Earl Bostic: The Jazz Virtuoso Who Redefined Music
Introduction:
Earl Bostic, born in Tulsa, Oklahoma, one hundred and eleven years ago today on April 25, 1913, was a musical prodigy who left an indelible mark on jazz. His innovative approach to music and electrifying performances continue to inspire musicians and listeners worldwide.
Early Life and Musical Beginnings:
In his youth, Earl Bostic honed his musical talents, playing the clarinet…
artemis had her skated hanging from around her neck as she bounced up to edgar. for once there was a bright smile on her face, her arm wrapping around his affectionately so she could announce her presence. "well if it isn't my favorite father figure," she teased, her cheek pressing to his shoulder. "i'm really glad to see you. i feel like i need to make up for how depressing i was at christmas."
Isaac Hayes opening the 2001 Scientology album (sigh) The Joy of Creating, which also features Chick Corea (sigh), Edgar Winter (smaller sigh), and Doug E. Fresh (no sigh)
Vous voyagez en Italie ? Voici quelques musées intéressants pour vous
Vous voyagez en Italie ? Voici quelques musées intéressants pour vous
L’Italie abrite de nombreux musées de renommée mondiale qui offrent un riche éventail d’art, d’histoire et de culture. Voici quelques musées à visiter absolument en Italie :
Galleria degli Uffizi (Florence):
Vue de la Galerie des Offices sur le fleuve Arno.
Le palais des Offices fut construit entre 1560 et 1581. Il était destiné à abriter les bureaux de Côme I de Médicis. La famille Médicis…
Lewis Stone and Helen Hayes in The Sin of Madelon Claudet (Edgar Selwyn, 1931)
Cast: Helen Hayes, Lewis Stone, Neil Hamilton, Cliff Edwards, Jean Hersholt, Marie Prevost, Robert Young, Karen Morley, Charles Winninger, Alan Hale. Screenplay: Charles MacArthur, Ben Hecht, based on a play by Edward Knoblock. Cinematography: Oliver T. Marsh. Art direction: Cedric Gibbons. Film editing: Tom Held. Costume design: Adrian.
If it weren't for her work in movies and on TV, Helen Hayes would probably be consigned to that limbo where celebrated stage actresses of the past like Sarah Siddons or Ellen Terry or Minnie Maddern Fiske reside. But Hayes won two Oscars -- one for this film and the other, 38 years later, for Airport (George Seaton, 1970) -- as well as Emmy, Grammy, and Tony awards, earning the distinction known by the acronym EGOT. The thing is, anyone who knows Hayes's work only from movies and TV may wonder why she is so famous. Neither The Sin of Madelon Claudet nor Airport (in which she plays a cute little old stowaway on a plane) nor her work on such TV series as The Snoop Sisters provides much of a clue as to why she was known as "The First Lady of the American Theater" and has a Broadway playhouse named after her. She spent the peak years of her career, from 1935 to 1956, primarily on stage, with only occasional films and TV appearances during that period. It was probably a wise move: She was already 30 when she followed her husband, Charles MacArthur, to Hollywood and made this film, her first talkie. (She had appeared in only a couple of silent films.) And while it won her the Oscar, and she followed it with a few more significant films, particularly Arrowsmith (John Ford, 1931) and A Farewell to Arms (Frank Borzage, 1932), it soon became clear to her that she was not cut out for film stardom. She was only five feet tall and although pleasant-looking, she was not especially pretty, and in a Hollywood that was looking for the next Greta Garbo or Marlene Dietrich, she was no glamour girl. She would have found herself competing with younger actresses like Bette Davis and Barbara Stanwyck for the plum dramatic parts. So it was back to Broadway and success. Even so, she made her reputation in old-fashioned plays that don't get revived much anymore, like Lawrence Housman's Victoria Regina, Anita Loos's Happy Birthday, and Jean Anouilh's Time Remembered. Although she did play Amanda in a revival of Tennessee Williams's The Glass Menagerie, the revolution in theater that Williams helped bring about took place after she had gone into semi-retirement. As for Madelon Claudet, it's a creaky vehicle at best, based on a play by Edward Knoblock that MacArthur and an uncredited Ben Hecht helped whip into shape after it had been filmed under the title The Lullaby and previewed to a disastrous reception. Hayes had already gone on to work on Arrowsmith, and shooting the new material had to wait until she was through with that film. Even so, Hayes is not particularly convincing as a French farm girl who is left pregnant by a caddish American (Neil Hamilton) and becomes the mistress of a jewel thief posing as an Italian count (Lewis Stone). It's only later, when she goes to jail for ten years as the thief's accomplice, then turns to prostitution to earn the money to put her son (Robert Young), who thinks she's dead, through medical school, that Hayes demonstrates her skill at suffering and pathos.
Today marks the 85th Birthday of “In The Mood”- Glenn Miller’s signature tune.
This, the definitive version of it, was recorded August 1st, 1939 by Miller and his Orchestra at the RCA Victor Studio in New York.
The song was written by Wingy Manone, based on his own “Tar Paper Stomp”. with lyrics later by Andy Razaf, and this track was arranged for Miller by Joe Garland.
It was recorded before Miller, in 1938, by Wingy Manone, then by Edgar Hayes, but nobody much remembers those versions.
Miller’s version is THE version and again, his signature song.
It is in the Grammy Hall of Fame and was selected by the Library of Congress to be in the registry of significant recordings.
The single, with “I Want To Be Happy” as the B side, was the all time best-selling swing instrumental.
“In The Mood” is a track full of horn riffs, sometimes battling… saxes and trumpets and trombones…
HUGE hit for Miller… high energy and with that risqué title….
It became emblematic of the swing era… a standard, and very much of that time… but it is also timeless… enduring.
it had been weeks since the flood, and yet artemis was still dealing with the aftermath of it. they'd lost a good chunk of the props from the play, finding them damaged and unusable and leaving them feeling defeated. edgar was the only person that was able to talk them down from the ledge they'd seemingly stepped on, which is why they were so relieved when they found him already at pop and lock for a catch up.
"i cannot even begin to tell you how glad i am to see your face." they sighed, plopping down on the stool next to him with a sad smile. "how are you? you didn't get hurt during that freak phenomenon, did you?"