The inspiration for this program was a 31-minute documentary on character actor Milton Parsons made in 2014. From 1948 to 1963, Milton and Collette Parsons created the Cookie Jar Theatre. The performers were Chatsworth children between the ages of 5 and 12. Performances were held at the American Legion Hall on Devonshire, at the Chatsworth Park Elementary Auditorium, and in private homes. Rehearsals were held at the Parsons’ residence at 10801 Farralone Ave. The photographs that follow were donated by the performers and their families.
This powerpoint presentaion is about everything that went on in the 1950's. In this presentation we will explore all the major events that happened during this society changing decade. This is part of my A Level Media Coursework, so I hope it helps you.
Enjoy!
The inspiration for this program was a 31-minute documentary on character actor Milton Parsons made in 2014. From 1948 to 1963, Milton and Collette Parsons created the Cookie Jar Theatre. The performers were Chatsworth children between the ages of 5 and 12. Performances were held at the American Legion Hall on Devonshire, at the Chatsworth Park Elementary Auditorium, and in private homes. Rehearsals were held at the Parsons’ residence at 10801 Farralone Ave. The photographs that follow were donated by the performers and their families.
This powerpoint presentaion is about everything that went on in the 1950's. In this presentation we will explore all the major events that happened during this society changing decade. This is part of my A Level Media Coursework, so I hope it helps you.
Enjoy!
Page 255 8.1 objeCTives• Basic knowledge of the histor.docxsmile790243
Page | 255
8.1 objeCTives
• Basic knowledge of the history and origins of popular styles
• Basic knowledge of representative artists in various popular styles
• Ability to recognize representative music from various popular styles
• Ability to identify the development of Ragtime, the Blues, Early Jazz,
Bebop, Fusion, Rock, and other popular styles as a synthesis of both
African and Western European musical practices
• Ability to recognize important style traits of Early Jazz, the Blues, Big
Band Jazz, Bebop, Cool Jazz, Fusion, Rock, and Country
• Ability to identify important historical facts about Early Jazz, the Blues,
Big Band Jazz, Bebop, Cool Jazz, Fusion, and Rock music
• Ability to recognize important composers of Early Jazz, the Blues, Big
Band Jazz, Bebop, Cool Jazz, Fusion, and Rock music
8.2 Key Terms
• 45’s
• A Tribe Called Quest
• Alan Freed
• Arthur Pryor
• Ballads
• BB King
• Bebop
• Big Band
• Bluegrass
• Blues
• Bob Dylan
• Broadway Musical
• Charles “Buddy” Bolden
• Chestnut Valley
• Children’s Song
• Chuck Berry
• Contemporary Country
• Contemporary R&B
• Count Basie
• Country
8 Popular music in the united statesN. Alan Clark and Thomas Heflin
Page | 256
Understanding MUsic PoPUlar MUsic in the United states
8.3 inTroduCTion
Popular music is by definition music that is disseminated widely. As such, it
has been particularly significant with the twentieth-century proliferation of record-
ing technologies and mass media. Sometimes we may forget that it was not until
the 1920s that recording and playback technology allowed for the spread of music
through records. To become popular before that time, a tune had to be spread by
word of mouth, by traveling performers, and by music notation, which might ap-
pear in a music magazine or newspaper or in sheet music that could be bought at
general stores, catalogs, and music stores.
• Creole
• Curtis Blow
• Dance Music
• Dixieland
• Duane Eddy
• Duke Ellington
• Earth, Wind & Fire
• Elvis Presley
• Folk Music
• Frank Sinatra
• Fusion
• George Gershwin
• Hillbilly Music
• Honky Tonk Music
• Improvisation
• Jelly Roll Morton
• Joan Baez
• Leonard Bernstein
• Louis Armstrong
• LPs
• Michael Bublé
• Minstrel Show
• Musical Theatre
• Operetta
• Original Dixieland Jazz Band
• Oscar Hammerstein
• Protest Song
• Ragtime
• Rap
• Ray Charles
• Rhythm and Blues
• Richard Rodgers
• Ricky Skaggs
• Robert Johnson
• Rock and Roll
• Sampling
• Scott Joplin
• Scratching
• Stan Kenton
• Stan Kenton
• Stephen Foster
• Storyville
• Swing
• Syncopated
• The Beatles
• Victor Herbert
• Weather Report
• Western Swing
• William Billings
• WJW Radio
• Work Songs
Page | 257
Understanding MUsic PoPUlar MUsic in the United states
Today the success of a popular music artist is most often measured by how
many songs they sell. In the past, that meant record and CD sales, but today it es-
sentially means numbers of downloads. Recording industry executives determine
which artis.
197
198
199
200
201
202
145
146
147
148
149
150
243
244
randymdrake
randymdrake
randymdrake
randymdrake
245
randymdrake
246
randymdrake
247
248
4 Southern Music/American Music
can folk music traditions met and fused, was the land that gave rise to virtually
every form of American popular music. The premise is simple, but the story is
as complex as the multilayered relationships between the South and the rest of
the United States. To begin to understand it better, we shall first turn to the
folk roots of the music.
Chapter 1
FOLK ORIGINS OF SOUTHERN Music
The folk music reservoir of the South was formed principally by the confluence
of two mighty cultural streams, the British-Celtic and the African. But if one
looks for purity in the music of the South, one searches in vain. Southerners
are often thought of as highly traditional people, and southern music has deep
roots in the past. However, to ignore the adaptability of southern music is to
miss one of its greatest realities. British and African styles did not leave their
home continents in undiluted forms; constant population movements and
economic transformations warred against the kind of stability that would have
promoted musical isolation or stasis. In this country, they did not simply over-
lap and interact; they also borrowed from and influenced the musical folk-
ways of other subcultures in the South—the Germans of the Southern Piedmont
and Central Texas, the Cajuns of Southwest Louisiana, and the Mexicans of
South Texas. Music from Spanish sources, already admixed with African idi-
oms, also came in from the Caribbean via New Orleans and the Gulf South or
across the Mexican border into Texas. Ferdinand "Jelly Roll" Morton spoke of
the "Spanish tinge" as an essential ingredient of early New Orleans jazz, but
the influence was also felt in the rhythms of other styles as well. Furthermore,
the songs and styles of English, Irish, Scotch-Irish, Scottish, and Welsh settlers
intermingled so rapidly and frequently on the southern frontier that they defy
the efforts of folklorists and ethnomusicologists to distinguish conclusively
among them or to determine their exact origins. Alan Lomax is probably cor-
rect when, recalling the composite quality of this music, he describes it as
more British than anything one can find in Great Britain,"1 but these styles
reached across cultural boundaries and were influenced by the music of people
who were not British at all.
Slaves built and occupied a community that white people could observe,
and sometimes appreciate, but never wholly understand. In many ways, as
Lawrence Levine has argued, their music "remained closer to the musical styles
and performances of West Africa and the Afro-American music of the West
Indies and South America than to the musical style of Western Europe."2
6 Southern Music/American Music
Intimately linked to work and worship, and marked by improvisati.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
Normal Labour/ Stages of Labour/ Mechanism of LabourWasim Ak
Normal labor is also termed spontaneous labor, defined as the natural physiological process through which the fetus, placenta, and membranes are expelled from the uterus through the birth canal at term (37 to 42 weeks
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
Francesca Gottschalk from the OECD’s Centre for Educational Research and Innovation presents at the Ask an Expert Webinar: How can education support child empowerment?
Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
International FDP on Fundamentals of Research in Social Sciences
at Integral University, Lucknow, 06.06.2024
By Dr. Vinod Kumar Kanvaria
Safalta Digital marketing institute in Noida, provide complete applications that encompass a huge range of virtual advertising and marketing additives, which includes search engine optimization, virtual communication advertising, pay-per-click on marketing, content material advertising, internet analytics, and greater. These university courses are designed for students who possess a comprehensive understanding of virtual marketing strategies and attributes.Safalta Digital Marketing Institute in Noida is a first choice for young individuals or students who are looking to start their careers in the field of digital advertising. The institute gives specialized courses designed and certification.
for beginners, providing thorough training in areas such as SEO, digital communication marketing, and PPC training in Noida. After finishing the program, students receive the certifications recognised by top different universitie, setting a strong foundation for a successful career in digital marketing.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
"Protectable subject matters, Protection in biotechnology, Protection of othe...
Rent Parties
1. RENT PARTIES BY MRS. DYMANT AND MRS. GILDEN’S FIRST GRADE CLASS Celebrating Black History Month
2.
3. 2. Many of these African-Americans moved to a section of New York City called Harlem. This area had many new buildings called Brownstones. Maroula
4. 3. Many artists, writers, musicians and political thinkers moved to Harlem and were able to freely express themselves. This became known as the Harlem Renaissance. Brianna
5. 4. White owners would charge extra for Blacks to rent from them-- sometimes double or triple the usual rent. Many African- Americans felt it was worth it to be in a community of their own. Phyllis
6. 5. However, most people living in Harlem at the time did not make a lot of money. To help pay the high rents, many people rented out rooms or shared apartments with other families. Matthew
7. 6. It was still hard to meet the very high rents. Someone had the idea of having a few friends in as paying party guests. As this idea became popular, the “Rent Party” was born. Jaela
8. 7. The money made at these parties would be used to pay the rent or other bills. If you were late with the rent by even one day, the landlord would put you out on the street. Rafa
9. 8. Rent parties included lots of music. Since Blacks were not allowed into the many jazz clubs in Harlem, these parties became even more popular. Henry
10. 9. Here is how it worked: To get ready for a rent party, the hosts would clear all furniture from the front rooms of the apartment. Colin
11. 10. A piano was a must. Bright colored light bulbs would be put in and folding chairs rented. David
12. 11. Food was also sold at rent parties. This would include fried chicken or fish, gumbo, chili, collard greens, potato salad, and sweet potato pone for dessert. Samir
13. 12. Now it was time to get the word out about the party. Tickets were often made and passed out. Getting lots of people to come was very important. Ross
14. 13. Here is a typical ticket. Instead of calling it a rent party on the tickets, the words “Tea Cup Party” or “Social Whist Party” were used. Carson
15. 14. These rent parties became a favorite social event for “Harlemites.” People had lots of fun and were able to help out a friend for very little cost. Katie
16. 15. Many of Harlem’s jazz musicians would often attend rent parties and perform. Fats Waller and Louis Armstrong played at many rent parties. Aubrey
17. 16. Many piano players would compete with one another in “cutting contests” to see who was the most talented. Savannah
18. 17. By playing at rent parties, many musicians became well known. Rent parties also played an important role in the growth of jazz and blues. George
19. 18. Dozens of people would crowd into small apartments to listen to music and dance. Because of the small spaces, the term “shin-dig” was used to describe these parties because dancers would get kicked in the shin while dancing. Pat
20. 19. Many songs were written about the rent party. Fats Waller wrote the song This Joint is Jumpin’ which is about being at a rent party. In the song he sings the words: “Be sure to pay your quarter at the door.” George
21. 20. While the rent party was an important survival tool for many Harlemites, it was also a social event that drew the people of Harlem together. Jenny
22. Resources Encyclopedia of the Harlem Renaissance, Sample Entries February 2, 2010 http://www.routledge-ny.com/ref/harlem/parties.html