Issues with the Gaudy, Oversized, Safe Passage Project Lacking Mainte- Yellow Bricks, As in Road
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A Full List of Signatures Is Here
IAVA Recipient: Secretary Mattis Letter: Greetings, First, thank you for your service and sacrifice and for your incredible leadership that so many in the military and veteran community have experienced and respect. As you know, more than 1.5 million veterans have have educated themselves with the Post-9/11 GI Bill, and almost 70% of Iraq and Afghanistan Veterans of America (IAVA) members have used or transferred this benefit to a dependent. It could very well be the most transformative federal benefit created. The new restriction on Post-9/11 GI Bill transferability to only those with less than 16 years of service is a completely unnecessary reduction of this critical benefit, and it will ultimately hurt our military recruitment and readiness. In a time of war, it remains enormously important to recruit and retain qualified servicemembers, especially with an ever-decreasing pool of eligible recruits. For years, IAVA has been at the forefront of this fight. We led the effort to establish this benefit in 2008 and we have successfully defended it in recent years. We cannot allow our GI Bill to be dismantled or abused. This is why I am standing with my fellow IAVA members to respectfully request that you reverse this counterproductive policy change that creates barriers to access to these transformative benefits. The GI Bill has been earned by millions of men and women on the battlefield and around the world and it should not be subjected to arbitrary restrictions that limit its use. Again, thank you for your leadership and I ask that you take action now to reverse this decision. -
Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B. -
Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
Franklin D. Murphy Papers, 1948-1994
http://oac.cdlib.org/findaid/ark:/13030/tf8g5008hv No online items Finding Aid for the Franklin D. Murphy Papers, 1948-1994 Processed by Lilace Hatayama, 1998; machine-readable finding aid created by Caroline Cubé UCLA Library, Department of Special Collections Manuscripts Division Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 1999 The Regents of the University of California. All rights reserved. Finding Aid for the Franklin D. 363 1 Murphy Papers, 1948-1994 Finding Aid for the Franklin D. Murphy Papers, 1948-1994 Collection number: 363 UCLA Library, Department of Special Collections Manuscripts Division Los Angeles, CA Contact Information Manuscripts Division UCLA Library, Department of Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Telephone: 310/825-4988 (10:00 a.m. - 4:45 p.m., Pacific Time) Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ Processed by: Manuscripts Division staff, 1994 Encoded by: Caroline Cubé Online finding aid edited by: Josh Fiala, August 2002 © 1999 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Franklin D. Murphy Papers, Date (inclusive): 1948-1994 Collection number: 363 Creator: Murphy, Franklin D., 1916- Extent: 79 boxes (39.5 linear ft.) 21 oversize boxes Repository: University of California, Los Angeles. Library. Department of Special Collections. Los Angeles, California 90095-1575 Abstract: Franklin David Murphy (1916-1994) was the Chancellor at the University of Kansas (1951-60), Chancellor at UCLA (1960-68), Chairman of the Board and CEO (1968) and Chairman of the Executive Committee (1981-86) of the Times Mirror Company. -
THE BRILL BUILDING, 1619 Broadway (Aka 1613-23 Broadway, 207-213 West 49Th Street), Manhattan Built 1930-31; Architect, Victor A
Landmarks Preservation Commission March 23, 2010, Designation List 427 LP-2387 THE BRILL BUILDING, 1619 Broadway (aka 1613-23 Broadway, 207-213 West 49th Street), Manhattan Built 1930-31; architect, Victor A. Bark, Jr. Landmark Site: Borough of Manhattan Tax Map Block 1021, Lot 19 On October 27, 2009 the Landmarks Preservation Commission held a public hearing on the proposed designation of the Brill Building and the proposed designation of the related Landmark site. The hearing had been duly advertised in accordance with provisions of law. Three people spoke in support of designation, including representatives of the owner, New York State Assembly Member Richard N. Gottfried, and the Historic Districts Council. There were no speakers in opposition to designation.1 Summary Since its construction in 1930-31, the 11-story Brill Building has been synonymous with American music – from the last days of Tin Pan Alley to the emergence of rock and roll. Occupying the northwest corner of Broadway and West 49th Street, it was commissioned by real estate developer Abraham Lefcourt who briefly planned to erect the world’s tallest structure on the site, which was leased from the Brill Brothers, owners of a men’s clothing store. When Lefcourt failed to meet the terms of their agreement, the Brills foreclosed on the property and the name of the nearly-complete structure was changed from the Alan E. Lefcourt Building to the, arguably more melodious sounding, Brill Building. Designed in the Art Deco style by architect Victor A. Bark, Jr., the white brick elevations feature handsome terra-cotta reliefs, as well as two niches that prominently display stone and brass portrait busts that most likely portray the developer’s son, Alan, who died as the building was being planned. -
Jazz Various the Swing Years (1936- 46) RD4-21- 1/6 Reader's Digest
Jazz Various The Swing Years (1936- RD4-21- Reader's VG/ 6 Disc Box 46) 1/6 Digest (RCA VG+ Set Custom) Various In the Groove with the RD4-45- Reader's VG+ 6 Disc Box Info Kings Of Swing 1/6 Digest (RCA Set Packet Custom) Various The Great Band Era RD4-21- Reader's VG/ 10 Disc Cover (1936-1945) 1/9 Digest (RCA VG+ Box Set and Disc Custom) 10 Missing Various Big Band Collection QUSP- Quality VG-/ Box Set vol.1 5002 Special VG Missing Products Box Various Big Band Collection vol. QUSP- Quality VG/ Box Set 2 5002 Special VG+ Missing Products Box Various Big Band Collection vol. QUSP- Quality VG/ Box Set 3 5002 Special VG+ Missing Products Box The Cannonball Mercy, Mercy, Mercy T-2663 Capitol VG/ Live at Adderley Quintet VG+ “The Club” The Cannonball Country Preacher SKA0-8- Capitol VG/ Gatefold Adderley Quintet 0404 VG+ The Cannonball Why Am I Treated So ST-2617 Capitol VG-/ Adderley Quintet Bad! VG The Cannonball Accent On Africa ST-2987 Capitol VG/ Adderley Quintet VG+ The Cannonball Cannonball Adderly with ST-2877 Capitol VG-/ Adderley and the Sergio Mendes & The VG Bossa Rio Sextet Bossa Rio Sextet with Sergio Mendes Nat King Cole The Swingin' Moods Of DQBO- Capitol VG/ 2 Disc Nat King Cole 91278 VG+ Gatefold Nat King Cole The Unforgettable Nat ST-2558 Capitol VG-/ King Cole Sings The VG Great Songs Nat King Cole Ramblin' Rose ST-1793 Capitol VG 1 Jazz Nat King Cole Thank You, Pretty Baby ST-2759 Capitol VG/ VG+ Nat King Cole The Beautiful Ballads ST-2820 Capiol VG/ VG+ Nancy Williams From Broadway With T-2433 Capitol VG/ Love VG+ Nancy -
View Was Provided by the National Endowment for the Arts
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOOTS THIELEMANS NEA Jazz Master (2009) Interviewee: Toots Thielemans (April 29, 1922 – August 22, 2016) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: August 31 and September 1, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, 80 pp. Brown: Today is August 31, 2011. My name is Anthony Brown, and I am conducting the Smithsonian Institution Oral History with NEA Jazz Master, harmonica virtuoso, guitarist and whistler, Toots Thielemans. Hello… Thielemans: Yes, my real name is Jean. Brown: Jean. Thielemans: And in Belgium… I was born in Belgium. Jean-Baptiste Frédéric Isidor. Four first names. And then Thielemans. Brown: That’s funny. Thielemans: And in French-speaking Belgium, they will pronounce it Thielemans. But I was born April 29, 1922. Brown: That’s Duke Ellington’s birthday, as well. Thielemans: Yes. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: All right. Thielemans: Yes, same day. Brown: Yeah, same day. Just a few years later. [laughs] Thielemans: [laughs] Oh, Duke. Okay. Brown: Where in Belgium? What city? Thielemans: In Brussels. Brown: That’s the capitol. Thielemans: In a popular neighborhood of Brussels called Les Marolles. There was… I don’t know, I wouldn’t know which neighborhood to equivalent in New York. Would that be Lower East Side? Or whatever… popular. And my folks, my father and mother, were operating, so to speak, a little beer café—no alcohol but beer, and different beers—in this café on High Street, Rue Haute, on the Marolles. -
The Bebop Revolution in Jazz by Satyajit Roychaudhury
The Bebop Revolution in Jazz by Satyajit Roychaudhury The bebop style of jazz is a pivotal invention in twentieth-century American popular music - an outgrowth of the rhythmic and harmonic experiments of young African-American jazz musicians. At first a source of controversy because of its unorthodox approach, bebop eventually gained widespread acceptance as the foundation of "modern" jazz, and it continues to influence jazz musicians. The process of its creation was solidly grounded in New York City. Because of its emphasis on improvisation, jazz has maintained a strong tradition of creative invention throughout its history. This tradition has encouraged jazz musicians to cultivate new musical ideas, based on innovative uses of harmony, rhythm, timbre and instrumentation. Jazz has thus encompassed a continually evolving diversity of individual and collective styles over the past century. The emphasis on improvisation has made live performance a crucial element of the innovation process. During the 1st half of the 20th century the available technology limited the length of the improvisations and live performance served as the primary showcase for jazz musicians' talents. Because performance opportunities for the most talented musicians were concentrated in the entertainment districts of major cities, the creation of new jazz styles became strongly associated with places, such as New Orleans, Chicago, Kansas City, and New York City. Bebop emerged during the 1940s as a reaction “Swing” and as an expression of artistic innovation within a community of younger African-American jazz musicians. Certain jazz clubs in Harlem provided a setting for experimentation that culminated in the bebop style. The style's subsequent popularization occurred in jazz clubs in midtown Manhattan, at first along 52nd Street and later on nearby sections of Broadway. -
Margaret Tante Burk Papers MS.084
http://oac.cdlib.org/findaid/ark:/13030/kt7t1nf4km No online items Inventory of the Margaret Tante Burk Papers MS.084 Clay Stalls, Christine Bennett, Liliana Mariscal, Gia Forsythe William H. Hannon Library, Archives & Special Collections, Manuscripts © 2009 Loyola Marymount University William H. Hannon Library, Archives and Special Collections 1 LMU Dr. Los Angeles, CA 90045 [email protected] URL: http://library.lmu.edu/archivesandspecialcollections/ Inventory of the Margaret Tante MS.084 1 Burk Papers MS.084 Language of Material: English Contributing Institution: William H. Hannon Library, Archives & Special Collections, Manuscripts Title: Margaret Tante Burk Papers creator: Burk, Margaret Tante Identifier/Call Number: MS.084 Physical Description: 102 archival boxes15 oversize boxes,; 1 map case drawer Date (inclusive): 1921-2008 Date (bulk): 1921-2008 Abstract: This collection consists of the personal papers of Margaret Tante Burk, author, and long-time publicist and champion of Los Angeles' famed Ambassador Hotel. Besides these notable accomplishments, Margaret Tante Burke served as the first female vice-president of a financial institution in Los Angeles and the first female president of the Wilshire Chamber of Commerce. In addition Margaret Tante Burk was co-founder of the literary forum, the Round Table West. The Burk Papers consist of correspondence, photographs, flyers, brouchures, postcards, memoranda, and ephemera. Collection stored on site. Appointment is necessary to consult the collection. Language of Material: Languages represented in the collection: English Processed by: Clay Stalls, Christine Bennett, Gia Forsythe, Liliana Mariscal Date Completed: 2010 Encoded by: Christine Bennett, Gia Forsythe, Liliana Mariscal, and Natalie Sims Access Collection is open to research under the terms of use of the Department of Archives and Special Collections, Loyola Marymount University. -
California Design, 1930-1965: “Living in a Modern Way” CHECKLIST
^ California design, 1930-1965: “living in a modern way” CHECKLIST 1. Evelyn Ackerman (b. 1924, active Culver City) Jerome Ackerman (b. 1920, active Culver City) ERA Industries (Culver City, 1956–present) Ellipses mosaic, c. 1958 Glass mosaic 12 3 ⁄4 x 60 1 ⁄2 x 1 in. (32.4 x 153.7 x 2.5 cm) Collection of Hilary and James McQuaide 2. Acme Boots (Clarksville, Tennessee, founded 1929) Woman’s cowboy boots, 1930s Leather Each: 11 1 ⁄4 x 10 1⁄4 x 3 7⁄8 in. (28.6 x 26 x 9.8 cm) Courtesy of Museum of the American West, Autry National Center 3. Allan Adler (1916–2002, active Los Angeles) Teardrop coffeepot, teapot, creamer and sugar, c. 1957 Silver, ebony Coffeepot, height: 10 in. (25.4 cm); diameter: 9 in. (22.7 cm) Collection of Rebecca Adler (Mrs. Allan Adler) 4. Gilbert Adrian (1903–1959, active Los Angeles) Adrian Ltd. (Beverly Hills, 1942–52) Two-piece dress from The Atomic 50s collection, 1950 Rayon crepe, rayon faille Dress, center-back length: 37 in. (94 cm); bolero, center-back length: 14 in. (35.6 cm) LACMA, Gift of Mrs. Houston Rehrig 5. Gregory Ain (1908–1988, active Los Angeles) Dunsmuir Flats, Los Angeles (exterior perspective), 1937 Graphite on paper 9 3 ⁄4 x 19 1⁄4 in. (24.8 x 48.9 cm) Gregory Ain Collection, Architecture and Design Collection, Museum of Art, Design + Architecture, UC Santa Barbara 6. Gregory Ain (1908–1988, active Los Angeles) Dunsmuir Flats, Los Angeles (plan), 1937 Ink on paper 9 1 ⁄4 x 24 3⁄8 in. -
Oral History Center University of California the Bancroft Library Berkeley, California Frank Fisher Frank Fisher: Trumpet Play
Oral History Center University of California The Bancroft Library Berkeley, California Frank Fisher Frank Fisher: Trumpet Player, Songwriter: A Long Career with Junius Courtney, Raiders, and 49ers Bands Interviews conducted by Caroline Cooley Crawford In 2016 Copyright © 2020 by The Regents of the University of California Oral History Center, The Bancroft Library, University of California, Berkeley ii Since 1953 the Oral History Center of The Bancroft Library, formerly the Regional Oral History Office, has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Frank Fisher dated September 23, 2020. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. -
The Whitfield "Whit" Bryant Story
The Whitfield "Whit" Bryant Story by Opal Louis Nations Very little has been written and is indeed known about black musicians whose lives intersect directly with the Seventh Day Adventist Church. The Adventists believe in keeping Sabbath on a Saturday and in their music, black quartet in particular, hold to a well mannered choral style akin to that sung by Afro American Baptist groups during the 40s. The Adventist Church also encourages the aspiring gospel soloist to go out and spread the word at all its affiliated churches. One such singer is "Whit" Bryant who in 1990 after more than 45 years away from the tenets of his church felt the need to go back, be in touch with his roots. "Whit's" rebaptism took place at The Ephesian Church of Berkeley on King and Harmon. In recent months, "Whit," his voice as fine as ever, has rehearsed with an Adventist gospel quartet under the direction of Elder Walter Kissack, formerly of The Southern Harmonians of Oakwood, Alabama. The group hopes to perform on their own local church circuit very soon. They rehearse regularly, three days a week. Whitfield "Whit" Bryant Junior was born into a large musical family in Oakland on October 27, 1927. His grandfather, Frank D. Withers, a noted jazz composer and trombone player, is alleged to have introduced jazz into the former Soviet Union. Whit grew up both in Oakland and Los Angeles. As a third-generation Adventist, he attended the church and school of the San Francisco Junior Academy. Whit was _________________________________________________________________ Whitfield “Whit” Bryant, p./1 © 1993 Opal Louis Nations blessed with a soft, graceful high tenor voice which he used to the full in the Philadelphian Seventh Day Adventist church choir, one of the first aggregations to sing at the Mt.