Podcasts about DuBose Heyward

The final podcast on Have You Ever Seen in Black History Month talks for the 4th time about a movie with a primarily black cast. Otto Preminger often directed Issues Movies and here he's dealing with the Gershwin opera that's all about murder, rape, drug addiction, fishing and poverty…with some racism thrown in there too. Porgy And Bess is set-bound and melodramatic though. Bad print aside, the story and the execution often feel phony. The actors DO sell the passion better than the script or maybe even the original opera does. Sidney Poitier, Dorothy Dandridge, Brock Peters, Diahann Carroll and Sammy Davis Jr. actually do a terrific job with this not-always-effective material. So tune in for this 721st episode as I tackle yet another musical here in 2026: Porgy And Bess. Well, Actually: George Gershwin DID write the song "Summertime" for the 1935 opera, but DuBose Heyward came up with the lyrics. Also, for those interested in my quest to see absolutely, positively everything AFI-related, there are developments on that front (other nominated films on various lists) that will be discussed in future shows. Subscribe to the channel in your podcasting app. Rate the show with a delightful 5 stars, but also write a little complimentary review. And on the note of reviews, I talk about various flicks on Letterboxd: RyanHYES. Contacting suggestions: email (haveyoueverseenpodcast@gmail.com), Twi-X (@moviefiend51) and Bluesky (ryan-ellis).

Comme s'il voulait protéger son opéra Porgy and Bess de quelque sorte de blanchiment, George Gershwin a tenu à ce que son opéra soit toujours joué par des interprètes afro-descendants. Mais dans la mesure où le livret écrit par Ira Gershwin et DuBose Heyward, laisse passer quelques préjugés raciaux dans la construction de ses personnages, il pourrait … Continuer la lecture de « Metaclassique #369 – Stéréotyper »

A wax figurine forgotten in museum storage. A book of poems that prophesied a ghost. A woman on a beach who found something she wasn't looking for. In the final episode of the Charleston Gothic series, the investigation returns to where it began — the Dock Street Theatre — and follows the last of three trails through Charleston's tangled relationship with Edgar Allan Poe. Along the way, a century-old literary vision resurfaces, a forgotten poet speaks truths the city wasn't ready to hear, and the question that launched the series finally gets its answer.   Sources referenced in the episode: Books Israfel: The Life and Times of Edgar Allan Poe by  Hervey Allen (1926) Carolina Chansons: Legends of the Low Country  by DuBose Heyward and Hervey Allen (1922) The Arrow of Lightning by Beatrice Witte Ravenel (1926) The Dreamer: A Romantic Rendering of the Life-Story of Edgar Allan Poe  by Mary Newton Stanard Edgar Allan Poe's Charleston  by Christopher Byrd Downey Poe's Brother: The Poems of William Henry Leonard Poe by Hervey Allen and Thomas Ollive Mabbott Ghosts and Legends of Charleston by Denise Rolfe (2010) Poe-Land by J.W. Ocker Sheppard Lee, Written By Himself by Robert Montgomery Bird (1836) Poems "Edgar Allan Poe" by DuBose Heyward (from Carolina Chansons) "Alchemy" by Hervey Allen (from Carolina Chansons) "Poe's Mother" by Beatrice Witte Ravenel (from The Arrow of Lightning) Articles "A Source for 'Annabel Lee'" by Robert Adger Law (1922) Plays Nevermore by Julian Wiles (1994) Scholarly Work Thomas Ollive Mabbott's annotated edition of Poe's works (notes on "Annabel Lee") Louis Rubin's new edition of Beatrice Witte Ravenel's poems (1969) Historical Sources Charleston Evening Post coverage of the 1923 Charleston Museum diorama unveiling "The Mourner" an anonymous poem, Charleston Courier (1807) People Referenced as Sources/Informants Eric Lavender, Charleston tour guide Christopher Byrd Downey, author and historian Scott Peeples, Poe scholar (quoted via Ocker's Poe-Land)

CHARLESTON GOTHIC Episode 4: Tekeli   The Charleston Library Society has survived fires, hurricanes, earthquakes, and war—emerging each time with its treasures intact. Among those treasures: the world's most complete archive of Charleston newspapers from the eighteenth and nineteenth centuries.   In this episode, we enter the stacks where a ghost named Hinson is said to wander, where Henry Timrod's blood-stained manuscript bears witness to a poet's final days, and where a century-old scholarly article waited decades for someone to understand what it revealed. What was Edgar Allan Poe really searching for when he visited Charleston's archives during his time at Fort Moultrie? For over a hundred years, the legend said he came looking for pirate treasure—the buried gold that would inspire "The Gold-Bug." But a 1922 discovery by a Texas scholar suggested something far more personal. Following threads that connect the Poetry Society of South Carolina, a Harvard-trained philologist, and the vanished stage of the Charleston Theatre, we trace Poe's footsteps to a secret hidden in plain sight—one that may unlock the strangest passage he ever wrote.   The answer lies where it has always been: in the newspapers, in the archives, in the advertisements for a play called Tekeli.   Sources:   Books   - Allen, Hervey. Israfel: The Life and Times of Edgar Allan Poe (1926) - Allen, Hervey and DuBose Heyward. Carolina Chansons (1922) - Allen, Hervey and Thomas Ollive Mabbott. Poe's Brother: The Life and Poetry of William Henry Leonard Poe (1926) - Downey, Christopher Byrd. Edgar Allan Poe's Charleston (2020) - Kopley, Richard. Edgar Allan Poe: A Life (2025) - Mabbott, Thomas Ollive, ed. Collected Works of Edgar Allan Poe, Volume 1: Poems (Harvard University Press, 1969) - Poe, Edgar Allan. The Narrative of Arthur Gordon Pym of Nantucket (1838) - Ravenel, Beatrice Witte. The Arrow of Lightning (1926)   Academic Articles   - Law, Robert Adger. "A Source for 'Annabel Lee'" Journal of English and Germanic Philology, Volume 21 (April 1922) - Peeples, Scott and Michelle Van Parys. "Unburied Treasure: Edgar Allan Poe in the South Carolina Lowcountry." Southern Cultures (2016)   Newspapers & Periodicals   - Charleston Courier (December 4, 1807) - Charleston Courier (March 22, 1811) - Charleston Mercury (2011) - News and Courier (February 6, 1889) - News and Courier (1938) - Southern Patriot (July 25, 1833) - Russell's Magazine - Southern Literary Messenger - Texas Review / Southwest Review   Archival & Primary Sources   - Charleston Library Society archives - Journal of English and Germanic Philology, Volume 21 — inscribed "Gift of author, Oct. 1934" - Surveyor's plat for Captain William C. Hammer (February 16, 1867) - Affidavit dated September 5, 1745 (Cid Campeador treasure deposition)   Plays   - Hook, Theodore Edward (libretto) and James Hook (music). Tekeli; or, The Siege of Montgatz   Television   - "Time Enough at Last." The Twilight Zone (1959)   Reference Works   - South Carolina Encyclopedia (entry on Henry Timrod)   Interviews & Personal Communications   - Christopher Byrd Downey (conversation at Owlbear Café) - Danielle Cox, Digital Historian, Charleston Library Society - Scott Peeples, phone interview   

George Gershwin segue mais atual do que nunca, e sua obra ganha novos contornos sob a direção de Grace Passô na aguardada estreia de Porgy and Bess no Theatro Municipal. Com seu olhar poético e ousado, Passô traz à cena o universo multifacetado desta ópera, que cruza as fronteiras do jazz, do teatro e da música clássica para contar uma história de luta e amor. Gershwin, que sempre transitou com leveza entre mundos, ainda nos anos 1920 e pouco depois de criar peças icônicas como Rhapsody in Blue, se encantou com o romance Porgy, de DuBose Heyward.A parceria entre Gershwin e Heyward nasceu de uma troca de cartas fervorosa, que resultou na colaboração entre os dois e Ira, o irmão do compositor e letrista consolidado. Em 1934, o compositor mergulhou no ambiente da Carolina do Sul, absorvendo as histórias e os ritmos que vibravam na alma do romance. Assim, em 1935, estreava Porgy and Bess em Boston, com uma inovação que ressoou como um grito de liberdade: a primeira ópera a trazer solistas negros de formação clássica, em um tempo em que tal escolha era uma transgressão.A trama de Porgy and Bess gira em torno das dores e paixões dos moradores de Catfish Row, com personagens como Porgy, um homem humilde e com uma deficiência física, e Bess, em busca de redenção após uma vida de provações. Canções como Summertime, My Man's Gone Now e I Got Plenty o' Nuttin emergem como clássicos eternos, capturando a alma da música norte-americana.Participam deste episódio: Grace Passô, Maíra Ferreira, Luiz-Ottavio Faria, Latonia Moore, Marly Montoni, Jean William, Betty Garcés, Juliana Taino, Edineia Oliveira, Núbia Eunice, Edna D'Oliveira, Michel de Souza, Mikael Coutinho e Samuel Martins.Podcast realizado pelas bolsistas Débora Oliveira, Mirella Lima e Triz Cristina, sob supervisão de Ligiana Costa.

Hi friends, and welcome back to Busy Kids Love Music! This week, we conclude our three-part series on the brilliant composer George Gershwin with a look at his opera masterpiece, Porgy and Bess. What You'll Hear in This Episode: Background on Porgy and Bess: Learn how Gershwin, his brother Ira, and DuBose Heyward collaborated to create this groundbreaking "folk opera" that premiered in 1935. The Story: Explore the opera's plot, centered on the struggles and resilience of a close-knit African American community in Catfish Row, Charleston. Unforgettable Music: Enjoy excerpts from iconic pieces like: “Summertime” “I Got Plenty o' Nuttin'” “Bess, You Is My Woman Now” Cultural Impact: Discover how Gershwin's decision to cast African American performers in the leading roles broke barriers while also sparking debate. Modern Reflections: Understand how productions today balance honoring Gershwin's work with addressing cultural sensitivities. Additional Resources:

Join Jay and Deon at the dining room table as they discuss the musical projects they have been obsessed with as of late. Super-special-secret friend Gary Johnson revisits Michigan's rich music history and exposes touring sonic imposters of yesteryear. A Hell's Half Mile Music Festival preview is also included in this joyful and juicy episode. Dig in! Sonic contributors to the twenty-third BONUS episode of Lightnin' Licks radio podcast include: Koreatown Oddity, Brothers Johnson, Jurassic 5, DJ NuMark, Dave Matthews Band, Zach Braff, Natalie Portman, Quincy Jones, Left Banque, The Ballroom, October Country, The Fifth Dimension, Shellac, The Pixies, The Breeders, Brian Eno, Roxy Music, The Winkies, Godfather Don, Das EFX, Fu-Shnickens, Public Enemy, Slaunchwise, Bread, Bread Machine, Neko Case, The New Pornographers, Fancey, Randy VanWarmer, The Organ, The Smiths, Jack Ashford, Johnny Griffith, Billy Sha-Rae's Band, Eddie Parker, Sandra Richardson, Lee Rogers, The Magnificents, Cody Chestnutt, Third Company Syndicate, Sault, Big Maybelle, ? and the Mysterians, Earl Van Dyke and the Soul Brothers, Elvets Rednow, Bob James, Bruce Springsteen, Waxahatchee, Billy Joel, Lord Tariq & Peter Gunz, Steely Dan, The Velvet Underground, REM, Mitch Ryder, Nico, Lou Reed, Keith Richards, Cheap Trick, The Zombies, Muddy Waters, Howlin' Wolf, Daniel Ralston's “The True Story of the Fake Zombies” podcast, Smokey Robinson, Rob Davis, Cathy Dennis, the Texas fake Zombies, ZZ Top, the Michigan fake Zombies, The Excels, Quintet Plus, Ira Gershwin, DuBose Heyward, The Monkees, The Archies, Colin Blunstone, Big Star, Hurray for the Riff Raff, Curtis Gadson, Los Bitchos, Liquid Mike, Sungaze, J.W. Francis, Bluhm, and The Monophonics. Bonus # 23 mixtape: [SIDE ONE] (1) Los Bitchos – Don't Change (2) Godfather Don – On & On (3) The Zombies – Hung up on a Dream (4) The Stylists – I Need Your Love (To Satisfy my Soul) (5) Hurray for the Riff Raff – Hawkmoon (6) The Organ – Basement Band Song [SIDE TWO] (1) Liquid Mike – Man Lives (2) The Velvet Underground – I'm Waiting for the Man (3) Waxahatchee – Crowbar (4) October Country – My Girlfriend is a Witch (5) The Breeders – Fortunately Gone (6) Brian Eno & the Winkies – Paw Paw Negro Blowtorch (super special not-so-secret hidden track) Bread Machine – Guitar Man Huge thanks to Gary for one of the most interesting conversations to ever take place across the dining room table. Visit the Michigan Rock & Roll Legends Hall of Fame. Read more about Bay City's doomed teen club of the mid 60s Band Canyon.  Subscribe to The True Story of the Fake Zombies podcast. Check out Gary's podcast. Make sure to attend Hell's Half Mile Film and Music Festival in Downtown Bay City, September 26th through 29th. Check out the HHM 2024 Music Playlist, too! Shop at Electric Kitsch. Drink Blue Chair Bay. Be kind. Rewind. EXPLICIT LANGUAGE (Sorry, Gary)

Welcome to Season 03 Episode 20 - the "Peak Sunshine" edition - of Notes from the Aisle Seat, the podcast featuring news and information about the arts in northern Chautauqua County NY, sponsored by the 1891 Fredonia Opera House. Your host is Tom Loughlin, SUNY Distinguished Teaching Professor and Chair Emeritus of Theatre and Dance at SUNY Fredonia. Guests on this episode include: Capt. Curran Schenck, Associate Bandmaster, US Army Soldier's Chorus; Mr. Michael Mcentarfer of The Wretched Group, discussing A Hard Day's Night; and Ms. Tina Rausa, President of the Board of the Lakeshore Center for the Arts on the 2024 Juicebox Organic One-Act Play Festival. Notes from the Aisle Seat is available from most of your favorite podcast sites, as well as on the Opera House YouTube Channel. If you enjoy this podcast, please spread the word through your social media feeds, give us a link on your website, and consider becoming a follower by clicking the "Follow" button in the upper right-hand corner of our home page. If you have an arts event you'd like to publicize, hit us up at operahouse@fredopera.org and let us know what you have! Please give us at least one month's notice to facilitate timely scheduling. Thanks for listening! Time Stamps Capt. Curran Schenck/US Army Soldier's Chorus  02:58 Michael Mcentarfer/A Hard Day's Night   17:48 Arts Calendar   36:15 Ms. Tina Rausa/Juicebox Organic One-Act Play Festival  38:40 Media "Summertime", DJ Dazzy Jeff and The Fresh Prince, official music video from the album Greatest Hits, March 2011 "The Star Spangled Banner", composed by Francis Scott Key (1814), performed by the US Army Field Band Soldiers Chorus, April 2016 "A Hard Day's Night", John Lennon and Paul McCartney, composers, from the album A Hard Day's Night, July, 1964, Parlophone Records; performed by Blues Beatles, March 2017 "Summertime," from the musical Porgy and Bess, composed by George Gershwin, lyrics by DuBose Heyward and Ira Gershwin, September 1935; performed by Louis Armstrong (trumpet) and Ella Fitzgerald, 1957. "Can't Help Falling in Love With You," Hugo Peretti, Luigi Creatore, George David Weiss, composers; performed by Elvis Presley, from the movie Blue Hawaii, November 1961, RCA Victor Records "See You In September," written by Sid Wayne and Sherman Edwards, originally recorded by The Tempos, Climax Records 1959; performed by Julie Budd, January 2011 Artist Links Capt. Curran Schenck Mr. Michael Mcentarfer/The Wretched Group Ms. Tina Rausa Nickel City Opera Company - The Falling and the Rising Lakeshore Center for the Arts Juicebox Organic One-Act Festival Tickets Main Street Studios BECOME AN OPERA HOUSE MEMBER!    

Un po' di Janis e sregolatezza In sottofondo un estratto di "Summertime" cantata da Janis Joplin nel 1968 (musica George Gershwin, testo DuBose Heyward e Ira Gershwin, 1935 all rights reserved)

Barefoot Days have arrived, a season so sweet and easy that it has its own anthem.“Summertime,” from George Gershwin's Porgy and Bess, is perhaps the perfect jazz standard. Unforgettable lyrics. A melody that seems to be from a dream. Like magic, the song sounds new every single time, no matter how many times you've heard it.And you've heard it many times. “Summertime” is one of the most recorded songs of all times; in fact, Guinness World Records is aware of more than 67,000 individual recordings of “Summertime” since its composition in 1934. Just two years later, Billie Holiday was the first to hit the U.S. pop charts with it, reaching No. 12 in September 1936.Gershwin or Not GershwinBut did you know that neither the tune to "Summertime" nor its lyrics might be original with Gershwin?First, about those words. Gershwin's opera was based on a 1925 novel called Porgy by DuBose Heyward, whose wife, Dorothy, turned into a stage play in 1927. Later, DuBose collaborated with Ira Gershwin to craft the libretto for the Gershwins' folk opera Porgy and Bess, and the lyrics to "Summertime" are assumed to be by the Heywards.And the melody? Well, that's a little more complicated. Gershwin copyrighted it, saying he used no previously composed spirituals in his opera. But really?Some critics contend “Summertime” is an adaptation of the African American spiritual "Sometimes I Feel Like a Motherless Child." Adding a bit of heft to this theory is the fact that the final scene of Dorothy Hetward's stage play — which predated the Gershwin work by eight years — ended with a performance of “Motherless Child.” So, it's debatable. If you want to do your own research, YouTube offers assorted performances of “Motherless Child.” Gershwin detractors often specifically cite Paul Robeson's 1930s recording as Exhibit A.Our Take on the TuneThe Flood started playing “Summertime” a quarter of a century ago with various arrangements. Sometimes, for instance, it has been an instrumental, featuring solos over the by years by Joe Dobbs and Doug Chaffin, by Jacob Scarr, Paul Martin and Vanessa Coffman.The first time the song came to a Flood album — the 2002 The 1937 Flood Plays Up a Storm — Charlie Bowen handled the vocals. Eleven years later, by the time the band released its fifth album, Cleanup & Recovery, the guys had turned over the singing to Michelle Hoge.Now in our latest take on the tune, Randy Hamilton does double duty. He takes over the vocals, and his soulful bass work creates a moody setting that inspires introspective solos by Sam St. Clair and Danny Cox. Take a listen; it's “Summertime,” 2023. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

We've got a special sneak peek into our October episode this week. Get the giggles with us as poet and beautiful soul Jorah LaFleur shares her poetic views on sex in a car, describing being high, and a childhood story. Enjoy getting high with us! JorahLaFleur.com The Country Bunny and the Little Gold Shoes is a 1939 children's book written by DuBose Heyward and illustrated by Marjorie Flack https://en.wikipedia.org/wiki/The_Country_Bunny_and_the_Little_Gold_Shoes **Disclaimers** The opinions and views expressed in this podcast are solely those of our own. Listener discretion is advised. Marijuana is not legal in all states. Please check your state's laws before engaging in recreational use. Please do not smoke and drive. Smoke responsibly. Marijuana should be done with consent. Please respect others' decisions not to engage in recreational marijuana use. Mature audiences advised. Produced and edited by Sarah Etherton and Kiki Rau, featuring Brandon. Logo art by Ali McQueen. Intro-music Jazzaddict's Intro by Cosimo Fogg (201) | https://soundcloud.com/cosimo-fogg Music promoted by https://www.chosic.com/free-music/all/ Creative Commons Attribution 3.0 Unported License https://creativecommons.org/licenses/by/3.0/ Contact us at: tokelorepod@gmail.com IG: @TokeLore.Podcast T: @Toke_Lore Patreon page now available: patreon.com/tokelorepodcast --- Send in a voice message: https://podcasters.spotify.com/pod/show/tokelore/message

Desde el principio, Porgy and Bess suscitó controversia. Gran parte de la obra se comprimió para adaptarse a la partitura musical de George Gershwin, lo que hizo que algunos de los personajes de la ópera parecieran más estereotipados de lo previsto. Con José Manuel Corrales.

Desde el principio, Porgy and Bess suscitó controversia. Gran parte de la obra se comprimió para adaptarse a la partitura musical de George Gershwin, lo que hizo que algunos de los personajes de la ópera parecieran más estereotipados de lo previsto. Con José Manuel Corrales.

PORGY AND BESS COMPOSER: George Gershwin LYRICIST: Ira Gershwin, DuBose Heyward BOOK: DuBose Heyward SOURCE: Porgy by DuBose Heyward (1925)  DIRECTOR: Rouben Mamoulian PRINCIPLE CAST: Anne Brown (Bess), John W. Bubbles (Sportin' Life), Todd Duncan (Porgy),  OPENING DATE: October 10th, 1935 CLOSING DATE: January 25th, 1936 PERFORMANCES: 124 SYNOPSIS: When the murderous Crown abandons his lover Bess, a disabled beggar, Porgy, vows to protect her. When Crown vows to return and take Bess away, Porgy and Bess's love for one another is thrown into peril.  With a score and libretto by George and Ira Gershwin with DuBose Heyward respectively, Porgy and Bess tells the controversial love story of a disabled Black man named Porgy through the style of grand opera. The premiere production featured a troupe of classically trained Black singers and was significant for the way it fused American folk music with classical orchestrations. Key songs became standards in their day, and ‘Summertime' maintains its popularity as a jazz cover. Davóne Tines explores the complexity of this piece, specifically how it relates to the black experience being created through a white lens.  Davóne Tines- Heralded as a "singer of immense power and fervor" and “[one] of the most powerful voices of our time” (@latimes) "the immensely gifted American bass-baritone Davóne Tines has won acclaim, and advanced the field of classical music." (@nytimes) this “next generation leader (Time Magazine) is a path-breaking artist at the intersection of many histories, cultures, and aesthetics, his work blends opera, spirituals, gospel, and anthems, as a means to tell a deeply personal story of perseverance and human connection. SOURCES Porgy and Bess Members of the Original Broadway Cast Recording. Decca (1940) Porgy and Bess, starring Dorothy Dandridge and Sidney Poitier, directed by Otto Preminger. Columbia Pictures (1959) The Strange Career of Porgy and Bess: Race, Culture, and America's Most Famous Opera by Ellen Noonan, Chapel Hill: University of North Carolina Press (2012) The Gershwins' Porgy and Bess: A 75th Anniversary Celebration by Robin Thompson, Amadeus (2010) “On My Way”: The Untold Story of Rouben Mamoulian, George Gershwin, and Porgy and Bess by Joseph Horowitz, W.W. Norton & Company (2013) Learn more about your ad choices. Visit megaphone.fm/adchoices

Shola von Reinhold is the author of LOTE, a novel about getting lost in the archives and finding what the archives have lost. LOTE won the 2021 James Tait Black prize so who better to join Shola on Novel Dialogue than Ben Bateman of Edinburgh University, lead judge of the prize committee? This conversation takes listeners back to all yesterday's parties as Shola, Ben, and Aarthi time travel to the Harlem Renaissance and the interwar modernist era. Shola offers up Richard Bruce Nugent as their current figure of fascination (or “transfixion” to use a key image from LOTE), and wonders what it would have been like to move through Harlem and London by Nugent's side. Recovering the stories of black writers and artists is essential to Shola's literary project. It is also inseparable from restoring queerness to the once hyper-masculine and “muscular” paradigm of modernism. In a stirring discussion of the aesthetic forms and moods of historical recovery, Ben and Shola sink into the “purpleness” of the fin-de-siècle and explore the critical power of black sensuousness. Talk of decadence, ornamentality, and frivolity shapes the latter half of this episode, and Doris Payne, the West Virginian jewel thief, emerges as an exquisitely improbable modernist heroine! Mentioned in this episode: -Richard Bruce Nugent -Dorothy Heyward and DuBose Heyward, Porgy -E.M. Forster -David Levering Lewis, When Harlem was in Vogue -Saidiya Hartman -Benjamin Kahan, The Book of Minor Perverts -James Joyce, Ulysses -Willa Cather, “Paul's Case” -Ornamentality via Kant, Hegel, and Adolf Loos -Susan Sontag -Doris Payne – a.k.a “Diamond Doris” -Édouard Glissant Aarthi Vadde is Associate Professor of English at Duke University. Email: aarthi.vadde@duke.edu. John Plotz is Barbara Mandel Professor of the Humanities at Brandeis University and co-founder of the Brandeis Educational Justice Initiative. Email: plotz@brandeis.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Shola von Reinhold is the author of LOTE, a novel about getting lost in the archives and finding what the archives have lost. LOTE won the 2021 James Tait Black prize so who better to join Shola on Novel Dialogue than Ben Bateman of Edinburgh University, lead judge of the prize committee? This conversation takes listeners back to all yesterday's parties as Shola, Ben, and Aarthi time travel to the Harlem Renaissance and the interwar modernist era. Shola offers up Richard Bruce Nugent as their current figure of fascination (or “transfixion” to use a key image from LOTE), and wonders what it would have been like to move through Harlem and London by Nugent's side. Recovering the stories of black writers and artists is essential to Shola's literary project. It is also inseparable from restoring queerness to the once hyper-masculine and “muscular” paradigm of modernism. In a stirring discussion of the aesthetic forms and moods of historical recovery, Ben and Shola sink into the “purpleness” of the fin-de-siècle and explore the critical power of black sensuousness. Talk of decadence, ornamentality, and frivolity shapes the latter half of this episode, and Doris Payne, the West Virginian jewel thief, emerges as an exquisitely improbable modernist heroine! Mentioned in this episode: -Richard Bruce Nugent -Dorothy Heyward and DuBose Heyward, Porgy -E.M. Forster -David Levering Lewis, When Harlem was in Vogue -Saidiya Hartman -Benjamin Kahan, The Book of Minor Perverts -James Joyce, Ulysses -Willa Cather, “Paul's Case” -Ornamentality via Kant, Hegel, and Adolf Loos -Susan Sontag -Doris Payne – a.k.a “Diamond Doris” -Édouard Glissant Aarthi Vadde is Associate Professor of English at Duke University. Email: aarthi.vadde@duke.edu. John Plotz is Barbara Mandel Professor of the Humanities at Brandeis University and co-founder of the Brandeis Educational Justice Initiative. Email: plotz@brandeis.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Shola von Reinhold is the author of LOTE, a novel about getting lost in the archives and finding what the archives have lost. LOTE won the 2021 James Tait Black prize so who better to join Shola on Novel Dialogue than Ben Bateman of Edinburgh University, lead judge of the prize committee? This conversation takes listeners back to all yesterday's parties as Shola, Ben, and Aarthi time travel to the Harlem Renaissance and the interwar modernist era. Shola offers up Richard Bruce Nugent as their current figure of fascination (or “transfixion” to use a key image from LOTE), and wonders what it would have been like to move through Harlem and London by Nugent's side. Recovering the stories of black writers and artists is essential to Shola's literary project. It is also inseparable from restoring queerness to the once hyper-masculine and “muscular” paradigm of modernism. In a stirring discussion of the aesthetic forms and moods of historical recovery, Ben and Shola sink into the “purpleness” of the fin-de-siècle and explore the critical power of black sensuousness. Talk of decadence, ornamentality, and frivolity shapes the latter half of this episode, and Doris Payne, the West Virginian jewel thief, emerges as an exquisitely improbable modernist heroine! Mentioned in this episode: -Richard Bruce Nugent -Dorothy Heyward and DuBose Heyward, Porgy -E.M. Forster -David Levering Lewis, When Harlem was in Vogue -Saidiya Hartman -Benjamin Kahan, The Book of Minor Perverts -James Joyce, Ulysses -Willa Cather, “Paul's Case” -Ornamentality via Kant, Hegel, and Adolf Loos -Susan Sontag -Doris Payne – a.k.a “Diamond Doris” -Édouard Glissant Aarthi Vadde is Associate Professor of English at Duke University. Email: aarthi.vadde@duke.edu. John Plotz is Barbara Mandel Professor of the Humanities at Brandeis University and co-founder of the Brandeis Educational Justice Initiative. Email: plotz@brandeis.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Shola von Reinhold is the author of LOTE, a novel about getting lost in the archives and finding what the archives have lost. LOTE won the 2021 James Tait Black prize so who better to join Shola on Novel Dialogue than Ben Bateman of Edinburgh University, lead judge of the prize committee? This conversation takes listeners back to all yesterday's parties as Shola, Ben, and Aarthi time travel to the Harlem Renaissance and the interwar modernist era. Shola offers up Richard Bruce Nugent as their current figure of fascination (or “transfixion” to use a key image from LOTE), and wonders what it would have been like to move through Harlem and London by Nugent's side. Recovering the stories of black writers and artists is essential to Shola's literary project. It is also inseparable from restoring queerness to the once hyper-masculine and “muscular” paradigm of modernism. In a stirring discussion of the aesthetic forms and moods of historical recovery, Ben and Shola sink into the “purpleness” of the fin-de-siècle and explore the critical power of black sensuousness. Talk of decadence, ornamentality, and frivolity shapes the latter half of this episode, and Doris Payne, the West Virginian jewel thief, emerges as an exquisitely improbable modernist heroine! Mentioned in this episode: -Richard Bruce Nugent -Dorothy Heyward and DuBose Heyward, Porgy -E.M. Forster -David Levering Lewis, When Harlem was in Vogue -Saidiya Hartman -Benjamin Kahan, The Book of Minor Perverts -James Joyce, Ulysses -Willa Cather, “Paul's Case” -Ornamentality via Kant, Hegel, and Adolf Loos -Susan Sontag -Doris Payne – a.k.a “Diamond Doris” -Édouard Glissant Aarthi Vadde is Associate Professor of English at Duke University. Email: aarthi.vadde@duke.edu. John Plotz is Barbara Mandel Professor of the Humanities at Brandeis University and co-founder of the Brandeis Educational Justice Initiative. Email: plotz@brandeis.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Shola von Reinhold is the author of LOTE, a novel about getting lost in the archives and finding what the archives have lost. LOTE won the 2021 James Tait Black prize so who better to join Shola on Novel Dialogue than Ben Bateman of Edinburgh University, lead judge of the prize committee? This conversation takes listeners back to all yesterday's parties as Shola, Ben, and Aarthi time travel to the Harlem Renaissance and the interwar modernist era. Shola offers up Richard Bruce Nugent as their current figure of fascination (or “transfixion” to use a key image from LOTE), and wonders what it would have been like to move through Harlem and London by Nugent's side. Recovering the stories of black writers and artists is essential to Shola's literary project. It is also inseparable from restoring queerness to the once hyper-masculine and “muscular” paradigm of modernism. In a stirring discussion of the aesthetic forms and moods of historical recovery, Ben and Shola sink into the “purpleness” of the fin-de-siècle and explore the critical power of black sensuousness. Talk of decadence, ornamentality, and frivolity shapes the latter half of this episode, and Doris Payne, the West Virginian jewel thief, emerges as an exquisitely improbable modernist heroine! Mentioned in this episode: -Richard Bruce Nugent -Dorothy Heyward and DuBose Heyward, Porgy -E.M. Forster -David Levering Lewis, When Harlem was in Vogue -Saidiya Hartman -Benjamin Kahan, The Book of Minor Perverts -James Joyce, Ulysses -Willa Cather, “Paul's Case” -Ornamentality via Kant, Hegel, and Adolf Loos -Susan Sontag -Doris Payne – a.k.a “Diamond Doris” -Édouard Glissant Aarthi Vadde is Associate Professor of English at Duke University. Email: aarthi.vadde@duke.edu. John Plotz is Barbara Mandel Professor of the Humanities at Brandeis University and co-founder of the Brandeis Educational Justice Initiative. Email: plotz@brandeis.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies

James Lundy's book, The History of the Poetry Society of South Carolina: 1920 to 2021, is a chronicle of the first 100 years of the oldest state poetry society in America, the Poetry Society of South Carolina. Founded in Charleston in 1920 by DuBose Heyward, John Bennett, Josephine Pinckney, Hervey Allen, and Laura Bragg, the Society's first 101 seasons run from the Jazz Age to the COVID era, where everyone from Carl Sandburg, Edna St. Vincent Millay, Robert Frost, Robert Penn Warren, Allen Tate, Ogden Nash, Billy Collins, Sherwood Anderson, Jericho Brown, Thornton Wilder, Robert Pinsky, and hundreds of others appeared before the membership.Talking with Walter Edgar, Lundy, also currently the Society's president, gives us an insider's view, with insights into the inner workings and disfunctions of the organization and its slow progress from a Whites-only organization of the segregated South founded in the aftermath of World War I and the Spanish Flu Pandemic, through the Roaring Twenties, into the darkness of the Great Depression, World War II, a resurgence during the Atomic Age, the turbulent Sixties, the decline of Charleston, its rebound into a tourist mecca, and into the present day.

To mark the return of theatre to New York City, Michael revisits his private tour of Broadway with Audra McDonald, then delivering her Tony Award-winning performance in Porgy and Bess, and Tony Sheldon, who was starring in Priscilla, Queen of the Desert. Also, we check in with the New York Times' chief theatre critic Jesse Green and preview next week's long-delayed Tony Awards, and we meet the man whose experiences informed Windmill Theatre Co's Amphibian, a play about a young Afghan's journey to Adelaide.

To mark the return of theatre to New York City, Michael revisits his private tour of Broadway with Audra McDonald, then delivering her Tony Award-winning performance in Porgy and Bess, and Tony Sheldon, who was starring in Priscilla, Queen of the Desert. Also, we check in with the New York Times' chief theatre critic Jesse Green and preview next week's long-delayed Tony Awards, and we meet the man whose experiences informed Windmill Theatre Co's Amphibian, a play about a young Afghan's journey to Adelaide.

To mark the return of theatre to New York City, Michael revisits his private tour of Broadway with Audra McDonald, then delivering her Tony Award-winning performance in Porgy and Bess, and Tony Sheldon, who was starring in Priscilla, Queen of the Desert.Also, we check in with the New York Times' chief theatre critic Jesse Green and preview next week's long-delayed Tony Awards, and we meet the man whose experiences informed Windmill Theatre Co's Amphibian, a play about a young Afghan's journey to Adelaide.

Why We Should Expose Our Kids To Classical Music https://ourtownlive.net #herbw79George Gershwin (/ˈɡɜːrʃ.wɪn/; born Jacob Bruskin Gershowitz, September 26, 1898 – July 11, 1937) was an American composer and pianist whose compositions spanned both popular and classical genres. Among his best-known works are the orchestral compositions Rhapsody in Blue (1924) and An American in Paris (1928), the songs Swanee (1919) and Fascinating Rhythm (1924), the jazz standard I Got Rhythm (1930), and the opera Porgy and Bess (1935) which spawned the hit Summertime.Gershwin studied piano under Charles Hambitzer and composition with Rubin Goldmark, Henry Cowell, and Joseph Brody. He began his career as a song plugger but soon started composing Broadway theater works with his brother Ira Gershwin and with Buddy DeSylva. He moved to Paris intending to study with Nadia Boulanger, but she refused him. He subsequently composed An American in Paris, returned to New York City and wrote Porgy and Bess with Ira and DuBose Heyward. Initially a commercial failure, it came to be considered one of the most important American operas of the twentieth century and an American cultural classic.Gershwin moved to Hollywood and composed numerous film scores. He died in 1937 of a malignant brain tumor. His compositions have been adapted for use in film and television, with several becoming jazz standards recorded and covered in many variations.

 George Gershwin’s 1935 composition “Summertime” is probably the most frequently covered song in all the world. Some estimate that there have been at least 25,000 recorded versions, many of them classic jazz renditions, of course, but also in every other genre from disco to reggae. As the centerpiece of Gershwin’s opera “Porgy and Bess,” the song is built around a poem by DuBose Heyward, the author of  the novel on which the opera was based. But besides all these facts and figures, there’s some serious magic going on here, in that even after 85 years, “Summertime” still has fresh musical ideas to inspire, as Veezy Coffman so lovingly demonstrates here in a couple of choruses from last night’s rehearsal.

Summertime (tiempo de verano) de George Gershwin con letra de DuBose Heyward fue compuesta para la ópera folk Porgy and Bess de 1935. Tardó en entrar en el mundo del jazz plenamente hasta 1942. Escuchemos , entre otras, las versiones de Billie Holiday, Armstrong/Ella, Artie Shaw, Dizzy, Parker, Erroll, Pepper y hasta la de Janis Joplin. Y una sorpresita para Abril.

Gershwin’s Summertime is the most recorded song in historySee omnystudio.com/listener for privacy information.

Gershwin's Summertime is the most recorded song in history See omnystudio.com/listener for privacy information.

David (@vinylophyle sur Instagram) vous raconte l'histoire de Summertime, de George Gershwin & DuBose Heyward (1934). Le premier enregistrement date du 19 juillet 1935 par Abbie Mitchell avec Gershwin au piano et à la direction d'orchestre. Vous entendrez ensuite des extraits des versions de Billie Holliday (1935), de Sidney Bechet (1939), de Miles David (1958), de Gene Vincent (1958), de Vince Taylor (1965), de Ten Years After (1968), de Sam Cooke (1957) et d'Al Green (1969). Big Brother & The Holding Company a publié l'album Cheap Thrills en 1968 sur lequel figure la célèbre version chantée par Janis Joplin. Enfin, le live de Mike Brant date de 1974. Le générique est une version de La Javanaise (Serge Gainsbourg) interprétée par Tony Feront. Retrouvez-nous sur chronicast.com et sur Twitter @ChronicastFr.

Find us at: iTunes Spotify Google Play Jen and Micah ofI Never Saw That join us this week for a somber and surprising discussion of musicians in the 27 Club. So many musicians have been taken from us too soon at the age of 27, leaving us with a legacy of great music that leave us wondering what could have been. It's shocking how many musicians passed away at that age; people know Hendrix, Morrison, Cobain, Winehouse, and at least one of our picks this week. But there's so many others that were under the radar or legends that also happened to leave us at that age. We look into four unique musicians and ask what could have been this week as we hash out a new #SongFight. Songs featured in this episode include: "Kind Hearted Woman Blues" written and performed by Robert Johnson. Recorded November 23, 1936; © 1998, 1961 Sony Music Entertainment Inc. "King of the Hill" written by D. Boon and performed by Minutemen with Crane on trumpet. © 1985 New Alliance Music, ℗ 1985 SST Records. "Summertime" written by George Gershwin and DuBose Heyward, performed by Big Brother & The Holding Company (with Janis Joplin). ℗ 1968 Columbia Records, CBS Inc. "Cicatriz ESP" written by Comar A. Rodriguez-Lopez and performed by The Mars Volta. ©℗ 2003 The Mars Volta. "You'd Be So Nice To Come Home To" written by Cole Porter, performed by Nina Simone. © 1960 Colpix Records. "The Punch Line" written by Mike Watt and performed by The Minutemen. © 1981 New Alliance Music, ℗ 1981 SST Records. Intro and outro music taken from "Run in the Night" by The Good Lawdz from their album A Lil Sumthin' Sumthin'. Licensed under an Attribution-ShareAlike 3.0 Unported (CC BY-SA 3.0) license. To hear the full song or get more information, visit the song page at the Free Music Archive.

Abell was raised in the Philadelphia and Chicago areas.David sang in the 1971 world premiere of Leonard Bernstein's Mass at the John F. Kennedy Center for the Performing Arts with the Berkshire Boy Choir.Abell enrolled at Yale University, where his teachers included John Mauceri and Rob Kapilow. He studied with Nadia Boulanger and Robert D. Levin at the American Conservatory in Fontainebleau before returning to Yale to complete his B.A. in 1981.Abell made his professional debut conducting Bernstein's Mass at Berlin's Deutschlandhalle in 1982.Abell mentions the following three operas by Gaetano Donizetti that were his introduction to opera: La Favorite, Lucia di Lammermoor, and Lucie de Lammermoor.Lyric Opera of ChicagoThe Makropulos Affair is a Czech opera with music and libretto by Leoš Janáček.Don Giovanni is an opera by Mozart.Mefistofele is the only completed opera with music by the Italian composer-librettist Arrigo BoitoThe Symphony No. 2 in D-flat major was written by Howard Hanson on commission from Serge Koussevitsky for the 50th anniversary of the Boston Symphony Orchestra in 1930.Interlochen Center for the ArtsThe Beatles were an English rock band formed in Liverpool in 1960. Members were: John Lennon, Paul McCartney, George Harrison and Ringo Starr.Abbey Road StudiosWashington National OperaGiacomo Puccini was an Italian opera composer who has been called "the greatest composer of Italian opera after Verdi".Oscar Hammerstein was an American librettist, theatrical producer, and (usually uncredited) theatre director of musicals for almost 40 years.The Marriage of Figaro is an opera buffa (comic opera) composed in 1786 by Mozart, with an Italian libretto written by Lorenzo Da Ponte.Evans mentions the following schools as notable music schools: Juilliard School, Indiana University Jacobs School of Music, University of Michigan School of Music.The American Bach SocietyYale WhiffenpoofsWashington National OperaAbell continued his postgraduate training from 1983 to 1985 at the Juilliard School, under Jorge Mester and Sixten Ehrling.Eroica Symphony, byname of Symphony No. 3 in E-flat Major, is a symphony by Ludwig van Beethoven, known as the Eroica Symphony for its supposed heroic nature.Natalia Makarova is a Soviet-Russian-born prima ballerina and choreographer.Abell deputized at short notice for John Mauceri conducting Britten's The Turn of the Screw at Washington National Opera.On Your Toes is a musical with a book by Richard Rodgers, George Abbott, and Lorenz Hart.Gian Carlo Menotti gave David the advice to “never conduct Broadway. Never do it you will regret it.”Les Misérables, colloquially known in English-speaking countries as Les Mis is a musical adapted from French poet and novelist Victor Hugo's 1862 novel of the same name by Claude Schönberg.Porgy and Bess is an English-language opera by the American composer George Gershwin, with a libretto written by author DuBose Heyward and lyricist Ira Gershwin.Miss Saigon is a musical by Schönberg.Abell subsequently conducted the 25th anniversary concert of Les Misérables at the O2 Arena.The Philly PopsArturo Toscanini was an Italian conductor.Aaron Copland was an American composer, composition teacher, writer, and later a conductor of his own and other American music.Rhapsody in Blue is a musical composed by George Gershwin.Trevor Nunn is an English theatre director.Harold Prince was an American theatrical producer and director associated with many of the best-known Broadway musical productions of the 20th century.Ariadne auf Naxos is an opera by Richard Strauss with a German libretto by Hugo von Hofmannsthal.The Voice of Firestone is a long-running radio and television program of classical music.Leontyne Price is an American soprano.Marilyn Monroe was an American actress, model, and singer.Dorothy Kirsten was an American operatic soprano.Minnesota OperaBlind InjusticeJohn Williams is an American composer, conductor, and pianist. Williams has composed for many critically acclaimed and popular movies, including the Star Wars series, Jaws, E.T. the Extra-Terrestrial, and the first three Harry Potter films.Till Eulenspiegel's Merry Pranks is a tone poem written in 1894–95 by Strauss.Along with pianist and musicologist Seann Alderking, Abell edited a complete edition of Cole Porter's Kiss Me, Kate, published in 2014.Glimmerglass OperaThe Library of Congress is the research library that officially serves the United States Congress and is the de facto national library of the United States.The New York Public Library is a public library system in New York City.Scott Davenport RichardsGioachino Rossini was an Italian composer who gained fame for his 39 operas, although he also wrote many songs, some chamber music and piano pieces, and some sacred music.Phillip Gossett was an American musicologist and historian, and Robert W. Reneker Distinguished Service Professor of Music at the University of Chicago.Tancredi is a melodramma eroico in two acts by composer Gioachino Rossini and librettist Gaetano RossiUn ballo in maschera (A Masked Ball) is an 1859 opera by Verdi.Powel Crosley Jr. was an American inventor, industrialist, and entrepreneur. He was also a pioneer in radio broadcasting, and a former owner of the Cincinnati Reds major league baseball team.Alfred Drake was an American actor and singer.Robert Russell Bennett was an American composer and arranger, best known for his orchestration of many well-known Broadway and Hollywood musicals by other composers such as Irving Berlin, George Gershwin, Jerome Kern, Cole Porter, and Richard Rodgers.Don Walker is an Australian musician, songwriter and author.Felix Mendelssohn was a German composer, pianist, organist and conductor of the early Romantic period.Messiah is an English-language oratorio composed in 1741 by George Handel.Lemuel WadeFrancesca Zambello is an American opera and theatre director. She serves as director of Glimmerglass Festival and the Washington National Opera.Lyric Opera of Kansas CityHawaii Opera TheatreChandos Records is a British independent classical music recording company based in Colchester.Peter Morris is an American playwright, television writer and critic, best known for his work in British theatre."Something's Gotta Give" is a song that was written for and first performed by Fred Astaire in the 1955 musical film Daddy Long Legs."A Wonderful Guy" is a show tune from the 1949 Rodgers and Hammerstein musical South Pacific.Abell cites Evans Mirageas as one of his greatest mentors.Abell cites his niece’s podcast, The Bright Sessions, as one of his current favorites.Abell mentions Dark Sky as one of his favorite appsTrio BistroCarousel is the second musical by Rodgers and Hammerstein.English National OperaAlfred “Alfie” Boe is an English tenor and actor, notably performing in musical theatre.

I Can't Give You Anything but Love.-JAZZANIVERSARIO.-PEGGY LEE -BLACK COFFEE.-JAZZACTUALIDAD.-ERNESTO OLVERA-A DUERMEVELA PROG.Nº 560.- Dos horas para el análisis y repaso a la historia y actualidad que generan esta música americana . Todo en el tono que acostumbra este programa, en dos secciones JAZZ ANIVERSARIO y JAZZ ACTUALIDAD importantes novedades y diferentes canales de comunicación que se ofrecerán al oyente. STANDARD SEMANAL.- “I Can't Give You Anything but Love” JAZZ RECUERDO ANIVERSARIO.- PEGGY LEE -BLACK COFFEE.- Músico: Peggy Lee Acompañantes: Pete Candoli Fecha de Grabación: 1953 Lugar de Grabación: New York Sello Discográfico: DECCA Nº de temas: 12 Formato: CD Instrumento: Cantante Estilo: Jazz vocal Nº de Serie: MCLD 19363 Año de Edición: 1998 Duración: 34:10 Calificación: 4*/2 Comentario: Peggy Lee firma con "Black Coffe", su album mas jazzistico, y precisamente aquel en el que más esfuerzo hace por desligarse de la influencia de Billie Holiday con quien siempre la comparararon. La reedición es USA de 1998. El disco está incluido en el libro: "Las grandes voces del jazz". Muy buen trabajo. Personnel[edit] 1956 sessions[edit] • Peggy Lee - vocals • Stella Castellucci - harp • Lou Levy - piano • Bill Pitman - guitar • Buddy Clark - bass • Larry Bunker - drums, vibraphone, percussion Track listing[edit] Track listing 1956 reissue[edit] Side one[edit] 1. "Black Coffee" – 3:05 2. "I've Got You Under My Skin" – 2:28 3. "Easy Living" – 2:44 4. "My Heart Belongs to Daddy" – 2:09 5. "It Ain't Necessarily So" (George Gershwin, Ira Gershwin, DuBose Heyward) – 3:22 6. "Gee Baby, Ain't I Good to You?" (Don Redman, Andy Razaf) – 3:22 Side two[edit] 1. "A Woman Alone With the Blues" – 3:12 2. "I Didn't Know What Time It Was" – 2:18 3. "When the World Was Young" – 3:16 4. "Love Me or Leave Me" – 2:08 5. "You're My Thrill" (Sidney Clare, Jay Gorney) – 3:22 6. "There's a Small Hotel" (Rodgers, Hart) – 2:44 Historia [ editar ] En 1953, Lee había estado grabando profesionalmente desde que se unió a la Orquesta Benny Goodman en 1941 , pero solo había lanzado canciones en 78so 45s . Esta fue su primera oportunidad de grabar un álbum y, a principios de la década de 1950, la compañía discográfica común reservó el LP de 12 "para música clásica y, en el caso de Decca y Columbia Records , grabó grabaciones de musicales de Broadway . Esta práctica terminaría pronto después de que se grabó este LP, los discos de diez pulgadas se suspendieron generalmente a mediados de la década de 1950, Lee agregó cuatro canciones en sesiones en 1956 para ampliar el tiempo de ejecución hasta el LP de doce pulgadas. Sesiones [ editar ] Tres sesiones separadas en 1953 produjeron las ocho pistas iniciales para el LP de diez pulgadas, todas en Decca Studios, 50 West 57th Street en la ciudad de Nueva York , el 30 de abril, 1 de mayo, 4 de mayo. Las sesiones de 1956 para grabar las cuatro pistas adicionales necesarios para el LP de doce pulgadas se hicieron con personal diferente en los estudios Decca en Hollywood el 3 de abril. El 26 de octubre de 2004, el álbum se relanzó como parte de la serie Verve Records Master Edition, Verve y Decca ahora ambas unidades dentro del conglomerado gigante de Universal Music Group . La secuencia de seguimiento siguió la de la reedición de doce pulgadas de 1956. No productor original aparece, aunque Milt Gabler se menciona en los créditos reedición como Decca A & R . JAZZ ACTUALIDAD.- Esta semana tendremos a ERNESTO OLVERA-A DUERMEVELA Títulos 1-Luna de sol 2-Evanesnencia 3-Hacia medianoche 4-Paseo nocturno 5-Agua pura 6-Descubrir 7-Verdirrojo 8-Mi puerto Intérpretes Ernesto Olvera, piano Ernesto Olvera es un músico autodidacta nacido en Barcelona en 1986. Con solo estos datos ya podemos decir que tiene dos características meritorias, una su juventud y la otra su formación, o para mejor decir, su no formación. Influenciado por Bebo Valdés, Chucho Valdés, Diego Amador, Oscar Peterson, Bill Evans o Michel Camilo entre otros. Ha participado como director musical en las composiciones originales y arreglos en las obras de teatro“Oh-La-Lá” y “De Billy a Billie unes vacances d'estiu”, basadas en el mundo del jazz. También ha sido director musical y compositor de las principales piezas musicales del documental “Desierto Líquido” dirigido por Daniel Carrasco, ganador en el Festival Ecozine al premio del jurado cómo mejor documental. Nos presenta un disco fruto de muchas horas de trabajo en su casa, solo. “Yo y mi piano. Estancado muchas veces, pocas inspirado, pero siempre avanzando”. El disco se compone de 9 canciones, ocho propias y otra “Hacia medianoche” basada en el estándar “Round About Midnight” de Thelonious Monk. Pinceladas de flamenco, clásicas y por supuesto jazz. Y aunque Ernesto las define como “humildes grabaciones”, tienen mucho mérito y se escuchan con atención y agrado. Nos aconseja que las escuchemos en estado de duermevela, y como le ocurre a él, que el piano entre en nuestras cabezas como si de agua pura se tratara y así “todo tiene sentido, es más fácil entender la música de esta manera”. En los textos que acompañan al disco, Ernesto nos aporta estos cuatro puntos cardinales “Música. Arte. Vida. Paz” recomendables a todas luces.

Happy Valentine's Day, fellow Broadway Babies. Oh, Doctor Jesus, help us please this week. Alex and Daisha got plenty of somethin’ to say about this 2012 musical, which was adapted from an opera that was adapted from a play that was adapted from a book. Prepare thyself for our special V-Day episode on "The Gershwins’ Porgy and Bess" (sry DuBose Heyward), starring Audra McDonald and Norm Lewis as the classic/problematic title characters. Join us in an intense discussion about the appropriateness of writing stories about communities and cultures you don’t belong to, the beautiful Gershwin/Heyward music and how harmful stereotypes about race and ethnicity are because they ain’t necessarily so. Podcast cover art: David Taylor Twitter: @bwaybabies Facebook: Facebook.com/broadwaybabiespodcast Cast recording: iTunes | Spotify | Amazon Prime Songs Summertime (performed by Nikki Renee Daniels) I Got Plenty of Nothing (by Norm Lewis and company) Bess, You Is My Woman Now (by Audra McDonald and Norm Lewis) My Man’s Gone Now (by Bryonha Marie Parham and company) Oh, Doctor Jesus (by Bryonha Marie Parham and company) It Ain’t Necessarily So (by David Alan Grier and company) Show Notes An in-depth NPR interview with Audra McDonald about all aspects of the production Stephen Sondheim's aforementioned letter to the New York Times criticizing — no, roasting — the Broadway revival and its female-led creative team. Audra responding to the criticism of the production. Look, what a helpful study guide about the history of the opera that I found Fantasia yassss — probably the first time a lot of younger folks heard "Summertime"  An interesting thinkpiece from HuffPost about whether white people can tell the stories of other cultures

For episode 3, we discuss Porgy and Bess, music by George Gershwin, lyrics by Ira Gershwin and Dubose Heyward, libretto by Dubose Heyward. As usual, no familiarity with the show is required to enjoy the podcast, as we play ample audio clips and the plot isn't unexpected or interesting for you to worry about us spoiling you. Porgy and Bess rides the line between opera and musical, and has been performed as complete opera, complete Broadway musical, and every shade in between. We discuss the show, the Gershwin brothers, and we take a look at how criticism of the show's handling of race has changed in ways you might not expect. Apologies for Jeremy's worse microphone today and Hannah's audio getting wonky in the last ten minutes. Neither of those problems surface again in future episodes.  

C JAM BLUES-JAZZANIVERSARIO.-KING CURTIS-THE NEW SCENE OF KING CURTIS-JAZZACTUALIDAD-IVO OLLER- WAY "Por el camino"-CONCIERTO-Didier Lockwood feat Antonio Farao' Trio PROG.Nº 493.- STANDARD SEMANAL.- “C JAM BLUES” 1.-DUKE ELLINGTON. 2.-LOUIS ARMSTRONG- DUKE ELLINGTON. 3.-OSCAR PETERSON. 4.-McCOY TYNER. JAZZ RECUERDO ANIVERSARIO.- KING CURTIS-THE NEW SCENE OF KING CURTIS A1 Da Duh Dah Written-By – King Curtis 5:07 A2 Have You Heard-has oido Written-By – Foster*, Curtis* 10:19 A3 Willow Weep For Me-willow lloró por mi Written-By – Ann Ronell 5:21 B1 Little Brother Soul-el alma del hermano pequeño Composed By – King Curtis 8:31 B2 In A Funky Groove- En un funky Groove Composed By – King Curtis 10:48 • Bass – Paul Chambers (3) • Drums – Oliver Jackson • Piano – Wynton Kelly • Tenor Saxophone – King Curtis • Trumpet – Little Brother (2) • • Liner Notes – Nat Hentoff • Producer – The Sound Of America • Recorded By – Rudy Van Gelder JAZZ ACTUALIDAD.- Esta semana tendremos a Ivó Oller con su álbum WAY "Por el camino" Ivó Oller nos presenta su segundo trabajo, un álbum confeccionado con temas propios, composiciones originales y alguna versión, que se viste de un look mucho más eléctrico al que el trompetista nos tiene acostumbrados. A partir de una base sólida en forma de cuarteto, Oller abre este trabajo a músicos que han estado presentes en alguno de los muchos momentos de su trayectoria. Sin que suene a retrospectiva (más bien es un punto y seguido en su carrera), Oller busca plasmar en este álbum todas aquellas influencias, experiencias compartidas y anécdotas de los personajes con los que el músico se ha ido encontrando "por el camino" ... Ivó Oller - trompeta, flugelhorn Martín Ventura - piano Bernat Guardia - bajo Pedro Foved - batería Martí Serra - saxo tenor Eduard Iniesta - mandola, guitarra acústica, baglamas, laghouto griego Marian Barahona - ve Mathew Simon - trompeta Guillermo caliera - trompeta Jaime Peña - trompeta 1 - Groovin 'for Bernat (Ivó Oller) 2 - Pink Marion (Ivó Oller) 3 - Sigue lloviendo (Martín Ventura) 4 - Maresme Rules (Vicens Martín) 5 - You Do not Know What Love Is (Don Raye, Gene de Paul) 6 - Akram (Ivó Oller) 7 - Summertime (George Gershwin, DuBose Heyward, Dorothy Heyward, Ira Gershwin) 8 - Here Comes the Sun (George Harrison) CONCIERTO DE LA SEMANA.- Para finalizar el programa de la semana, lo vamos hacer con lo que va a acontecer este miércoles 8 de febrero en el Teatro Lope de Vega de Sevilla a las 20:30, concierto de Didier Lockwood feat Antonio Farao' Trio Jazz. Didier Lockwood (violin), Antonio Farao' (piano), Jerome Regard (contrabajo), Andy Barron (bateria) El violinista francés Didier Lockwood es un prestigioso solista de jazz y compositor. Aunque proveniente de una educación musical inicialmente clásica, a los 16 años pasó a estudiar en la Escuela Normal de Música de París descubriendo otras músicas e introduciéndose en el campo de la improvisación libre. Tras haber escuchado al virtuoso Jean-Luc Ponty se introdujo en el uso del violín amplificado y en 1974 se integra en el grupo de jazz-rock Magma, a pesar de tener que perder por ello una plaza en el Conservatorio Superior de Música y Danza de París, con los que tocará hasta 1978. Posteriormente tocará en la banda de fusión de Christian Vander y Jannick Top. A los 21 años es descubierto por Stéphane Grappelli y se sumerge en el mundo del jazz (también influenciado por la dedicación a este de su hermano, con el que también tocará). A través de numerosos conciertos en diferentes festivales de Jazz como el de Festival de Jazz de Montreux (actúa en 1975 y 1978), Castellet (1976), Antibes o el de Festival de Donaueschingen (1978), se le empieza a conocer internacionalmente, tanto por sus pariciones dentro del grupo de jazz/rock fusin Surya como por sus colaboraciones individuales, por ejemplo con el propio Stéphane Grappelli. En 1979, el mismo que publica su primer disco individual (New World), da un concierto con Wolfgang Dauner en memoria de Zbigniew Seifert, que le influirá notablemente. En la década de 1980 se prodigó más y más en los festivales de jazz internacionales, como el Jazz Yatra de Bombay o el Festival de Jazz de Newport. En 1985 se desplazó a Nueva York, donde residió varios años y trabajó con multitud de músicos de prestigio como Miles Davis, Herbie Hancock, Billy Cobham, Dave Brubeck, Michel Petrucciani o Mike Stern, entre otros. En 1989 llama a unirse a él en París al batería español Ángel Celada, con el que colaborará durante varios años. Tras haber tomado parte en más de 3.000 conciertos y con más de 30 álbumes propios, lo últimos años está más dedicado a la composición. Por ejemplo: el concierto Les Mouettes para violín , la ópera de jazz Diario d'un usager de l'Espace II, un concierto para violín de Maxim Vengerov, la ópera Libertad, y diferentes conciertos más para violín e incluso para piano. ANTONIO FARAO' “I'm not often surprised by the recordings of musicians the way I was overwhelmed the first time I heard Antonio Farao' on one of his recent CD's. What amazed me was what I felt inside of me. There is so much warmth, conviction and power to his playing. I was immediately attracted to his harmonic conception, the joy of his rhythms and swing feel and the grace and ingenuity of his melodic improvisational lines. Antonio is not only a fine pianist but a great one.” (Herbie Hancock) Es considerado uno de los mejores pianistas de jazz por la prensa internacional. Nacido en Roma en 1965, Antonio FARAO asistió curso de formación clásica con Adriano Della Giustina y Riccardo Risaliti en el Conservatorio Giuseppe Verdi de Milán. Desde adolescente ha destacado por su talento participando en festivales internacionales Umbría Jazz, Estival Jazz Lugano, Maastricht, Tel Aviv, North Sea... entre otros. Ha recibido varios premios : Premio Nuevo Talento Musical Review en 1987, Premio Four Roses como pianista del año en 1991, Primer Premio Martial Solal en Paris. Colabora regularmente con nombres conocidos internacionalmente como Jack Dejohnette, Bireli Lagrène, Didier Lockwood, Joe Lovano, Benny Golson, Lenny White... entre muchos otros.

August is Arts Appreciation Month! During August, Houston Public Media Arts and Culture is paying tribute to art forms that have inspired other art forms. We thought this Classical Classroom rerun fit with that theme perfectly, hence the rerunning. The remix has been alive as long as the Beastie Boys’ “License to Ill”. JK! It’s been around for as long as music. Learn how composers have been inspired by, paid tribute to, given tips of the hat to, and plain ripped off, each other since the very beginning. MusicLab intern, composer, drummer, and snappy dresser, Daniel Webbon tells all. Audio production by Todd “Sir Toddeus of Toddleton” Hulslander with serving suggestions by Dacia Clay. Music used in this episode includes: – Aerosmith and RUN-DMC “Walk This Way” (with an appearance by Missy Elliott) – Dies Irae: Gregorian Chant from the 13th century – Wolfgang Amadeus Mozart, Twelve Variations on “Ah vous dirai-je, Maman”, K. 265/300e – Gustav Mahler, Symphony No. 1 in D major – Dmitri Shostakovich, String Quartet No. 8 in C minor (Op. 110) – George Gershwin and DuBose Heyward, “Bess, You Is My Woman Now” from the opera Porgy and Bess – Miles Davis and Gil Evans, “Bess, You Is My Woman Now” from the album Porgy and Bess – Luciano Berio, Sinfonia

August is Arts Appreciation Month! During August, Houston Public Media Arts and Culture is paying tribute to art forms that have inspired other art forms. We thought this Classical Classroom rerun fit with that theme perfectly, hence the rerunning. The remix has been alive as long as the Beastie Boys’ “License to Ill”. JK! It’s been around for as long as music. Learn how composers have been inspired by, paid tribute to, given tips of the hat to, and plain ripped off, each other since the very beginning. MusicLab intern, composer, drummer, and snappy dresser, Daniel Webbon tells all. Audio production by Todd “Sir Toddeus of Toddleton” Hulslander with serving suggestions by Dacia Clay. Music used in this episode includes: – Aerosmith and RUN-DMC “Walk This Way” (with an appearance by Missy Elliott) – Dies Irae: Gregorian Chant from the 13th century – Wolfgang Amadeus Mozart, Twelve Variations on “Ah vous dirai-je, Maman”, K. 265/300e – Gustav Mahler, Symphony No. 1 in D major – Dmitri Shostakovich, String Quartet No. 8 in C minor (Op. 110) – George Gershwin and DuBose Heyward, “Bess, You Is My Woman Now” from the opera Porgy and Bess – Miles Davis and Gil Evans, “Bess, You Is My Woman Now” from the album Porgy and Bess – Luciano Berio, Sinfonia

College of Charleston School of the Arts invites the public to celebrate the first night of spring with music by vocal superstars, tenor Rodrick Dixon and soprano Alfreda Burke. "Awaken for the Arts" will take place on March 20, 2012 at 7 p.m. in the historic Dock Street Theatre (135 Church St). This benefit for the School of the Arts will also include a performance of a composition by College of Charleston music professor Edward Hart and other acclaimed music faculty will join Dixon and Burke on stage throughout the evening. The event is open to the public, but tickets are required. "Awaken for the Arts" will feature performances ranging from the quintessential works of Puccini and Verdi to the finger-snapping show tunes of Rodgers and Hammerstein, Andrew Lloyd Webber and others. The night will also include some local flavor in a revival of popular songs from DuBose Heyward and Ira Gershwin's "Porgy and Bess." Peter and Cynnie Kellogg are the event's presenting sponsors and the event is chaired by Joe Riley III. Dixon and Burke are generously donating their time for "Awaken for the Arts." Charitable sponsors include MWV, TD Bank, and many others listed online: http://go.cofc.edu/awaken.

The culminating genius of George and Ira Gershwin came together with DuBose Heyward to create one of the great miracles of the musical stage.