics and financial information aswell a; lists of exhibits, concerts, lecture and programs, and publications. Anorganization chart is included, along withlists of board and committee members and consultants. (LS) **************************************************t******************** Documents acquired by ERICinclude many informal unpublished -
Pete Kelly's Blues See Pages 8, 35 HALLMARK Will Pay
DOWN RECORDS HIGH-FIDELITY INSTRUMENTS FILMLAND UP BEAT RADIO Pete Kelly's Blues See Pages 8, 35 HALLMARK will pay to LES BAXTER'S Song Moró&a * AN ALL-EXPENSE TRIP TO HOLLYWOOD and * CO-COMPOSER'S FUTURE ROYALTIES! CAN YOU tell the story of “Monika"—a bad girl — in |ust so many words, to fit LES BAXTER'S music? The music is already on a CAPITOL disc! It's already published by STARLIGHT SONGS! But — without words! HALLMARK wants lyrics — good lyrics, for “Monika". HALLMARK will pay an all-time record price for them! TEN THOU SAND in cash, plus co-composer'$ royalties which could reach $40,000 or $50,000 more, plus an all-expense trip to Hollywood and appearance on a national TV network show. Open to profession als and amateurs alike Lyrics must be postmarked by midnight, Nov. 1, 1956. Winner announced during December, 1956. Get busy, get rich! The PHONE YOUR LOCAL THEATRE MANAGERS TODAY! GET FULL particulars from your local theatre which shows “MON IKA". Telephone your leading theatres right now. Ask for THE MANAGER! Learn if and when he expects to show HALLMARK'S sensational Swedish story of a bad girl, “MONIKA". Keep calling them for the play-date. See the HALLMARK movie, “MONIKA". Hear Les Baxter's brilliant musical score and title song. Get a copy of the sheet music, to guide you. Get a CAPITOL record to aid you. Fit lyrics that describe this bad girl to Baxter's music. JUDGES — Let Baxter, Hollywood; Dr. Cleo Dawson, U. of Kentucky, Lexington; Steve Allen, New York City MAIL 4 YOUR LYRICS toi MONIKA Song Contest Dept., care — HALLMARK PRODUCTIONS, Inc. -
Interview with Ambassador Fraser Wilkins
Library of Congress Interview with Ambassador Fraser Wilkins The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project AMBASSADOR FRASER WILKINS Interviewed by: Peter Jessup Initial Interview Date: July 21, 1988 Copyright 2010 ADST [Note: Ambassador Wilkins died in January 1989, before having an opportunity to edit this transcript. The Oral History Program has made light changes in the transcription regarding punctuation and has filled in some names.] Q: I was saying that you graduated from Yale in the class of '31, and then you entered business, and you were in Kentucky for a while, weren't yoFrankfurt Distilleries and so forth? What prompted you to get into the Foreign Service? Were there any particular influences at New Haven, or among classmates that led you into that field? And did any of them follow you in? WILKINS: There's a little prologue to the last part of your statement. I was born in Omaha, Nebraska, on the hot day of August 31, 1908. Rather different than the muggy days of Washington in 198almost 80 years ago. It was the custom in Omaha, in those days, for young boys of middle class families to go east to college. Actually, to go east to prep school, and then to college. In accordance with this custom I went to The Hill School in 1922, having previously lived in Chicago from 1910. My father moved back to Omaha, having been a vice president of Cudahy Packing Company. Mr. Cudahy had moved to Chicago in 1910, and between 1917 and 1922 Interview with Ambassador Fraser Wilkins http://www.loc.gov/item/mfdipbib001666 Library of Congress moved back to Omaha because he didn't like the Stockyards in Chicago. -
The Twenties and Louis Armstrong a Thesis Submitted to the Faculty of Atlanta University in Partial Fulfillment of The
JAZZ: THE TWENTIES AND LOUIS ARMSTRONG A THESIS SUBMITTED TO THE FACULTY OF ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTERS OF ARTS BY LETA HENDRICKS DEPARTMENT OF AFRO-AMERICAN STUDIES ATLANTA, GEORGIA MAY, 1979 TABLE OF CONTENTS Page INTRODUCTION 1 Chapter I. THE TWENTIES 3 II. JAZZ BACKGROUND 17 III. LOUIS ARMSTRONG 54 SELECTED BIBLIOGRAPHY 83 SELECTED DISCOGRAPHY 93 INTRODUCTION Louis Armstrong has been one of the most important figures in jazz history. Armstrong helped change the sound and form of jazz. Traditionally the rugged and mordant cor¬ net had been the number one horn in jazz. In the late twenties, Louis changed to the fuller and brilliant sounding trumpet. The trumpet soon became the number one horn in jazz. He played his horn like no other musician before him. Armstrong's voicing and rhythm was almost flawless. He used a vocal technique for his horn and an instrumental technique for his singing. Armstrong's lung power and extraordinary lip muscles made him the King of Jazz. Louis Armstrong became the culture hero of Blacks during the twenties and thirties. Musicians and fans alike copied his speech, dress, and mannerisms. Arm¬ strong had as much impact on his culture as did White society on him. To understand the growth of Louis Armstrong there must be an understanding of the forces and events that shaped him and jazz during the twenties. Jazz, more than any other music, has been influenced by non-musical forces and events. Two of the main influences on jazz have been race and business. -
The Museum of Modern Art's "What Is Modern?" Series, 1938-1969
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2012 The Museum of Modern Art's "What Is Modern?" Series, 1938-1969 Jennifer Tobias The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1933 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] i THE MUSEUM OF MODERN ART’S WHAT IS MODERN? SERIES, 1938–1969 BY JENNIFER TOBIAS A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2012 ii © 2012 JENNIFER TOBIAS ALL RIGHTS RESERVED iii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Dr. Rosemarie Haag Bletter [Bletter sig] Date Chair of Examining Committee Dr. Kevin Murphy [EO sig] Date Executive Officer Dr. Rose-Carol Long Dr. Claire Bishop Dr. Mary Anne Staniszewski Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract THE MUSEUM OF MODERN ART’S WHAT IS MODERN? SERIES, 1938–1969 by Jennifer Tobias Adviser: Professor Rosemarie Haag Bletter Between 1938 and 1969, the Museum of Modern Art (MoMA) poses the question of What Is Modern? (WIM) in a series of books, traveling exhibitions, and a symposium. -
Newsweek from Wikipedia, the Free Encyclopedia
Newsweek From Wikipedia, the free encyclopedia Newsweek is an American weekly news magazine founded in 1933. It was published in four English language editions and Newsweek 12 global editions written in the language of the circulation region. Between 2008 and 2012, Newsweek underwent internal and Editor-in- Jim Impoco external contractions designed to shift the magazine's focus chief and audience while improving its finances. Instead, losses accelerated: revenue dropped 38 percent from 2007 to 2009. Categories News magazine The revenue declines prompted an August 2010 sale by Frequency Weekly owner The Washington Post Company to audio pioneer Total 1,528,081[1] Sidney Harman—for a purchase price of one dollar and an circulation [2][3] assumption of the magazine's liabilities. (December 2012) In November 2010, Newsweek merged with the news and opinion website The Daily Beast, forming The Newsweek First issue February 17, 1933 Daily Beast Company, after negotiations between the owners Company Newsweek LLC of the two publications. Tina Brown, The Daily Beast's editor-in-chief, served as the editor of both publications. Country United States Newsweek was jointly owned by the estate of the late Harman Based in New York City, New York, United and the diversified American media and Internet company States [4][5] IAC. Language English Newsweek ceased print publication with the December 31, Website newsweek.com (http://newsweek.com 2012, issue and transitioned to an all-digital format, called ) Newsweek Global.[6][7][8] ISSN 0028-9604 (https://www.worldcat.org/ -
Music for the Connoisseur
DB0709_001_COVER.qxd 5/18/09 4:39 PM Page 1 DOWNBEAT 75TH ANNIVERSARY COLLECTOR’S EDITION 75TH ANNIVERSARY DownBeat.com $4.99 07 JULY 2009 JULY 0 09281 01493 5 JULY 2009 U.K. £3.50 DB0709_001b-001c_COVER.qxd 5/14/09 1:43 PM Page a2 DB0709_001b-001c_COVER.qxd 5/14/09 1:41 PM Page a3 DB0709_001_P4_COVER.qxd 5/14/09 1:47 PM Page a4 DB0709_002-005_MAST.qxd 5/14/09 1:50 PM Page 3 DB0709_002-005_MAST.qxd 5/14/09 1:51 PM Page 4 SEVENTY FIFTH ANNIVERSARY July 2009 VOLUME 76 – NUMBER 7 President Kevin Maher Publisher Frank Alkyer Editor Jason Koransky Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected] CUSTOMER SERVICE 800-554-7470 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Norm Harris, D.D. -
Oral History Interview with Bill Berkson, 2015 September 29-October 2
Oral history interview with Bill Berkson, 2015 September 29-October 2 Funding for this interview was provided by the Lichtenberg Family Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Bill Berkson on September 29- October 2, 2015. The interview was conducted at the Archives of American Art in New York, NY by Annette Leddy for the Archives of American Art, Smithsonian Institution. Bill Berkson and Annette Leddy have reviewed the transcript. Their corrections and emendations appear below in brackets appended by initials. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANNETE LEDDY: All right, this is Annette Leddy interviewing Bill Berkson in the Archives of American Art offices in New York City on September 29, 2015, card number one. Okay. You were born in 1939 in New York City. So how did your family come to New York? BILL BERKSON: They came separately. My mother was born in Crawfordsville, Indiana in 1903 and she—late in life she said all she could think of was going to New York. Partly I think because her father had left the family. He never remarried or anything. There was no divorce but he left the family to make his fortune—if not fame—as a theatrical producer in New York. Actually, before she was—a couple of years before she was conceived even and then—obviously—paid a visit to the family and she was conceived and she was born in 1903. -
The Jazz Republic: Music, Race, and American Culture in Weimar Germany
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Revised Pages The Jazz Republic Revised Pages Social History, Popular Culture, and Politics in Germany Kathleen Canning, Series Editor Recent Titles Bodies and Ruins: Imagining the Bombing of Germany, 1945 to the Present David Crew The Jazz Republic: Music, Race, and American Culture in Weimar Germany Jonathan Wipplinger The War in Their Minds: German Soldiers and Their Violent Pasts in West Germany Svenja Goltermann Three-Way Street: Jews, Germans, and the Transnational Jay Howard Geller and Leslie Morris, Editors Beyond the Bauhaus: Cultural Modernity in Breslau, 1918–33 Deborah Ascher Barnstone Stop Reading! Look! Modern Vision and the Weimar Photographic Book Pepper Stetler The Corrigible and the Incorrigible: Science, Medicine, and the Convict in Twentieth- Century Germany Greg Eghigian An Emotional State: The Politics of Emotion in Postwar West German Culture Anna M. Parkinson Beyond Berlin: Twelve German Cities Confront the Nazi Past Gavriel D. Rosenfeld and Paul B. Jaskot, Editors Consumption and Violence: Radical Protest in Cold-War West Germany Alexander Sedlmaier Communism Day-to-Day: State Enterprises in East German Society Sandrine Kott Envisioning -
1309121416.Pdf
780 . 97 H687J S6~06l< Hodelr f Jazz: -its evolution and essence 3 1148 00837 1 DATE DUE T fa.__ 1^4- I...: MM.?> ~IM-"-g A'iw- '. APRfffRP JAZZ: ITS EVOLUTION AND ESSENCE JAZZ: its evolution and essence BY ANDRE HODEIR Translated by DAVID NOAKES GROVE PRESS . NEW YORK Copyright, , 1956, Grove Press, 795 Broadway NewYork3,N.Y. Library of Congress Catalog Card No. 56-5726 Manufactured in the United States of Amenca TRANSLATOR ' S NOTE American jazz specialists who greeted the original publica tion of Hommes et Problemes du Jazz as a major event will remember the lucidity of Andr Hodeir's penetrating ana lytical method. In translating his book, I have been guided above all by the desire of giving as exact an equivalent as possible of his thought and of his style. Except for a few minor changes of phrase that the author felt were called for by its publication at this time for non-French readers, the text corresponds exactly to that of the Paris edition. It occasionally reflects the fact that the volume came out a couple of years ago; Part VI, which was written especially for this version, brings things more up to date by surveying the state of jazz at the death of Charlie Parker in March, 1955. The discography at the end of the book has been revised to indicate on what labels the records are available in America. I wish to express my thanks to Marshall Stearns, of the Institute of Jazz Studies, and to Wilder Hobson, of The Saturday Review and Newsweek, for their helpful suggestions and comments on this translation. -
The Museum of Modern Art Oral History Project
THE MUSEUM OF MODERN ART ORAL HISTORY PROGRAM INTERVIEW WITH: WILLIAMS S. LIEBERMAN (WL) INTERVIEWER: SHARON ZANE (SZ) LOCATION: NEW YORK, NEW YORK DATE: APRIL 6, 1993 BEGIN TAPE 1, SIDE 1 SZ: Let me start, as I always do, and ask you where and when you were born and little bit about your family's background. You were known as Bill or William? I know your official name is William S. Lieberman. WL: I use the initial because the S. is for Slattery, which sounds just ridiculous with Lieberman. I did have to change my name, my first name, to William from Billy, which was even more ridiculous. I was born in France. I tend to lie about my age; I actually was born in 1923. (I say 1925.) Came to this country when I was about six and a half. My father was a boy from the Lower East Side. His mother was Russian and his father was German; they met on the same cattle boat coming to the United States and fell in love learning English. Mom was Irish, Irish via Canada, where her family, the Slatterys and the other family, McGauley [spelling unconfirmed], they were given a choice -- this was because of [Charles Stuart] Parnell-- of prison or Canada, and they chose Canada. The Slatterys went to Boston. SZ: Which I assume was one step up from Australia [LAUGHTER]. WL: They prospered with a department store called Slatterys, which is now defunct. My parents met...there used to be double-deck buses on Fifth Avenue, and Pop jumped MoMA Archives Oral History: W.