DOCSLIB.ORG

Gustav Fall 2020

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gustav Fall 2020 FRIDAY NIGHT JAZZ PRESENTED BY FELIX PEIKLI & FRIENDS LIVE IN GUSTAV AT AMERIKALINJEN FRIDAY OCTOBER 9, 16, 23, 30 & NOVEMBER 6, 13 SHOW #1 19:00- 21:00 SHOW #2 21:30 - 23:30 Explore ticket options at amerikalinjen.com Jernbanetorget 2 Oslo Friday October 9 Lise Mæland & The Nightingales The Music of Ella Fitzgerald & Marilyn Monroe In 1955 Ella Fitzgerald opened her initial engagement at the famous Mocambo nightclub in Hollywood, after Marilyn Monroe lobbied the owner for the booking. The booking was instrumental in Fitzgerald's career. It has been widely reported that Fitzgerald was the first black performer to play the Mocambo, following Monroe's intervention and this story is widely known as one of the music industry’s monumental leaps forward. Lise Mæland & The Nightingales will return to Club Gustav for the season premiere and perform the inspiring repertoire from these legends in jazz. Friday October 16 Felix Peikli & Friends feat. Knut Kippersund Remembering Ray Charles – 90th Anniversary The blind American singer and pianist, Ray Charles, pioneered the soul music genre during the 1950s by combining blues, jazz, rhythm and blues, and gospel styles. Through his major body of work, Charles’ is perhaps most recognized by his 1960 hit “Georgia on my Mind” that was the first of his three no. 1 hits on the Billboard Hot 100.Knut Kippersund, known from NRKs “Melodi Grand Prix” and “Beat 4 Beat”, will join Felix Peikli and friends as they return to pay homage to this legend in jazz. Friday October 23 Simple Jonny’s Easy Jazz Band The Swingin’ 1930s Simple Jonny’s Easy Jazz Band is perhaps Norway’s most joyful jazz ensemble - they present jazz classics with an upbeat and inspiring energy, with authentic and swingin’ atmosphere from the vibrant 1930’s. Their repertoire is drawn from the music of the Mills Brothers, Louis Armstrong & the Hot Fives, Frank Sinatra and many more. In addition to the usual line-up, they will feature the banjo instrument to their configuration for this one-off Club Gustav special! Join us in welcoming Simple Jonny as they return to Club Gustav for a musical throwback to the Swingin’ 30s! Friday October 30 Swing’it! Prohibition Party 1923 – Halloween Special! Swing’it is the story of a group of dappers diggin’ the 20s era. Founded by the Norwegian band leader Martin Jarl whilst studying jazz music in London, this band has developed into one of the most successful jazz bands in Norway and Europe. They take the audience on a journey 100 years back in time to the 1920s New Orleans, telling stories about the roaring 20s and the foundation of jazz; about glamour, glitter and the Great Gatsby; about bootleggers, speakeasies and illegal parties during the Prohibition and flappers and dappers partying their nights away in the opulence and decadence of the Golden Era! Friday November 6 Felix Peikli & Friends feat. Sisi Sumbundu Celebrating Women in Jazz Women have contributed throughout the many eras of jazz history, both as performers and as composers, songwriters and bandleaders. Already in the 1920’s “Ina Hutton & Her Melodears”, an all female orchestra, blazed trails through the American music industry at the same rate as their male counterparts like the Duke Ellington Orchestra, Benny Goodman Orchestra and many more. Billie Holiday, Sarah Vaughan, Eartha Kitt, the list is long of women who laid down a lifelong contribution and dedication to the art form of jazz. Join us in welcoming vocalist extraordinaire Sisi Sumbundu, known from NRK “Stjernekamp”, as she joins Felix Peikli & Friends in paying homage to the female heroes in jazz. Friday November 13 Felix Peikli’s Showtime! Band ft. Marlen Tjøsvoll The Music of Benny Goodman, Lionel Hampton, Peggy Lee Felix Peikli has toured the world with his critically acclaimed ensemble "It's Showtime! Band" with two albums to their name. This unique group, featuring Christian Lundqvist (KORK) at the vibraphone is paying homage to their shared idols and giants in Jazz: Benny Goodman and Lionel Hampton who left a forever lasting legacy pioneering through the 1930s swing era. For this season finale they will be joined by guest vocalist Marlen Tjøsvoll, known from NRK “Det Store Korslaget” and “Idol”, who’ll perform the works of Benny Goodman, Lionel Hampton, and Peggy Lee..
Load more

Recommended publications
  • CATALOGUE WELCOME to NAXOS JAZZ LEGENDS and NAXOS NOSTALGIA, Twin Compendiums Presenting the Best in Vintage Popular Music
    NAXOS JAZZ LEGENDS/NOSTALGIA CATALOGUE WELCOME TO NAXOS JAZZ LEGENDS AND NAXOS NOSTALGIA, twin compendiums presenting the best in vintage popular music. Following in the footsteps of Naxos Historical, with its wealth of classical recordings from the golden age of the gramophone, these two upbeat labels put the stars of yesteryear back into the spotlight through glorious new restorations that capture their true essence as never before. NAXOS JAZZ LEGENDS documents the most vibrant period in the history of jazz, from the swinging ’20s to the innovative ’40s. Boasting a formidable roster of artists who forever changed the face of jazz, Naxos Jazz Legends focuses on the true giants of jazz, from the fathers of the early styles, to the queens of jazz vocalists and the great innovators of the 1940s and 1950s. NAXOS NOSTALGIA presents a similarly stunning line-up of all-time greats from the golden age of popular entertainment. Featuring the biggest stars of stage and screen performing some of the best- loved hits from the first half of the 20th century, this is a real treasure trove for fans to explore. RESTORING THE STARS OF THE PAST TO THEIR FORMER GLORY, by transforming old 78 rpm recordings into bright-sounding CDs, is an intricate task performed for Naxos by leading specialist producer-engineers using state-of-the-art-equipment. With vast personal collections at their disposal, as well as access to private and institutional libraries, they ensure that only the best available resources are used. The records are first cleaned using special equipment, carefully centred on a heavy-duty turntable, checked for the correct playing speed (often not 78 rpm), then played with the appropriate size of precision stylus.
    [Show full text]
  • Jazzletter P-Q Ocrober 1986 P 5Jno;..1O
    Jazzletter P-Q ocrober 1986 P 5jNo;..1o . u-1'!-an J.R. Davis,.Bill Davis, Rusty Dedrick, Buddy DeFranco, Blair The Readers . Deiermann, Rene de Knight,‘ Ron Della Chiesa (WGBH), As of August 25, I986, the JazzIetrer’s readers were: Louise Dennys, Joe Derise, Vince Dellosa, Roger DeShon, Michael Abene, John Abbott, Mariano F. Accardi, Harlan John Dever, Harvey Diamond, Samuel H. Dibert’, Richard Adamcik, Keith Albano, Howard Alden, Eleanore Aldrich, DiCarlo, Gene DiNovi, Victor DiNovi, Chuck Domanico, Jeff Alexander, Steve Allen, Vernon Alley, Alternate and Arthur Domaschenz, Mr. and Mrs. Steve Donahue, William E. Independent Study Program, Bill Angel, Alfred Appel J r, Ted Donoghue, Bob Dorough, Ed Dougherty, Hermie Dressel, Len Arenson, Bruce R. Armstrong, Jim Armstrong, Tex Arnold, Dresslar, Kenny Drew, Ray Drummond, R.H. Duffield, Lloyd Kenny Ascher, George Avakian, Heman B. Averill, L. Dulbecco, Larry Dunlap, Marilyn Dunlap, Brian Duran, Jean Bach, Bob Bain, Charles Baker (Kent State University Eddie Duran, Mike Dutton (KCBX), ' School of Music), Bill Ballentine, Whitney Balliett, Julius Wendell Echols, Harry (Sweets) Edison,Jim_Eigo, Rachel Banas, Jim Barker, Robert H. Barnes, Charlie Barnet, Shira Elkind-Tourre, Jack Elliott, Herb Ellis, Jim Ellison, Jack r Barnett, Jeff Barr, E.M. Barto Jr, Randolph Bean, Jack Ellsworth (WLIM), Matt Elmore (KCBX FM), Gene Elzy Beckerman, Bruce B. Bee, Lori Bell, Malcolm Bell Jr, Carroll J . (WJR), Ralph Enriquez, Dewey Emey, Ricardo Estaban, Ray Bellis MD, Mr and Mrs Mike Benedict, Myron Bennett, Dick Eubanks (Capital University Conservatory of Music), Gil Bentley, Stephen C. Berens MD, Alan Bergman, James L. Evans, Prof Tom Everett (Harvard University), Berkowitz, Sheldon L.
    [Show full text]
  • City of West Hollywood Appendix J
    R2, R3, R4 Multi-Family Survey Report City of West Hollywood Appendix J: 1986-87 Survey Context, prepared by Johnson Heumann Research Associates Appendices November 2008 ARCHITECTURAL RESOURCES GROUP Architects, Planners & Conservators, Inc. when a small group of citizens formed the West Hollywood Incorporation Committee. By November of that year, studies by the Local Agency Formation Commission confirmed that incorporation was indeed economically feasible. Tenants led by the Coalition for Economic Survival, homeowners concerned with planning issues and the gay community were among the leading advocates of cityhoog. Formal application was made on April 4, 1984. On November 4, 1984, by a 4:1 favorable margin, the voters approved incorporation . One of the new city's first tasks was to begin to draft a General Plan , the land use policy document for the municipality required· by State law. In January of 1985, the city began the process of preparing the Plan, noting that the physical environment, social character and quality of life within the City would be influenced by the General Plan. It was a stated goal to link land use and urban design, emphasizing the relationship between parcels and uses throughout the city. A reduction of density from those outlined in the West Hollywood Community Plan, .---- prepared before incorporated by the County of Los Angeles, was planned. As an i ntegral part of this planning process. the city of West Hollywood applied for c survey grant from the State Off ice of Historic Preservation in November of 1985 . 1.2 DEVELOPMENT HISTORY The area now known as West Hollywood has played a key role in t h e development of Los Angeles County west of Los Angeles .
    [Show full text]
  • Mood Music Programs
    MOOD MUSIC PROGRAMS MOOD: 2 Pop Adult Contemporary Hot FM ‡ Current Adult Contemporary Hits Hot Adult Contemporary Hits Sample Artists: Andy Grammer, Taylor Swift, Echosmith, Ed Sample Artists: Selena Gomez, Maroon 5, Leona Lewis, Sheeran, Hozier, Colbie Caillat, Sam Hunt, Kelly Clarkson, X George Ezra, Vance Joy, Jason Derulo, Train, Phillip Phillips, Ambassadors, KT Tunstall Daniel Powter, Andrew McMahon in the Wilderness Metro ‡ Be-Tween Chic Metropolitan Blend Kid-friendly, Modern Pop Hits Sample Artists: Roxy Music, Goldfrapp, Charlotte Gainsbourg, Sample Artists: Zendaya, Justin Bieber, Bella Thorne, Cody Hercules & Love Affair, Grace Jones, Carla Bruni, Flight Simpson, Shane Harper, Austin Mahone, One Direction, Facilities, Chromatics, Saint Etienne, Roisin Murphy Bridgit Mendler, Carrie Underwood, China Anne McClain Pop Style Cashmere ‡ Youthful Pop Hits Warm cosmopolitan vocals Sample Artists: Taylor Swift, Justin Bieber, Kelly Clarkson, Sample Artists: The Bird and The Bee, Priscilla Ahn, Jamie Matt Wertz, Katy Perry, Carrie Underwood, Selena Gomez, Woon, Coldplay, Kaskade Phillip Phillips, Andy Grammer, Carly Rae Jepsen Divas Reflections ‡ Dynamic female vocals Mature Pop and classic Jazz vocals Sample Artists: Beyonce, Chaka Khan, Jennifer Hudson, Tina Sample Artists: Ella Fitzgerald, Connie Evingson, Elivs Turner, Paloma Faith, Mary J. Blige, Donna Summer, En Vogue, Costello, Norah Jones, Kurt Elling, Aretha Franklin, Michael Emeli Sande, Etta James, Christina Aguilera Bublé, Mary J. Blige, Sting, Sachal Vasandani FM1 ‡ Shine
    [Show full text]
  • West Hollywood, California's Go-To-Guide to the City's Three
    West Hollywood, California’s go-to-guide to the City’s Three Districts The Sunset Strip After decades of notoriety, the Sunset Strip continues to blaze its own path as a world-famous cultural landmark, setting trends in music, hotels, dining and shopping. This most famous stretch of Sunset Boulevard begins and ends in West Hollywood, and like the city it calls home, it is constantly breaking new ground and reinventing itself. Though it’s often been portrayed in movies like Sunset Boulevard, Almost Famous and Rock of Ages, visitors say that nothing compares to seeing the Sunset Strip up close and in person. Bordered on the west by Beverly Hills and on the east by Hollywood, this iconic 1.5 mile stretch of Sunset Boulevard features an array of world-class hotels, nightclubs, restaurants, shops and spas. Through the years, the Sunset Strip has seen it all, starting with the seedy glitz of the 1920s, when Prohibition fueled the rise of nightclubs and speakeasies. Because West Hollywood was not yet an incorporated city, this strip of Sunset Boulevard was lightly policed, making the Strip the perfect playground for the rebellious denizens of early Hollywood. By the 1940s, swanky nightclubs like Ciro’s, Trocadero and Mocambo reigned supreme, attracting A-list celebrity clientele like Marilyn Monroe along with less savory characters like gangster Bugsy Siegel, who called the Strip his stomping grounds. In the 1960s, the Sunset Strip became the major gathering place for the counterculture movement in Los Angeles. Janis Joplin, Jimi Hendrix and Jim Morrison were fixtures of the Strip and the surrounding West Hollywood landscape.
    [Show full text]
  • Benny Goodman : from “King of Swing” to Third Stream Jae Ellis Bull
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 1-1-2006 Benny Goodman : From “King of Swing” to Third Stream Jae Ellis Bull Follow this and additional works at: http://mds.marshall.edu/etd Part of the Music Commons Recommended Citation Bull, Jae Ellis, "Benny Goodman : From “King of Swing” to Third Stream" (2006). Theses, Dissertations and Capstones. Paper 517. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. Benny Goodman: From “King of Swing” to Third Stream. Thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music. by Jae Ellis Bull Dr. Vicki Stroeher, Committee Chairperson Dr. Marshall Onofrio, Dr. Donald Williams Marshall University August 2006 ABSTRACT Benny Goodman: From “King of Swing” to Third Stream. By Jae Ellis Bull Clarinetist and band leader Benny Goodman was born in the Chicago slums in 1909. He first played in dance bands and eventually organized his own band, which became so popular that he was known as the "King of Swing." As a clarinetist, he also was attracted to classical music, particularly the clarinet music of Mozart, Debussy and Brahms. Gunther Schuller, describing Goodman's ability to play in both jazz and classical styles said, "In a sense, Benny was the first Third Stream musician, moving easily in and out of jazz and classical music, from the Palomar Ballroom to Carnegie Hall..."1 This paper explores Goodman's musical career in both the classical and jazz worlds, defines the term “Third Stream” and describes how Benny Goodman fits this term.
    [Show full text]
  • Randy Grabowski Is Professor of Trumpet at the University of Northern Iowa School of Music
    In consideration of the performers and other members of the audience, please enter or leave a performance at the end of a composition. Cameras and recording equipment are not permitted. Please turn off all electronic devices, and be sure that all emergency contact cell phones and pagers are set to silent or vibrate. This event is free to all UNI students, courtesy of the Panther Pass Program. Performances like this are made possible through private support from patrons like you! Please consider contributing to School of Music scholarships or guest artist programs. Call 319-273-3915 or visit www.uni.edu/music to make your gift. Tuesday, September 9, 2014 at 7:30 pm Bengtson Auditorium, Russell Hall Morceau de Concert (1904) . .Jules Debefve Randy Grabowski is Professor of Trumpet at the University of Northern Iowa School of Music. He teaches applied trumpet, instructs (1863 – 1932) related classes, directs the UNI Trumpet Ensemble, and collaborates with colleagues in various faculty ensembles. In addition to his teaching responsibilities, Dr. Grabowski continues to Sonata (2001) . James M. Stephenson, III be active as a commercial musician, performing with such recording Maestoso: March Tempo (b. 1969) artists as Ray Charles, the Manhattan Transfer, Aretha Franklin, Moody Lento: Waltz Blues, Mannheim Steamroller, and the Jimmy Dorsey, Nelson Riddle, Vivo Harry James, and Benny Goodman orchestras. Prior to settling in Iowa, Dr. Grabowski also performed with numerous television and recording artists such as Frank Sinatra, Tony Bennett, Dionne Warwick, Shirley MacLaine, and Sammy Davis Jr. In addition, he was Principal Trumpet of the Reno Philharmonic, MGM-Grand and Reno Hilton orchestras, Elegy in memoriam Gustav Mahler (2012) .
    [Show full text]
  • Glenn Miller, Benny Goodman, and Count Basie Led Other Successful
    JAZZ AGE Glenn Miller, Benny Goodman, and Count Basie led other modal jazz (based on musical modes), funk (which re- successful orchestras. While these big bands came to char- prised early jazz), and fusion, which blended jazz and rock acterize the New York jazz scene during the Great De- and included electronic instruments. Miles Davis in his pression, they were contrasted with the small, impover- later career and Chick Corea were two influential fusion ished jazz groups that played at rent parties and the like. artists. During this time the performer was thoroughly identified Hard bop was a continuation ofbebop but in a more by popular culture as an entertainer, the only regular accessible style played by artists such as John Coltrane. venue was the nightclub, and African American music be- Ornette Coleman (1960) developed avant-garde free jazz, came synonymous with American dance music. The big- a style based on the ideas ofThelonius Monk, in which band era was also allied with another popular genre, the free improvisation was central to the style. mainly female jazz vocalists who soloed with the orches- tras. Singers such as Billie Holiday modernized popular- Postmodern Jazz Since 1980 song lyrics, although some believe the idiom was more Hybridity, a greater degree offusion,and traditional jazz akin to white Tin Pan Alley than to jazz. revivals merely touch the surface of the variety of styles Some believe that the big band at its peak represented that make up contemporary jazz. Inclusive ofmany types the golden era ofjazz because it became part ofthe cul- ofworld music, it is accessible, socially conscious, and tural mainstream.
    [Show full text]
  • Chapter Outline
    CHAPTER SIX: “IN THE MOOD”: THE SWING ERA, 1935–1945 Chapter Outline I. Swing Music and American Culture A. The Swing Era: 1935–45 1. Beginning in 1935, a new style of jazz-inspired music called “swing” transformed American popular music. 2. Initially developed in the late 1920s by black dance bands in New York, Chicago, and Kansas City 3. The word “swing” (like “jazz,” “blues,” and “rock ’n’ roll”) derives from African American English. a) First used as a verb for the fluid, rocking rhythmic momentum created by well-played music, the term was used by extension to refer to an emotional state characterized by a sense of freedom, vitality, and enjoyment. b) References to “swing” and “swinging” are common in the titles and lyrics of jazz records made during the 1920s and early 1930s. c) Around 1935, the music industry began to use “swing” as a proper noun—the name of a defined musical genre. 4. Between 1935 and 1945, hundreds of large dance orchestras directed by celebrity bandleaders dominated the national hit parade: 1 CHAPTER SIX: “IN THE MOOD”: THE SWING ERA, 1935–1945 a) Benny Goodman b) Tommy Dorsey c) Duke Ellington d) Count Basie e) Glenn Miller 5. These big bands appeared nightly on radio, their performances transmitted coast to coast from hotels and ballrooms in the big cities. 6. Their music was featured on jukeboxes. 7. Many of the bands crisscrossed the country in buses, playing for dances and concerts at local dance halls, theaters, and colleges. 8. The big bands were essentially a big-city phenomenon, a symbol of sophistication and modernity.
    [Show full text]
  • Frank's World
    Chris Rojek / Frank Sinatra Final Proof 9.7.2004 10:22pm page 7 one FRANK’S WORLD Frank Sinatra was a World War One baby, born in 1915.1 He became a popular music phenomenon during the Second World War. By his own account, audiences adopted and idol- ized him then not merely as an innovative and accomplished vocalist – his first popular sobriquet was ‘‘the Voice’’ – but also as an appealing symbolic surrogate for American troops fighting abroad. In the late 1940s his career suffered a precipitous de- cline. There were four reasons for this. First, the public perception of Sinatra as a family man devoted to his wife, Nancy, and their children, Nancy, Frank Jr and Tina, was tarnished by his high-octane affair with the film star Ava Gardner. The public face of callow charm and steadfast moral virtue that Sinatra and his publicist George Evans concocted during his elevation to celebrity was damaged by his admitted adultery. Sinatra’s reputation for possessing a violent temper – he punched the gossip columnist Lee Mortimer at Ciro’s night- club2 and took to throwing tantrums and hurling abuse at other reporters when the line of questioning took a turn he disap- proved of – became a public issue at this time. Second, servicemen were understandably resentful of Sina- tra’s celebrity status. They regarded it as having been easily achieved while they fought, and their comrades died, overseas. Some members of the media stirred the pot by insinuating that Sinatra pulled strings to avoid the draft. During the war, like most entertainers, Sinatra made a virtue of his patriotism in his stage act and music/film output.
    [Show full text]
  • Eddie Durham Jazz Celebration 2013 the Eddie Durham Tribute Big Band Featuring Doug Lawrence Count Basie Orchestra·Saxophonist and NEA Jazz Master Dan Morgenstern
    Eddie Durham Jazz Celebration 2013 The Eddie Durham Tribute Big Band featuring Doug Lawrence Count Basie Orchestra·saxophonist and NEA Jazz Master Dan Morgenstern Friday, February 8, 2013 7:30 PM-Evans Auditorium Big Band Personnel Saxes Vincent Herring -Alto Kris Kimura-Alto* Russell Haight -Tenor# John Mills - Tenor * James Warth-Baritone Trombones Freddie Mendoza * # Armin Armolejo * Kyle Johnson + Martin McCain # Trumpets Steve Hawk Andy Cheetham Adrian Ruiz * Keith Winking * # Karlos Elizondo + Rhythm Butch Miles -Drums # Russell Scanlon -Guitar * # Morris Nelms -Piano * # Hank Hehmsoth -Piano# Utah Hamrick – Bass * Denotes Texas State Alumni # Denotes Texas State Faculty + Denotes Texas State Student Sponsors include the San Marcos Arts Association, the Texas State School of Music, and Texas State Student Services. Thanks to Deirdre Lannon for her help. Sincere thanks to Marsha Durham for her ongoing support. PROGRAM Opening Comments Dr. Gene Bourgeois Dan Morgenstern “Eddie Durham’s Early Years: Becoming a Jazz Musician in the 1920’s” Eddie Durham Tribute Big Band Featuring Doug Lawrence Program to be selected from the following Body & Soul – Johnny Green Cheesecake – Dexter Gordon Gingerbread Boy – Jimmy Heath Moten Swing – Eddie Durham Salt Peanuts – Dizzy Gillespie Speak Low – Kurt Weill Swinging the Blues – Eddie Durham Topsy – Eddie Durham Saxophonist Doug Lawrence is one of the premier saxophonists in the work jazz world. As a featured soloist with the Grammy winning Count Basie Orchestra, he has toured the world. He has appeared on over 100 recordings including four recordings of his own. Two of which topped the US jazz charts. He has performed/recorded with Benny Goodman, Aretha Franklin, Tony Bennett, Ella Fitzgerald, and Ray Charles.
    [Show full text]
  • Race, Nation, and Popular Culture in Cuban New York City and Miami, 1940-1960
    Authentic Assertions, Commercial Concessions: Race, Nation, and Popular Culture in Cuban New York City and Miami, 1940-1960 by Christina D. Abreu A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (American Culture) in The University of Michigan 2012 Doctoral Committee: Associate Professor Jesse Hoffnung-Garskof Associate Professor Richard Turits Associate Professor Yeidy Rivero Associate Professor Anthony P. Mora © Christina D. Abreu 2012 For my parents. ii Acknowledgments Not a single word of this dissertation would have made it to paper without the support of an incredible community of teachers, mentors, colleagues, and friends at the University of Michigan. I am forever grateful to my dissertation committee: Jesse Hoffnung-Garskof, Richard Turits, Yeidy Rivero, and Anthony Mora. Jesse, your careful and critical reading of my chapters challenged me to think more critically and to write with more precision and clarity. From very early on, you treated me as a peer and have always helped put things – from preliminary exams and research plans to the ups and downs of the job market – in perspective. Your advice and example has made me a better writer and a better historian, and for that I thank you. Richard, your confidence in my work has been a constant source of encouragement. Thank you for helping me to realize that I had something important to say. Yeidy, your willingness to join my dissertation committee before you even arrived on campus says a great deal about your intellectual generosity. ¡Mil Gracias! Anthony, watching you in the classroom and interact with students offered me an opportunity to see a great teacher in action.
    [Show full text]