Art Ensemble of Chicago Thelonious Sphere Monk
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DUNWOODY Houston
\1!W _- CONTENTS Volume 13. Number 12 June 5·11. 1987 Largest Beer Bust In Texas 4pm~2am days a week~ PAGE 44 J 11 TWT NEWS Dallas Baptists Blast Gays. Dara Gray ta Head THRF. $4 24 COMMENT Letters ta the Editor 27 VIEWPOINT Self-Love bV Michoel H. Wilson 29 HEALTH Effects of Stress on Heatlh bV Dr. Terru R. Watson 30 HIGHLIGHT Ten Years After With Anita Bryant (Part 2) bV Phil Johnson 35 CLASSIC TWT Six Years Ago This Week in Texas bV Don Maines 39 BOOKS The Wings of the Phoenix by Florine De Veer Reviewed bV David Fields 43 MOVIES River's edge With Dennis Hopper Reviewed bV O. Flores Alvarez 44 SHOWBIZ Diana Ross & Jackie Ross. The Supremes & The Beatles ... bV .lock Varsi 46 BACKSTAGE Horveo Milk. Delia Stewart. Eartha Kitt ... bv Donolevon Maines 55 HOT TEA Marty Single Wins Mr. Prime Choice. Tierra Michaels Wins Miss Gay South Texas .. 67 SPORTS Marion & Lynn's Rebels Still Ahead in Women's Softball League .. bV BobbV Miller 69 STARSCOPE Your June Lovescope bV Milton voo Stem 74 COVER/PHOTO ESSAY Houston's Marco Roberts Photographs bV G.W. Hing 78 CLASSIFIED Want Ads and Notices 89 CALENDAR Special One-Time Only & Non-Profit Community Events 91 THE GUIDE Texas Business/Club Directory TWT (This Week in Texas) is published by Texas Weekly Publishing Co., at 2205 Montrose, Houston, Texas 77006, phone: (713) 527-9111. Opinions expressed by columnists are not necessarily those of TWT or of its staff. Publication of the name or photograph of any person or organization in articles or advertising in TWT is not to be construed as any indication of the sexual orientation of said person or organization. -
Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
Musica Jazz Autore Titolo Ubicazione
MUSICA JAZZ AUTORE TITOLO UBICAZIONE AA.VV. Blues for Dummies MSJ/CD BLU AA.VV. \The \\metronomes MSJ/CD MET AA.VV. Beat & Be Bop MSJ/CD BEA AA.VV. Casino lights '99 MSJ/CD CAS AA.VV. Casino lights '99 MSJ/CD CAS AA.VV. Victor Jazz History vol. 13 MSJ/CD VIC AA.VV. Blue'60s MSJ/CD BLU AA.VV. 8 Bold Souls MSJ/CD EIG AA.VV. Original Mambo Kings (The) MSJ/CD MAM AA.VV. Woodstock Jazz Festival 1 MSJ/CD WOO AA.VV. New Orleans MSJ/CD NEW AA.VV. Woodstock Jazz Festival 2 MSJ/CD WOO AA.VV. Real birth of Fusion (The) MSJ/CD REA AA.VV. \Le \\grandi trombe del Jazz MSJ/CD GRA AA.VV. Real birth of Fusion two (The) MSJ/CD REA AA.VV. Saint-Germain-des-Pres Cafe III: the finest electro-jazz compilationMSJ/CD SAI AA.VV. Celebrating the music of Weather Report MSJ/CD CEL AA.VV. Night and Day : The Cole Porter Songbook MSJ/CD NIG AA.VV. \L'\\album jazz più bello del mondo MSJ/CD ALB AA.VV. \L'\\album jazz più bello del mondo MSJ/CD ALB AA.VV. Blues jam in Chicago MSJ/CD BLU AA.VV. Blues jam in Chicago MSJ/CD BLU AA.VV. Saint-Germain-des-Pres Cafe II: the finest electro-jazz compilationMSJ/CD SAI Adderley, Cannonball Cannonball Adderley MSJ/CD ADD Aires Tango Origenes [CD] MSJ/CD AIR Al Caiola Serenade In Blue MSJ/CD ALC Allison, Mose Jazz Profile MSJ/CD ALL Allison, Mose Greatest Hits MSJ/CD ALL Allyson, Karrin Footprints MSJ/CD ALL Anikulapo Kuti, Fela Teacher dont't teach me nonsense MSJ/CD ANI Armstrong, Louis Louis In New York MSJ/CD ARM Armstrong, Louis Louis Armstrong live in Europe MSJ/CD ARM Armstrong, Louis Satchmo MSJ/CD ARM Armstrong, Louis -
Islam and Revolution
Imam Khomeini Islam and Revolution www.islamic-sources.com ISLAM and REVOLUTION 1 2 ISLAM and REVOLUTION Writings and Declarations of Imam Khomeini Translated and Annotated by Hamid Algar Mizan Press, Berkeley Contemporary Islamic Thought, Persian Series 3 Copyright © 1981 by Mizan Press All Rights Reserved Designed by Heidi Bendorf LIBRARY OF CONGRESS CATALOGING IN PUBLICATION DATA Khumayni, Ruh Allah. Islam and revolution. 1. Islam and state-Iran-Addresses, essays, lectures. 2. Iran-Politics and government-1941-1979-Addresses, essays, lectures. 3. Shiites-Addresses, essays, lectures. I. Algar, Hamid. II. Title. ISBN 0-933782-04-7 hard cover ISBN 0-933782-03-9 paperback Manufactured in the United States of America 4 CONTENTS FOREWORD 9 INTRODUCTION BY THE TRANSLATOR 13 Notes 22 I. Islamic Government 1. INTRODUCTION 27 2. THE NECESSITY FOR ISLAMIC GOVERNMENT 40 3. THE FORM OF ISLAMIC GOVERNMENT 55 4. PROGRAM FOR THE ESTABLISHMENT OF AN ISLAMIC GOVT. 126 Notes 150 II. Speeches and Declarations A Warning to the Nation/1941 169 In Commemoration of the Martyrs at Qum/ April 3, 1963 174 The Afternoon of ‘Ashura/June 3, 1963 177 The Granting of Capitulatory Rights to the U.S./ October27, 1964 181 Open Letter to Prime Minister Hoveyda/April 16, 1967 189 Message to the Pilgrims/February 6, 1971 195 The Incompatibility of Monarchy With Islam/ October 13, 1971 200 5 Message to the Muslim Students in North America/ July 10, 1972 209 In Commemoration of the First Martyrs of the Revolution/February 19, 1978 212 Message to the People of Azerbayjan/ -
North Carolina
Gowan MALS Final Project Spring 2014 2 Table of Contents The Roots of Jazz in North Carolina ................................................................................................. 3 Setting the Stage ............................................................................................................................ 4 The 19th Century: Songs of Joy and Freedom .................................................................................. 9 19th Century Secular Music in North Carolina: In the String of Things ......................... 10 Sacred Music in 19th Century North Carolina: Lined Up and Ready ............................. 19 The 20th Century: Repression, Deliverance, and Escape ............................................................. 28 Secular Music in 20th Century North Carolina: Getting the Blues ................................... 29 Sacred Music in the 20th Century: Shout It Out ................................................................... 39 North Carolina: Fertile Ground for Jazz? ..................................................................................... 48 Works Cited .......................................................................................................................................... 52 Gowan MALS Final Project Spring 2014 3 The Roots of Jazz in North Carolina An analysis of the musical heritage of the Tar Heel State and its connection to jazz greats North Carolina is not known for its jazz music. When you think about the hubs of jazz, New Orleans, New York, -
2011 – Cincinnati, OH
Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers. -
UNVERSITY of CALIFORNIA SAN DIEGO Circular Metafictions
UNVERSITY OF CALIFORNIA SAN DIEGO Circular Metafictions: what remains unbound is gathered A thesis submitted in partial satisfaction of the requirements for the degree Master of Fine Arts in Visual Arts by dana washington-queen Committee in charge: Nicole Miller, Chair Zeinabu Davis Paul Sepuya Michael Trigilio 2020 © dana washington-queen, 2020 All rights reserved. The Thesis of dana washington-queen is approved, and it is acceptable in quality and form for publication on microfilm and electronically: _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ Chair University of California San Diego 2020 iii DEDICATION To my maternal grandparents, thank you for showing up and showing me the way. Thank you for the legacy you’ve left behind: I will continue to observe and preserve. To my paternal grandmother, your fight for freedom will always be carried with me. Parents, thank you for giving me the space to find my way and at my pace. This work gave me an opportunity to ask the harder questions, to reopen old wounds that you may have wanted to forget. Dad, sorry that I couldn’t put together the pieces and include your side in this work. Mom, I hope that this is healing for you because it was for me. Dannielle, may you tell your story someday. Wife, thank you for listening to every little thing that I’ve said. Thank you for your care and patience throughout this process. iv EPIGRAPH I’m not on the outside looking in, I’m not on the inside looking out, I’m in the dead fucking center looking around. -
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. -
Eartrip7.Pdf Download
CONTENTS Editorial An internet-related rant and a summary of the delights to follow in the rest of the current issue. By David Grundy. [pp.3-4] Listening to Sachiko M 12,000 words (count' em) – a lengthy, and no-doubt futile attempt to get to grips with some of the recordings of empty-sampler player (or, in her own words, 'non-musician'), Sachiko M, including interminable ramblings on such albums as 'Bar Sachiko,' 'Filament 1', and 'Tears'. By David Grundy. [pp.5-26] The Drop at the Foot of the Ladder: Musical Ends and Meanings of Performances I Haven't Been To, Fluxus and Today 11,000 words (count 'em), covering the delicate and indelicate negotiations between music and performance, audience and performer, art and non-art, that take place in the 1960s works of Fluxus and their distant inheritors, Mattin and Taku Unami. By Lutz Eitel. [pp.27-52] Feature: Live in Seattle Two solo takes and a duo relating to Coltrane's 1965 recording, made at the breaking point of his 'Classic Quartet', poised between old and new, music that pushes at the limits and drops back only to push again with furious persistence. By David Grundy and Sean Bonney. [pp.53-74] Interview: The Rent To call The Rent a Steve Lacy 'tribute band' would be to do them an immense disservice, though their repertoire consists mainly of Lacy compositions. Their conversation with Ted Harms covers such topics as inter-disciplinarity, the Lacy legacy, and the notion of jazz repertoire. [pp.75-83] You Tube Watch: Billy Harper A feature devoted this issue to the great Texan tenor Billy Harper. -
Träumend Von Den Großen Schwarzen Schwänen“ (*)
KULTUR UND GESELLSCHAFT Organisationseinheit : 46 Reihe : LITERATUR 0.05 Uhr Titel der Sendung: Träumend von den großen Üb schwarzen Schwänen – Die Ästhetik des Widerstands in Alejo Carpentiers Le Sacre du Printemps Autor : : Klaus Emrich Redaktion: : Sigried Wesener Sendetermin : 28.12.2014 Besetzung : Sprecher : Zitatorin : Zitator Regie : Urheberrechtlicher Hinweis: Dieses Manuskript ist urheberrechtlich geschützt und darf vom Empfänger ausschließlich zu rein privaten Zwecken genutzt werden. Jede Vervielfältigung, Verbreitung oder sonstige Nutzung, die über den in den §§ 45 bis 63 Urheberrechtsgesetz geregelten Umfang hinausgeht, ist unzulässig © Deutschlandradio Deutschlandradio Kultur Funkhaus Berlin Hans-Rosenthal-Platz 10825 Berlin Telefon (030) 8503-0 1 Klaus Emrich „Träumend von den Großen Schwarzen Schwänen“ (*) Die Ästhetik des Widerstands in Alejo Carpentiers „Le Sacre du Printemps“ (*) Alejo Carpentier, Le Sacre du Printemps, Frankfurt/Main 1993, S.11 18. März 2o14 2 MUSIK: Steve Coleman & Dave Holland Phase Space (track 2): Dream of the Elders (nach ca 25’ übersprechen) ZITATOR: Menschen von heute, die schon danach trachteten, Menschen von morgen zu sein. (1:529) SPRECHER: Alejo Carpentier. Le Sacre du Printemps. La Consagración de la Primavera: Alejo Carpentier schrieb sein opus magnum 1978 als „Epos der kubanischen Revolution“. Er verbindet die Geschichte der russischen Tänzerin Vera und des cubanischen Architekten Enrique mit den historischen Ereignissen während des spanischen Krieges 1936 bis 1939 und dem bewaffneten -
The Avant-Garde in Jazz As Representative of Late 20Th Century American Art Music
THE AVANT-GARDE IN JAZZ AS REPRESENTATIVE OF LATE 20TH CENTURY AMERICAN ART MUSIC By LONGINEU PARSONS A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2017 © 2017 Longineu Parsons To all of these great musicians who opened artistic doors for us to walk through, enjoy and spread peace to the planet. ACKNOWLEDGMENTS I would like to thank my professors at the University of Florida for their help and encouragement in this endeavor. An extra special thanks to my mentor through this process, Dr. Paul Richards, whose forward-thinking approach to music made this possible. Dr. James P. Sain introduced me to new ways to think about composition; Scott Wilson showed me other ways of understanding jazz pedagogy. I also thank my colleagues at Florida A&M University for their encouragement and support of this endeavor, especially Dr. Kawachi Clemons and Professor Lindsey Sarjeant. I am fortunate to be able to call you friends. I also acknowledge my friends, relatives and business partners who helped convince me that I wasn’t insane for going back to school at my age. Above all, I thank my wife Joanna for her unwavering support throughout this process. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF EXAMPLES ...................................................................................................... 7 ABSTRACT -
The Freedom Principle: Experiments in Art and Music, 1965 to Now September 14, 2016-March 19, 2017 Institute of Contemporary Art/University of Pennsylvania
The Freedom Principle: Experiments in Art and Music, 1965 to Now September 14, 2016-March 19, 2017 Institute of Contemporary Art/University of Pennsylvania Exhibition Checklist The AACM, AfriCOBRA & Chicago in the 1960s and 1970s Muhal Richard Abrams (b. 1930 in Chicago; lives in New York) Levels and Degrees of Light, 1968 Acrylic on canvas 16 1/8 x 16 ½ in. (41 x 47 cm) Courtesy of the artist Muhal Richard Abrams (b. 1930 in Chicago; lives in New York) Blues Forever, 1982 Acrylic on cardboard 23 5/8 x 29 ½ in. (60 x 76 cm) Courtesy of the artist Muhal Richard Abrams (b. 1930 in Chicago; lives in New York) View From Within, 1985 Collage and acrylic on canvas 17 ¾ x 25 ½ in. (45 x 65 cm) Courtesy of the artist Muhal Richard Abrams (b. 1930 in Chicago; lives in New York) Roots of Blue, 1986 Acrylic on canvas 21 5/8 x 15 ¾ in. (55 x 40 cm) Courtesy of the artist Muhal Richard Abrams (b. 1930 in Chicago; lives in New York) Blu Blu Blu, 1991 Acrylic on cardboard 17 ¾ x 21 5/8 in. (45 x 58 cm) Courtesy of the artist Page 1 of 26 The Freedom Principle: Experiments in Art and Music, 1965 to Now Muhal Richard Abrams (b. 1930 in Chicago; lives in New York) Kei’s Dance, 2010 Acrylic on cardboard 16 ½ x 18 7/8 in. (42 x 48 cm) Courtesy of the artist AfriCOBRA, Ten in Search of a Nation, Studio Museum in Harlem, 1970 Poster 22 x 17 in.