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todaysdocument · 2 years

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On 9/19/1947, the House Un-American Activities Committee subpoenaed witnesses on the “inroads the communists have made in Hollywood.”

Among the witnesses were Charlie Chaplin, Ronald Reagan, Walt Disney, and others.

File Unit: Exhibits, Evidence and Other Records of the Investigative Section of the Internal Security Committee During the 79th through 94th Congresses Related to the Hollywood Black List, 1945 - 1976

Series: Committee Papers, 1945 - 1975

Record Group 233: Records of the U.S. House of Representatives, 1789 - 2015

Transcription:

PRESS RELEASE FROM THE COMMITTEE ON UN-AMERICAN ACTIVITIES

U.S. HOUSE OF REPRESENTATIVES

September 19, 1947

Honorable J. Parnell Thomas, Chairman of the Committee on Un-American Activities issued the following statement for release Sunday morning ["Sunday morning" underlined] newspapers, September 21, 1947:

"Subpoenaes have been issued and are now in the process of being served upon the following witnesses to appear in Washington beginning October 20 in connection with the Committee on Un-American Activities' forthcoming hearing on communist influences in the motion picture industry:

Alva H. Bessie

Roy E. Brewer

Herbert Biberman

Berthold Brecht

Lester Cole

Gary Cooper

Charles Chaplin

Joseph E. Davies

Walt Disney

Edward Dmytryk

Cedric Gibbons

Samuel Goldwyn

Rupert Hughes

Eric Johnston

Howard Koch

Ring Lardner, Jr.

John Howard Lawson

Louis B. Mayer

Albert Maltz

Thomas Leo McCarey

Lowell Mellett

James McGuiness

Lewis Milestone

Adolph Menjou

Sam Moore

John Charles Moffitt

Robert Montgomery

George Murphy

Clifford Odets

Larry Parks

William Pomerance

Ronald Reagan

Lela E. Rogers

Howard Rushmore

Morrie Ryskind

Adrian Scott

Dore Schary

Donald Ogden Stewart

Robert Taylor

Waldo Salt

Dalton Trumbo

Jack L. Warner

Sam Wood

The order of appearance of the witnesses will be announced at a later date.

In making public the names of the witnesses, however, I want to emphasize that the mere fact they are being called to testify before the Committee should not be considered a reflection in any way upon their character or patriotism. These persons are being brought with the sole objective of obtaining the facts regarding the inroads the communists have made in Hollywood. Some of the witnesses are friendly to the Committee's purposes. Others are undoubtedly hostile. The Committee wants to hear both sides.

[page 2]

PRESS RELEASE FROM THE COMMITTEE ON UN-AMERICAN ACTIVITIES

U.S. HOUSE OF REPRESENTATIVES

- 2 -

The Committee had originally hoped to begin this hearing on September 29. However, a number of unforeseen circumstances have arisen regarding the membership of the Committee which necessitates a delay until October 20, in order that all members may be present for this important hearing. Mr. Mundt and Mr. Nixon are now in Europe as members of Congressional committees studying conditions there. Mr. Veil is convalescing from a recent operation, and Mr. Peterson has informed me that he cannot possibly attend the hearings this month. I feel quite certain, however, that all the members will be available by October 20.

Hearings will begin as scheduled September 24 on the Hanns Eisler phase of this hearing. This cannot be delayed until the October date for the reason that all of the witnesses have been subpoenaed and are in Washington at this time, some having been brought from foreign countries. The announced witnesses in the Hanns Eisler care are as follows:

Sumner Welles

P.C. Hutton, Second Secretary and Consul, Guatemala City, Guatemala

George S. Messermith, former Ambassador to Argentina

Joseph Savoretti, Asst. Commissioner for Adjudication U.S. Immigration and Naturalization Service.

Clarence R. Porter, Chief Inspector U.S. Immigration and Naturalization Service.

Hearings will begin in the Caucus Room of the Old House Office Building, at 10:30 A.M., September 24.

I should also like to announce at this time that I intend to make a nation-wide radio address early in October relative to the Hollywood hearing."

#archivesgov #September 19 #1947 #1940s #postwar #HUAC #House Un-American Activities Committee #communism #red scare #Hollywood

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theloniousbach · 4 months

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HANGING OUT AT MEZZROW’S

MIKE LEDONNE with John Webber and Willie Jones III, 3 FEBRUARY 2024, 7:30 pm

STEVE ASH with Harvie S and Alvester Garnett, 3 FEBRUARY 2024, 10:30 pm

RAY GALLON with Paul Gill and Jason Brown, 1 FEBRUARY 2024, 10:30 pm

It is rarely a bad week for pianos in general and at Mezzrow’s, I have been pleasantly “stuck” with them after a sojourn of drummerless trios with brass. Back to basics and yet there are connections to those standards heavy shows. Most especially, the best parts of Richie Vitale’s gig were STEVE ASH’s forceful piano and Paul Gill’s bowed bass solos. So I got to see both of them more on their own terms, including Gill with regular partner RAY GALLON.

I had also ventured into Alvaro Torres’ freer/New Music set with John Hebert and Barry Altschul comfortable enough to have my ears stretched that way. He is a sparer pianist, so the counter was a strong set from Miki Yamanaka and then, in person, Billy Childs with Ari Hoenig. Yamanaka, Childs, MIKE LEDONNE, and Ash all play with rich power and insistent swing. Far from tame, they each have nifty surprises within structures that give a sense of familiarity.

I have often found MIKE LEDONNE a bit heavy handed particularly in trios (his role in large ensembles plays to that strength), but he was well suited to my mood. The tunes were bright and interesting—from Billy Eckstine, Cedar Walton, Coltrane maybe (it was a not too reverential After the Rain), and a couple of originals. He was like all of them, a nice mix of fluidity, percussiveness, and lyricism. Willie Jones III was, as always, delightful and important; John Webber was strong and fluid. They were a big, bright band.

STEVE ASH was also very strong and dynamic, maybe a tiny bit subtler. He did have Harvie S on bass and, with Alverster Garnett, they had a new recording to highlight. I liked their material—You and the Night and the Music, I’m Just a Lucky So and So, Bud Powell’s Una Nocha Con Francis (bebop and Latin!), a Jobim, Effendi (strong and modal but evoking McCoy Tyner, not imitating him), an original (I think) ballad, and Speak Low. Harvie S’s strums high on the finger board on Effendi stood out, but it was interesting to see him with a “bigger” trio than with Alan Broadbent and Billy Mintz.

I hope it is not faint praise to call RAY GALLON a welterweight among these cruiser- even heavy- weights. Calling Hank Mobley the middleweight champion of the tenor in the 1950s was meant as an insult, though it shouldn’t be. I simply mean his touch is lighter and he goes a bit back into the source material. He did not open, as he did the last few times I saw him, with Ellington’s Harlem Air Shaft, but did include Moon Song from a 1959 Louis Armstrong date with Oscar Peterson. Pops is Pops and timeless, but he doesn’t get as directly referenced much these days. Still the original opener Plus One sounded Ellington-ish, particularly given my expectations. His previous second tune Two Track Mind was the closer, but a slightly deconstructed Nardis was third almost as expected. His Zombette did have a French feel, a bit of those Debussy Preludes discordances. His touch is just slightly lighter and the rhythmic drive subtler. Perhaps Gill’s arco solos are part of that, but Jason Brown’s drumming with just one ride cymbal was as crisp and inventive as Garnett and Jones III.

Throw in Yamanaka and Childs and this is a strong run for me with my preferred format.

#concert review #jazz #small’s live #mezzrow’s #livestream almost #livestream #2024

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abcnewspr · 1 year

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ABC NEWS STUDIOS, IN PARTNERSHIP WITH MATADOR CONTENT AND BEDBY8, ANNOUNCES ‘PRETTY BABY: BROOKE SHIELDS’ TO PREMIERE MONDAY, APRIL 3, ON HULU IN THE U.S., STAR+ IN LATIN AMERICA AND DISNEY+ INTERNATIONALLY

Emmy® Award-Winning Director Lana Wilson Takes a Galvanizing Look at Actor, Model and Icon Brooke Shields’s Journey, Transforming From Sexualized Young Girl to a Woman Discovering Her Power in Two-Part Documentary

ABC News*

ABC News Studios, in partnership with Boat Rocker’s Matador Content and Bedby8, announced today “Pretty Baby: Brooke Shields,” from Emmy Award-winning director Lana Wilson (“Miss Americana”), will premiere Monday, April 3 on Hulu in the U.S., Star+ in Latin America and Disney+ internationally, following its world premiere to a sold-out crowd and standing ovation at the 2023 Sundance Film Festival. The two-part documentary is a galvanizing look at actor, model and icon Brooke Shields as she transforms from a sexualized young girl to a woman discovering her power. Holding a mirror up to a society that objectifies women and girls, her story shows the perils and triumphs of gaining agency in a hostile world. “Pretty Baby: Brooke Shields” is produced by Matador Content and BedBy8 for ABC News Studios. The film marks the debut project from BedBy8, the newly formed production company by Ali Wentworth, George Stephanopoulos and partner Alyssa Mastromonaco.

The film follows Shields through her extraordinary childhood and complex relationship with her mother and manager, Teri Shields. Shields’ professional career began at only 11 months old, working as a child model before starring in Louis Malle’s controversial film “Pretty Baby” at the age of 12. She became the face of the eighties with Calvin Klein jeans ads, and leading roles in “The Blue Lagoon” and “Endless Love,” navigating the unrelenting scrutiny of the press and a culture that wanted to commodify her. After defying stereotypes by going to college, Shields re-enters the entertainment industry as an adult, but it isn’t until she begins to trust herself and her instincts that she’s able to find her identity and voice.

“Pretty Baby: Brooke Shields” is produced by Matador Content and BedBy8 for ABC News Studios. Christine O’Malley and Jack Turner serve as producers. Matador Content’s Jay Peterson and Todd Lubin and Bedby8’s Ali Wentworth, George Stephanopoulos and Alyssa Mastromonaco are executive producers. Jacqueline Glover and Jennifer Joseph serve as executive producers for ABC News Studios. Lana Wilson is director and executive producer.

ABOUT ABC NEWS STUDIOS

ABC News Studios, inspired by ABC News’ trusted reporting, is a premium, narrative non-fiction original production house and commissioning partner of series and specials. ABC News Studios champions untold and authentic stories driving the cultural zeitgeist spanning true-crime, investigations, pop culture and news-adjacent stories.

ABOUT MATADOR CONTENT

Matador Content (a Boat Rocker Company) is a full-service, award-winning content company based in New York City and Los Angeles. Founded in 2014, the company was acquired by Boat Rocker in 2018 and has produced content for leading television and streaming platforms including Netflix, Apple TV+, Peacock, Disney Channel, HBO, Lifetime, History, Disney+, Hulu, ROKU, TBS and the Discovery Channel. Matador’s output includes “Billie Eilish: The World’s A Little Blurry” (Apple TV+) and the upcoming “Drag Me To Dinner” (Hulu), starring Neil Patrick Harris. Matador is producing a number of upcoming documentaries, including a political thriller from acclaimed filmmakers Jesse Moss and Tony Gerber, in addition to “B.S. High: The Bishop Sycamore Story” (HBO). For more information, please visit www.matadorcontent.com.

ABOUT BEDBY8

BedBy8 focuses on scripted television projects, limited series, and documentaries. Founded by Ali Wentworth, George Stephanopoulos and partner Alyssa Mastromonaco, the company brings compelling stories to life that are integral to the time we are in.

*COPYRIGHT ©2023 American Broadcasting Companies, Inc. All photography is copyrighted material and is for editorial use only. Images are not to be archived, altered, duplicated, resold, retransmitted or used for any other purposes without written permission of ABC. Images are distributed to the press in order to publicize current programming. Any other usage must be licensed. Photos posted for Web use must be at the low resolution of 72dpi, no larger than 2x3 in size.

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lboogie1906 · 2 years

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John Lester Nash Jr. (born August 19, 1940 - October 6, 2020) was a reggae and pop music singer-songwriter, known in the US for his hit, "I Can See Clearly Now". He was one of the first non-Jamaican singers to record reggae music in Kingston. He sang in the choir at Progressive New Hope Baptist Church in South Central Houston as a child. He sang covers of R&B hits on Matinee, a local variety show on KPRC-TV. He sang on Arthur Godfrey's radio and TV shows for seven years. Signing with ABC-Paramount, he made his major-label debut in 1957 with the single "A Teenager Sings the Blues." He had his first chart hit in early 1958 with a cover of Doris Day's "A Very Special Love." Marketed as a rival to Johnny Mathis, he enjoyed success as an actor early in his career, appearing in the screen version of playwright Louis S. Peterson's Take a Giant Step. He won a Silver Sail Award for his performance at the Locarno International Film Festival. He continued releasing singles on a variety of labels such as Groove, Chess, Argo, and Warner Bros. #africanhistory365 #africanexcellence https://www.instagram.com/p/ChcAY6YOlc30lMnWjJp1SXyrg-p7uhLfwWUk-s0/?igshid=NGJjMDIxMWI=

#africanhistory365 #africanexcellence

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thejewofkansas · 4 years

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TAKE A GIANT STEP Review - **½

TAKE A GIANT STEP Review – **½

I’m not sure what blue jeans have to do with it. As far as I can recall, the characters’ taste in pants never comes up at all.

Take a Giant Step had previously been on the fringes of my radar, mainly due to it being a Globe nominee for Supporting Actress (much more on that shortly), but after Johnny Nash passed away earlier this week, I decided to actively seek it out. Having done so, I can’t…

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#50s films #Beah Richards #Estelle Hemsley #Film Reviews #Frederick O’Neal #Johnny Nash #Julius J. Epstein #Louis S. Peterson #Philip Leacock #Ruby Dee #spoilers #Take a Giant Step #tw Hitler mention #tw racism

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miinesweeper · 3 years

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🪓 — welcome to my blog.

what i write;;

— oneshots

— preferences/headcanons

— might occasionally find character icons

— a couple full length fics (with painfully slow updates)

— i also make character playlists <3

about me;;

— you can call me yugo or mel

— i love anything horror related, reading and writing, movies (rec’s are always apprecaited), and i love screaming about pathetic fictional men

fandom & characters list;;

(∞ means that it’s my hyperfixation right now, and italics means that they’re my favorite character!)

the breakfast club

- andrew clark

- claire standish

- brian johnson

- john bender

- allison reynolds

the dark knight trilogy

- jonathan crane/scarecrow

dexter

- dexter morgan

- debora morgan

diary of a wimpy kid

- rodrick heffley

ferris bueller’s day off

- ferris bueller

- slaone peterson

- cameron frye

fright night (1985 version)

- charley brewster

- amy peterson

- ‘evil’ ed thompson

- jerry dandrige

- peter vincent

gotham

- jonathan crane/the scarecrow

harry potter

(i don’t support jkr, i’m not really in this fandom anymore honestly, i just keep the characters here because they appear in matchup requests often)

- harry potter

- ron weasley

- ginny weasley

- fred & george weasley

- hermione granger

- luna lovegood

- draco malfoy

- cedric diggory

- neville longbottom

i am not okay with this

- sydney novak

- stanley barber

jennifer’s body

- jennifer check

- anita lesnicki

- chip dove

the lost boys

- michael

- david

- dwayne

- paul

- marko

- star

- frog bros

- sam

∞ ozark

- marty byrde

- wendy byrde

- charlotte byrde

- wyatt langmore

- ruth langmore

red eye

- jackson rippner

- lisa reisert

∞ scarlet hollow

- stella richmond

- avery belle

- reese kelly

- kaneeka forsyth

- oscar gutierrez

- sam wayne

- tabitha scarlet

shameless

- fiona gallagher

- ian gallagher

- lip gallagher

- debbie gallagher

- carl gallagher

- mandy milkovich

- mickey milkovich

- kevin ball

- veronica fisher

- jimmy/steve lishman

stand by me

- ace merrill

- eyeball chambers

stranger things

- nancy wheeler

- jonathan byers

- billy hargrove

- steve harrington

- robin buckley

- eddie munson

- chrissy cunningham

- lucas sinclair

- dustin henderson

- mike wheeler

- will byers

- max mayfield

- eleven hopper

∞ super dark times

- josh templeton

- zach taylor

- allison bannister

∞ twdg

season 1:

- lee everett

- molly

- ben

- glenn

- doug

- carley

- christa

- omid

season 2:

- luke

- jane

- nick

season 3:

- javier

- gabe

- kate

- ava

- eleanor

- tripp

- paul/jesus

season 4:

- marlon

- clem

- louis

- violet

- mitch

- james

- brody

- ruby

- omar

watching the detectives

- neil

- violet

∞ wayward pines

- ethan burke

- theresa burke

- ben burke

x-files

- dana scully

- fox mulder

my masterlist has everything i’ve written linked and it’s organized by fandom, check it out :DD

requests;;

— requests are always open (unless stated otherwise) !! send whatever you want and i’ll write it write away ;)

— also pls feel free to request playlists for characters and shows/series/movies !!

— requests are super fun and make me very motivated so pls send as many as you want :DD

— also !! i’ll do match ups (you tell me a bit about yourself and i pair you up with a character from whatever fandom(s) you choose) (pls request these they look so fun to do)

— pls only send them through my asks, not my dm’s

— usually i can get requests done pretty fast, but sometimes i need a little time, i want them to be as good as possible when i post them <3

— your requests can be as specific or as general as you want

— however; please respect my limits if there’s something i don’t want to write, and please give me time to write so that i can make all of my posts as good as possible

will write;;

— oneshots

— preferences

— oc x cc

— cc x reader

— specific requests such as artist!reader, strong!reader, etc

— multiple cc’s x reader/poly relationships

— oneshots based off of songs, one word/one sentence prompts etc

— mild nsfw

— angst

— fluff

— horror

— au’s

— match-ups <3

— most things tbh

won’t write;;

— blatant smut

— cc x cc

— real person x reader

— incest & pedophilia or any other gross thing like those

match-ups;;

— describe yourself as little or as much as you want (but at least tell me ur sexuality so i know who to consider :])

— some stuff you might wanna include are things such as your likes & dislikes, general traits, hobbies, pet peeves, aesthetic/style, zodiac, mbti, etc

— tell me what fandom(s) you want your match-up to possibly be from

— and do let me know if there’s a specific character (or multiple characters) that you particularly don’t want your possible match to be

— and then i’ll tell you which character i think you’d match best with !

(pls request a match-up i wanna do this so bad </3)

asks box info;;

— pls feel free to come in with questions, movie/show/music/etc recommendations and requests of course

— if you wanna be a specific anon (and sign off with an emoji or smth like that) go ahead, it’s fine by me :]

— anons :: 💫 anon, bat anon

date: aug 28, 21’

#fanfiction #twdg #fright night #fright night 1985 #the lost boys #the breakfast club #stranger things #writing #requests #intro #rules #super dark times #ozark netflix #ozark #shameless

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pillow-anime-infos · 4 years

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moriarty the patriot {masterlist}

I. MORIARTY’S ASSOCIATES

WILLIAM JAMES MORIARTY

‘a kiss that is leading to more, but is interrupted by a third party’ {kiss prompt number 40 + scenario | 543 words ; suggestive?}

partner at work and in life {headcanon ; sfw}

his childhood friend {headcanon ; sfw}

nightmares {headcanon ; sfw}

you two against the nobles {headcanon ; sfw?}

his reaction to the kidnapping of his s/o {headcanon ; sfw?}

sex with him {headcanon ; nsfw}

he has a crush on you – the artist {headcanon ; sfw}

poly relationship with him and his brothers {headcanon ; sfw}

yandere!william {headcanon ; sfw & nsfw}

old love {headcanon ; sfw}

comfy time with rain {headcanon ; sfw}

math lessons {scenario | 905 words ; sfw}

modern life with william {headcanon ; sfw}

“why are not you listening to me?” “... i’m very lucky to have you, you know?” {quote prompt number 20 + scenario | 435 words ; sfw}

“let’s watch some movies from disney!” {quote prompt number 1 + scenario | 642 words ; sfw}

“you love flowers, right?” “yes… i love flowers very much.” {quote prompt number 38 + scenario | 733 words ; suggestive}

“i told you this is how it ends.” {quote prompt number 49 + scenario | 543 words ; nsfw}

LOUIS JAMES MORIARTY

cheek kisses {headcanon ; sfw}

his childhood friend {headcanon ; sfw}

nightmare versus tea {headcanon ; sfw}

you two against the nobles {headcanon ; sfw?}

his reaction to the kidnapping of his s/o {headcanon ; sfw?}

poly relationship with him and his brothers {headcanon ; sfw}

switches {headcanon ; nsfw}

comfy time with rain {headcanon ; sfw}

ALBERT JAMES MORIARTY

‘a long kiss where the other person’s lips are the color of their partner’s lipstick’ {kiss prompt number 9 + scenario | 642 words ; sfw}

his childhood friend {headcanon ; sfw}

your comfort person {headcanon ; sfw}

soft!dom albert and his tsundere s/o {scenario | 532 words ; nsfw}

bad dreams {headcanon ; sfw}

you two against the nobles {headcanon ; sfw?}

‘a pleading kiss where one person cannot reach the other’s lips’ {kiss prompt number 5 + scenario | 405 words ; sfw}

his reaction to the kidnapping of his s/o {headcanon ; sfw?}

poly relationship with him and his brothers {headcanon ; sfw}

comfy time with rain {headcanon ; sfw}

make out session with him {scenario | 589 words ; suggestive}

SEBASTIAN MORAN

your silly nightmare {headcanon ; sfw}

you two against the nobles {headcanon ; sfw?}

his reaction to the kidnapping of his s/o {headcanon ; sfw?}

sebastian and barmaid!reader {scenario | 588 words ; sfw}

FRED PORLOCK

his childhood friend {headcanon ; sfw}

IRENE ADLER | JAMES BOND

irene;

dance with me {i love girls month + scenario | 431 words ; sfw}

james;

soon

ZACK PETERSON

soon

JACK RENFIELD

soon

VON HERDER

soon

HENRY ANTRIM

soon

MISS MONEYPENNY

soon

II. HOLMES’ ASSOCIATES

SHERLOCK HOLMES

from a chance meeting to the first ‘i love you’ {headcanon ; sfw}

‘a drunk, funny kiss in a weird place’ {kiss prompt number 16 + scenario | 364 words ; sfw?}

JOHN H. WATSON

his first crush {headcanon ; sfw}

sex with him {headcanon ; nsfw}

MYCROFT HOLMES

“… you wanna fuck me so bad it makes you look stupid.” {quote prompt number 42 + scenario | 600 words ; nsfw}

MISS HUDSON

soon

GEORGE LESTRADE

soon

III. OTHERS & ENEMIES

CHARLES AUGUSTUS MILVERTON

soon

IV. WHOLE GROUPS

WHOLE MORIARTY’S GROUP

soon

WHOLE SHERLOCK’S GROUP

soon

WHOLE MI6 GROUP

mi6 and new member {headcanon ; sfw}

659 notes · View notes

nelson-riddle-me-this · 3 years

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Character playlist: Margo Channing

MARGO CHANNING from All About Eve (1950)

There's a lotta source music in this movie - especially played on piano in the party sequence, so I've included a lot of the Oscar Peterson trio to emulate that. I've included almost all the songs played in the film, and a few not used in the film that I think suit Margo.

"(S)he's Funny That Way" - Billie Holiday

"Manhattan" - Oscar Peterson

"Poinciana" - Ahmad Jamal

"Beau Soir (Debussy)" - Jascha Heifetz

"St. Louis Blues" - Billie Holiday

"The Age of Anxiety - Symphony No. 2 for Piano and Orchestra: Part 1a) The Prologue. Lento Moderato" - Leonard Bernstein

"Somebody Else Is Taking My Place" - Ozzie Nelson

"The World Belongs To The Young" - Katharine Hepburn

"Make It Another Old-Fashioned, Please" - Julie London

"Stormy Weather" - Oscar Peterson

"Blue Moon" - Oscar Peterson

"How About You" - Oscar Peterson

"A Woman Is How She Loves" - David Holliday

"Let's Go Home" David Holliday

"Liebestraum No. 3 in A-flat (Liszt)" - Arthur Rubenstein

"My Sweet Hunk O' Trash" - Billie Holiday & Louis Armstrong

"Thou Swell" - Oscar Peterson

"Easy Living" - Billie Holiday

"That Old Black Magic" - Oscar Peterson

"Linger Awhile" - The Casa Loma Orchestra

"You Came A Long Way From St. Louis" - Ray McKinley

"The Age of Anxiety - Symphony No. 2 for Piano and Orchestra: Part IIc) The Epilogue. L'istesso" - Leonard Bernstein feat. Lukas Foss, piano

#@miles #character playlists #all about eve #bette davis #margo channing #i deliberately avoided using songs from applause

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skyfire85 · 3 years

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-Curtiss-Wright XP-55 Ascender in July 1943. | Photo: SDASM Archives

FLIGHTLINE: 177 - CURTISS-WRIGHT XP-55 ASCENDER

The XP-55 was experimental fighter/interceptor designed just prior to the US' entry into WWII, but the engine was underpowered and the plane canceled.

Submitted in response to the USAAC's R-40C request, Curtiss-Wrights' CW-24 design was unlike almost anything else in the air at the time, featuring a canard, swept wings, a buried engine driving a pusher prop, and two vertical tails 7/8ths the way across the wings. Like the XP-54, the CW-24 was designed around the P&W X-1800. Curtiss-Wright received a contract for engineering data and a powered wind tunnel model in June 1940, but the USAAC was unimpressed by the results. As a result, Curtiss built a full-scale model designated the CW-24B to refine the concept. The CW-24B was of welded steel tube and fabric construction, with a wooden wing. The plane was powered by a Menasco inline 6-cylinder engine.

-The CW-24B in NACA's Langley 30 x 60 wind tunnel. | Photo: LMAL Archives.

Curtiss-Wright made changes to the design based on the wind tunnel tests, and in June 1942 the USAAF awarded the company a contract for three prototypes, designated XP-55 and given the name Ascender. Delays in and the eventual cancellation of the X-1800 engine led to the substitution of Allison's V-1710 (F16), which developed a modest 1,000hp. Planned armament of the Ascender was to be two .50cal machine guns and two 20mm cannon, but during the mockup phase the cannon were replaced by two more machine guns. The F16 model engine was also replaced with the more powerful -95, which produced 1,275hp.

-Orthograph of the XP-55. | Illustration: Richard Ferriere

The XP-55 was a small aircraft, just 29' long and with a wingspan of 40'. The plane weighed just over six thousand pounds empty, and max TO weight was 7,900lbs. In addition to the unconventional configuration, the Ascender also featured a novel propeller jettison device, developed by W Jerome Peterson, and engineer at Curtiss-Wright. The device, actuated by a lever in the cockpit, was intended to keep the pilot from being injured by the prop in case of a bail-out.

-The original patent filing by William Peterson for the prop jettison. | Illustration: W. J. Peterson

FLIGHT TEST PROGRAM

The first of the three Ascender prototypes, s/n 42-78845, was completed on 13 July 1943, and made its maiden flight 6 days later at Scott Army Airfield, located near Curtiss-wrights plant in St Louis. Initial testing showed that the takeoff run was far longer than anticipated, which technicians corrected by increasing the size of the canard as well as interconnecting the aileron up-trim with the flaps, so that the trip tab would operated when the flaps were lowered.

-The first Ascender in flight. | Photo: Ray Wagner Collection/SDASM Archives

On 15 November 1943 test pilot Harvey Gray was conducting tests of the XP-55's stall performance when the plane went inverted and fell into an flat spin. Gray was unable to break out of the dive, and the Ascender fell 16,000 feet before he bailed out. 845 impacted the ground and was destroyed.

-The crushed remains of the first XP-55 prototype after the 15 November accident. | Photo: USAAF

The second Ascender (s/n 42-78846) was largely similar to the first, but had the modifications made to 845 done at the factory. The trim tabs on the ailerons were changed from balance-type to spring-type. Maiden flight of 846 was on 9 January 1944, and the test program was restricted to avoid stalling the aircraft. Between 16 September and 2 October 1944 the plane was modified to the same specs as the third and then began official USAAF flight trials. Pilots, unconvinced by the plane's unconventional design, derisively called the plane the "Ass-ender".

-The second XP-55 in flight. | Photo: USAAF

The third XP-55 (s/n 42-78847) was the most advanced of the three prototypes, incorporating the same changes as the second, as well as a four-foot extension to the wingtips and changes to the limits of the canard travel, both of which were implemented to correct the stall characteristics of the Ascender. The 3rd was also armed with four machine guns. The maiden flight of 847 was on 25 April 1944. Tests of the second and third XP-55 found that the plane was inferior to fighters of the day, and the USAAF canceled further development of the plane in 1944.

-XP-55 number 3 on the apron. The most developed of the Ascenders, the plane was still found to be slower than contemporary aircraft. | Photo: Ray Wagner Collection/SDASM Archives

On 27 May 1945 the third XP-55 was participating in the Seventh War Bond Air Show at Wright Field in Ohio. The aircraft, piloted by William Glasgow, was flying in formation with a P-38 and P-51, when the pilot attempted a slow roll. Glasgow ran out of altitude however, and crashed, with flaming debris striking several cars on a nearby highway. Glasgow was killed, along with four civilians. The second prototype, meanwhile, was transferred to the Smithsonian Air and Space Museum, and is on long term loan to the Kalamazoo Air Zoo.

-The second XP-55 on display at the Air Zoo. | Photo: Michael Barera

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1962dude420-blog · 3 years

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Today we remember the passing of Johnny Nash who Died: October 6, 2020 in Houston, Texas

John Lester Nash Jr. was an American singer-songwriter, best known in the United States for his 1972 hit "I Can See Clearly Now". Primarily a reggae and pop singer, he was one of the first non-Jamaican artists to record reggae music in Kingston.

Signing with ABC-Paramount, Nash made his major label debut in 1957 with the single "A Teenager Sings the Blues". He had his first chart hit in early 1958 with a cover of Doris Day's "A Very Special Love". Marketed as a rival to Johnny Mathis, Nash also enjoyed success as an actor early in his career, appearing in the screen version of playwright Louis S. Peterson's Take a Giant Step in 1959. Nash won a Silver Sail Award for his performance from the Locarno International Film Festival. Nash continued releasing singles on a variety of labels such as Groove, Chess, Argo, and Warner Bros.

Nash sang the theme song to the syndicated animated cartoon series The Mighty Hercules, which ran on various television stations from 1963 to 1966.

In 1964, Nash and manager Danny Sims formed JoDa Records in New York. JoDa released The Cowsills' single "All I Really Want to Be Is Me." Although JoDa filed for bankruptcy after only two years, Nash and Sims moved on to marketing American singers to Jamaica, owing to the low cost of recording in that country.

In 1965, Nash had a top five hit in the US Billboard R&B chart, the ballad "Let's Move and Groove Together." That year, he and Sims moved to Jamaica. Their lawyer Newton Willoughby was the father of Jamaican radio host Neville Willoughby. After selling off his old entertainment assets in New York, Sims opened a new music publishing business in Jamaica, Cayman Music. Nash planned to try breaking the local rocksteady sound in the United States. Around 1966 or 1967, Neville Willoughby took Nash to a Rastafarian party where Bob Marley & The Wailing Wailers were performing. Members Bob Marley, Bunny Wailer, Peter Tosh, and Rita Marley introduced Nash to the local music scene. Nash signed all four to an exclusive publishing contract with Cayman Music for J$50 a week.

In 1967, Nash, Arthur Jenkins, and Sims collaborated to create a new label, JAD Records (after their first names Johnny, Arthur, and Danny), and recorded their albums at Federal Records in Kingston. JAD released Nash's rocksteady single "Hold Me Tight" in 1968; it became a top-five hit in both the U.S. and UK. In 1971, Nash scored another UK hit with his cover of Marley's "Stir It Up".

Nash's 1972 reggae-influenced single "I Can See Clearly Now" sold over one million copies, and was awarded a gold disc by the R.I.A.A. in November 1972. "I Can See Clearly Now" reached #1 on the Billboard Hot 100 on November 4, 1972, and remained atop the chart for four weeks, spending the same four weeks atop the adult contemporary chart. The I Can See Clearly Now album includes four original Marley compositions published by JAD: "Guava Jelly", "Comma Comma", "You Poured Sugar On Me", and the follow-up hit "Stir It Up". "There Are More Questions Than Answers" was a third hit single taken from the album.

Nash was also a composer for the Swedish romance film Vill så gärna tro (1971), in which he portrayed Robert. The movie soundtrack, partly instrumental reggae with strings, was co-composed by Bob Marley and arranged by Fred Jordan.

JAD Records ceased to exist in 1971, but it was revived in 1997 by American Marley specialist Roger Steffens and French musician and producer Bruno Blum for the Complete Bob Marley & the Wailers 1967–1972 ten-album series, for which several of the Nash-produced Marley and Tosh tracks were mixed or remixed by Blum for release. In the UK, his biggest hit was with the song "Tears on My Pillow" which reached number one in the UK Singles Chart in July 1975 for one week.

After a cover of Sam Cooke's "Wonderful World" in 1976 and "Let's Go Dancing" in 1979, for many years Nash seemed to have dropped out of sight, with the exception of a brief resurgence in the mid-1980s with the album Here Again (1986), which was preceded by the minor UK hit, "Rock Me Baby". Younger audiences were introduced to Nash's music with the appearance of Jimmy Cliff's cover of "I Can See Clearly Now" in Disney's 1993 hit film Cool Runnings. In May 2006, Nash was singing again at SugarHill Recording Studios and at Tierra Studios in his native Houston. Working with SugarHill chief engineer Andy Bradley and Tierra Studios' Grammy-winning Randy Miller, he began the work of transferring analog tapes of his songs from the 1970s and 1980s to Pro Tools digital format.

On June 25, 2019, The New York Times Magazine listed Nash among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

#October 6 #2020 #R.I.P.#Johnny Nash

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theloniousbach · 1 year

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FOUR PIANO TRIOS AT MEZZROW’S, 28 JANUARY-1 FEBRUARY 2023, Second Sets

AARON PARKS with Vicente Archer and Nasheet Waits, 28 JANUARY 2023

ALAN BROADBENT with Harvie S and Billy Mintz, 30 JANUARY 2023

LAURENCE HOBGOOD with Matt Clohesy and Jared Schonig, 31 JANUARY 2023

BRIAN CHARETTE with Alex Claffey and Jochen Ruekert, 1 FEBRUARY 2023

It’s not surprising that Mezzrow’s would have piano trios nor even a run like this nor even that I’d want to see and write about them. I should throw in that I skipped 29 January because that’s the day I finally could take in the Smoke show from Friday with Bill Charlap, Peter Washington, and Kenny Washington. And Charlap came after three straight sets of Marc Copland with Drew Gress and Billy Drummond.

So I’ve been on quite a run.

I’m able to see ALAN BROADBENT regularly and rarely miss the chance for his touch and almost Charlap-ian grasp of the canon. BRIAN CHARETTE plays less frequently but often enough and has an organist’s right hand fluidity but then throws in big block chords and intriguing bits of repertoire. AARON PARKS and LAURENCE HOBGOOD are rarer birds with maybe a Jazz Gallery set from Parks and Hobgood never, though I recall not putting him on the first year’s list at Jazz St Louis. Even with Broadbent there were surprises. Like,

AARON PARKS, one half of Jonathan Blake’s tribute tune Parks and (Sam) Rivers, was the right mix of accessible (a mid set run of Ellington’s Warm Valley, Kenny Barron’s Voyage, and his own tribute to Kenny Wheeler) and challenging enough. He identified Barron as a teacher of his and, though, they aren’t the same, they are enough alike. And, given the Blake tune, I think of Sam Rivers as far more out there than Parks is. He did play several of his own tunes, but they were as often brooding (the closing prayer, That’s Fine) and quiet (his tribute to his wife, For Maya.). The opener Wilbur’s Red Cross was by Mr Ware and established earlier that Vicente Archer would matter throughout. Indeed, he and Nasheet Waits would make everything pulse or groove as needed. Waits was crisp, smart, and deft.

ALAN BROADBENT opened with standards (Flamingo, Honeysuckle Rose, What’s New, and You and the Night and the Music) and then, oddly, Monk’s Dream which started with wonderful overtones and strums from Harvie S and later bowing. Broadbent is not very Monkish as a pianist, but he knows a melody and Monk’s tunes as tunes are among the best. So it both worked and gave me something more to think about. That led, “in the same vein,” to a Dizzy Gillespie medley I’ve seen them do before, I Waited for You solo by Broadbent into Woody’n’You which was bright and gave the always spare Billy Mintz a showcase. The crowd was appropriately enthusiastic, so they earned an encore, East of the Sun, which swung us out nicely.

LAURENCE HOBGOOD was much much bigger and two fisted than I expected from Kurt Elling’s accompanist. But the Give Me The Simple Life opener was from an Oscar Peterson recording and the gospel-y original The Road Home was for Charlie Haden. So there was heft and Matt Clohesy had fat bass lines. He had done an album with a string quartet that included rock songs (Suite: Judy Blue Eyes?!?), but we were spared that for Blackbird which begins with rich harmonies from Macca that they took for an even wilder ride as Jared Schonig was even more frisky than usual. Prayers For The Enemy written in response to the Second Gulf War was brooding with interludes of just crystalline chords. They closed with Poinciana which opened much thicker than one would expect and the melody was there before they opened the space for it to lilt as it should. This was the set that made me more curious, so I’ll come back for the opening set.

My expectation is that BRIAN CHARETTE as an organist will play with a very spare left hand and fluid single notes in the right hand. That’s true often enough, but there are some chords and Pennies From Heaven which he sung with Alex Claffy’s bass had some barrelhouse chords when he returned to piano playing. And then there was a tune that sure was familiar and was, was it, one of those French Impressionist melodies that gets jazzed up. Nope. His hero, Chick Corea. They closed with Wayne Shorter’s ESP which also nicely confounded expectations. Claffy deserves more mention for a nice thick tone, especially on Darn That Dream.

I stand by the notion that I’ve been on quite a run of pianists these past two weeks.

#concert review #jazz #couch tour #small’s live #mezzrow’s #2023

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burlveneer-music · 3 years

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VA - Colin Curtis presents Jazz Dance Fusion 2 - (Z Records)

Welcome to the second instalment of my ‘Jazz Dance Fusion’ compilation series for Joey Negro’s Z Records. I continue to look back into the story & history of the UK jazz dance and jazz music scene; a movement that started for me back in the 70's. The sounds of funk & soul mixed with jazz, influences from Brazil, Africa, Europe and all over the globe, textures of instrumental sounds & voices, fuse to create the much-loved ‘jazz fusion’ sound that we love. Here we are in 2020 when interest in all forms of Jazz is growing fast as DJ pioneers such as Gilles Peterson, Patrick Forge, Perry Louis, Snowboy, Nick Hosier, Alan Mckinnon, Jim Bernardi, Kev Beadle, Harv Nagi, Shuya Okino and David Patterson continue to push all aspects of Jazz to converted and new audiences. So, to this compilation where I am showcasing unreleased material and offering tracks up for the first time ever on vinyl and CD. The track listing covers my addiction to dance-floor jazz, coupled with my passion for vocal and percussive jazz, with my usual trademark latin touches. Hope you enjoy the selection – turn it up loud and feel the jazz passion flow!

#colin curtis #various artists #house #disco #soul #compilation #z records #2020

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rndyounghowze · 3 years

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And The Nominees Are… (Part 2/2)

#younghowzetheatreawards

By Ricky and Dana Young-Howze

Mays Landing, NJ

Venmo: @rndyounghowze

The nominations for the first ever Young-Howze Theatre Awards are finally here! We have been working hard since March of 2020 reviewing over a hundred and forty digital productions. We have been poring over them all since January to bring you these categories and the shows vying for them.

Let’s remind everyone what our criteria were: Because of the pandemic this year every show that we have reviewed was nominated for at least one category. We picked winners by a very specific set of criteria: What was this show attempting to do? Was it successful? Was it the most successful of all the shows that tried to do this? We apologize to anyone who thought that we would be announcing winners today. We decided that we wanted to save all of the spoilers for the live show on February 21st at 8PM EST. Please remember that even if you only get one nomination it is because we wanted to honor everyone who worked hard this year (every theatre artist who did a show this year deserves a medal). However we understand that specific nominations are useful for theatre creators in their resumes, grant applications etc.

All Nominees should receive a nomination email from us. If you haven’t gotten an email by Monday 11:59pm PST email is at [email protected]

Congratulations everyone! We are so proud of your accomplishments and amazing work. We’ve already seen shows this year that are award worthy. You all exceeded our expectations. Without further ado...

Solo Performance

“Chewie Award” For Team Behind A Solo Performance

“Blood/Sugar” by Diana Wyenn in Los Angeles, CA

“Kristina Wong For Public Office” by Kristina Wong in Los Angeles, CA

“Disenchanted: A Cabaret of Twisted Fairy Tales” by Eliane Morel at Melbourne Fringe

“All By Myself Award” For Solo Performance Of The Year

“The Bassoonist” by Sean P. Mette and Autumn Kaleidoscope at Cincinnati Fringe Cincinnati, OH

“Kristina Wong For Public Office” by Kristina Wong in Los Angeles, CA

“Sarah Palin: Rogue None” by Amanda Nicastro in NYC, NY

“What Would John Hughes Do?” by Telia Nevile at Melbourne Fringe

“Campfire Award” For Storyteller Of The Year

“Right Now” By Martin Dockery at Minnesota Fringe Minneapolis, Minnesota

“Life Underground” by Brad Lawrence at FRIGID NY in NYC, NY

“Pumpkin Pie Show” by Pumpkin Pie Show at FRIGID NY in NYC, NY

“UnterClub” by Juan Sebastian Peralta in Uruguay

“Full of Woe” by Genevieve Yosco and Sour Grapes Productions at FRIGID NY in NYC, NY

Seasons, Series and Festivals

“BIPOC HERO” For The BIPOC Creative Team Of The Year

TBA

“Worldwide Award” For Collaborative Work Of The Year

“The Art of Facing Fear Brazil” By Os Satyros in São Paulo, Brazil “The Art of Facing Fear US” Os Satyros and Company of Angels and Rob Lecrone, in co-production with Os Satyros and Darling Desperados. “The Art of Facing Fear Africa/Europe” Os Satyros and Cie Kaddu, Crown Troupe of Africa, Darling Desperados, Oddmanout Theatre Company, Portuguese Cultural Center of Mindelo, Tell-a-Tale, The Kwasha! Theatre Company, The Market Theatre Laboratory, Village Gossip Productions

“Macbeth #6” Os Satyros São Paulo, Brazil and the Center for Interdisciplinary Performance Art - Royal Birmingham Conservatoire

Enough Plays to End Gun Violence at Mile Square Theatre in Hoboken, NJ

“Down the Stream” For Digital Season of The Year

Frigid NY in NYC, NY

Combined Artform in Los Angeles, CA

“There’s No I in Theatre” For Non-Profit Theatre of The Year

Elm Street Cultural Arts Village in Woodstock, GA

Sour Grapes Productions in NYC, NY

Opal Theatre in Boise, Idaho

Know Theatre of Cincinnati in Cincinnati, OH

Mill Mountain Theatre in Roanoke, VA

“Deja Vu Award” Recurring Streaming Series Of The Year

“Tilted Frame” by Combined Artform in Los Angeles, CA

“Bingewatch and Friends” by Diana Brown and Dan Wilson in San Francisco, CA

“Reparations Show” by Kevin R Free at Frigid NY in NYC, NY

“Monologues For Us By Us” By Cincinnati Black Theatre Artists Collective in Cincinnati, Ohio

“Bard Brunch” by Sour Grapes Productions in NYC, NY

“On The Fringes” Fringe of the Year

Minnesota Fringe

Halifax Fringe

Melbourne Fringe

Montreal Fringe

Cincinnati Fringe

“The Shortie“ Short Form Festival Of The Year

“48 Hours in Harlem” By Harlem 9 in Harlem, NY

“Overnight Sensations” by Hollins Playwrights Lab in Roanoke, VA

Estrogenius Festival by FRIGID NY in NYC, NY

Fire This Time Festival at FRIGID NY in NYC, NY

Single Shows

“Weird and Worth It” For Experimental Production Of The Year

“Paul And Erika’s House Show” By Theatre Mobile at Cincinnati Fringe

“Hivemind” by Solasta Theatre at Cincinnati Fringe

“#TXT Show” by Brian Feldman at Minnesota Fringe and Melbourne Fringe

“Butterfly Effect” by Unnatural Disasters at Halifax Fringe

“New Normal” by Os Satyros in São Paulo, Brazil

“One Man Nutcracker” by Chris Davis in Philadelphia, PA

“Cabaret De Profundis” By Buntport Theatre in Denver, CO

“So Nice We Saw It Twice” Touring Show Of The Year

“Desperately Seeking The Exit” by Peter Michael Marino and PM2 at Cincinnati Fringe And Queerly Festival and Show Up, Kids! In NYC!

“Paul and Erika’s House Show” by Theatre Mobile at Cincinnati Fringe and Minnesota Fringe

“Love and Other Lures” by Dr. Dour and Peach at Cincinnati Fringe and Minnesota Fringe

“Killjoy, Ohio” by Queen City Flash at Cincinnati Fringe and Minnesota Fringe

“TXT Show By Brian Feldman at Minnesota Fringe and Melbourne Fringe

“Kristina Wong For Public Office” by Kristina Wong in Koreatown and Kirk Douglas Theatre in Los Angeles, CA

“Before Times” For Pre-Pandemic Recording Of The Year

“Petunia and Chicken” by Animal Engine at Cincinnati Fringe Cincinnati, OH

“Unrepentant Necrophile” by The ColdHarts at Cincinnati Fringe Cincinnati, OH

“Knife Slingin’” By Motz at Cincinnati Fringe Cincinnati, OH

“Occupy This!” By Rev Nuge at Cincinnati Fringe Cincinnati, OH

“Stow You Baggage” By Alexx Rouse at Cincinnati Fringe Cincinnati, OH

“Butcher Holler” by Ad Hoc Economy at Cincinnati Fringe Cincinnati, OH

“Lady Macbeth and Her Pal Megan” by Megan Gogerty at Cincinnati Fringe Festival Cincinnati, OH

“Dammit, Jim!” by Polly Esther in Toronto, CA

“A Night With The Dead” by Martha Preve and Something From Abroad at Hartford Fringe in FRIGID NY in NYC, NY

“A Christmas Carol In Harlem” by Classical Theatre of Harlem in NYC, NY

“Forbidden City” by Martin Dockery at Cincinnati Fringe Cincinnati, OH

“Practical Game Changer” For Practical Effects Of The Year

“Killjoy, Ohio” by Queen City Flash at Cincinnati Fringe Cincinnati, OH

“Zoo Motel” By Thaddeus Phillips in Columbia, South America

“A Light Touch” by Mind of a Snail at Minnesota Fringe Minneapolis, Minnesota

“Digital Game Changer” For Digital Effects Of The Year

“M-O-U-S-E” by Rory Sheridan at the Cincinnati Fringe Cincinnati, OH

“King Lear” by SF Shakes in San Francisco, CA

“War Of The Worlds” by Ben Hernandez at Cal State in Los Angeles, CA

“Claws Out! A Holiday Drag Musical” by City Theatre in Pittsburgh, PA

“18+ Allowed” For Adult Variety Of The Year

“Disenchanted: A Cabaret of Twisted Fairy Tales” by Eliane Morel at Melbourne Fringe

“Creepy Boys” by Scantily Glad at Melbourne Fringe

Red Mill Revue at Melbourne Fringe

Queers On The Fringe at Melbourne Fringe

“Reach Out“ For Immersive Production Of The Year

“Feast” by Megan Gogerty at Know Theatre of Cincinnati in Cincinnati, OH

“In Lak’Ech” by No Peeking Theatre in Jersey City, NJ

“Twelfth Night”” by Food of Love Productions in NYC, NY

“Grace Notes” For Musical Production Of The Year

“Dream &” By Sarah Willis and The Queer Feminists Next Door at Cincinnati Fringe Cincinnati, OH

“Colony” by Psophonia and Aura at Cincinnati Fringe Cincinnati, OH

“TV Tunes” by Leslie Vincent at Minnesota Fringe Minneapolis, Minnesota

“The In-Between Years” By The Champagne Drops in Minneapolis, Minnesota

“Love and Other Lures” By Dr. Dour and Peach at Cincinnati Fringe Cincinnati, OH

“Hollow” by David Kent at Edinburgh Fringe

“One Vote Won” by Nashville Opera in Nashville, TN

“Meet Me In St. Louis” By Irish Rep in NYC, NY

“Power” For Fifth-Wall Breaking Show Of The Year

“Matriarch” by Sandy Greenwood at Melbourne Fringe

Chanukahmunication by the Feldman Dynamic in Washington, DC

“Proof Of Love” By Chisa Hutchinson and BLBW in Chicago, IL

Individuals

“Magician” For Press Contact Of The Year

Emily Godfrey For FRIGID NY in NYC, NY

Liz Carman For Know Theatre of Cincinnati in Cincinnati, OH

“Tech Witch” For Tech Person Of The Year

David Svengalis for “Tilted Frame” by Combined Artform in Los Angeles, CA

Henry Bateman for Know Theatre of Cincinnati in Cincinnati, OH

“Extensions“ For Movement Artist Of The Year

“Proximity” by Pones at Cincinnati Fringe Cincinnati, OH

“Definition of Man” by DConstruction Arts at Halifax Fringe

Marina Calendar For Tree She at Estrogenius Festival NYC, NY

Nick Daniels For “Folk Dances of A Nucleic Village” at Pittsburgh Fringe Pittsburgh, PA

“You Oughta Be In Pictures” For Film Of The Year

“Proximity” by Pones at Cincinnati Fringe

“Opinions Of Men” by Ben Dudley at Cincinnati Fringe Cincinnati, OH

“Macbeth” by Gorilla Repertory Theatre in NYC, NY

“Black Emperor of Broadway” by Vision Films Inc and Egeli Productions in Provincetown, MA

“Concord Floral” by Jordan Tamanelli at Colorado State University in Fort Collins, Colorado

Zoom

“Pioneer” For Innovative Achievement Of The Year

Waiting for the Host” by Mark Palmieri in NYC, NY

“Desperately Seeking the Exit” by Peter Michael Marino in NYC, NY

“Long Zoomie” For Long-Form Zoom Play Of The Year

“3 Way Lovve” by Marcus Ma’at Atkins at Minnesota Fringe Minneapolis, Minnesota

“Im Ur Hamlet” By Genevieve Yosco and Sour Grapes Productions in NYC, NY

“Rideshare” by Reginald Edmund and BLBW in Chicago, Illinois

“Disrobed” by Steven Vlasak and Troy Peterson at Hollywood Fringe Hollywood, CA

“Sons of Liberty” by Cris Eli Blak in Louisville, KY

“Call For The Wailing Women” by Katrina D. RiChard and BLBW in Chicago, IL

“Jump!” By Charly Evon Simpson at TSU in Nashville, TN

“Short Zoomie” For Short-Form Zoom Play Of The Year

“Soup” by Rachel Carnez at Project Y Theatre in NYC, NY

“Missing Ingredient” by Colleen O’Doherty at Project Y Theatre in NYC, NY

“Pas De Deux” by Kevin Ferguson at Missouri S&T in St. Louis, Missouri

“Scaramouche and Pinochle” by Mike Moran Missouri S&T in St. Louis, Missouri

Screen Manager Of The Year

TBA

Stream Yard

“Duck“ For Streamyard Production Of The Year

“Infemous” by Infemous at the Queerly Festival and Montreal Fringe Festival

“Romeo and Juliet Virtually” By Miles Beyond Entertainment in Los Angeles, CA

“Day of the Dead Variety Show” by Something From Abroad at FRIGID NY in NYC, NY

“Latina Christmas Special Special” by Latina Christmas Special in Los Angeles, CA

Staged Production

“The Globe“ For Staged Production of The Year

“Quit While You’re Ahead” By Alexx Rouse and A-Z Productions at Cincinnati Fringe Cincinnati, OH

“Dreary Dearie” By Caitlyn Waltermire at Cincinnati Fringe Cincinnati, OH

“Hellish Reunion” by The Feral Theatre Company at Minnesota Fringe Minneapolis, Minnesota

“Polka Dots: The Cool Kids Musical” by Melvin Tunstall III at Mill Mountain Theatre in Roanoke, VA

“Titus Andronicus” by Shakespeare by the Sea in San Pedro, CA

“She Kills Monsters” by Qui Nguyen at Elm Street Arts Cultural Village in Woodstock, GA

Please Be Sure To Tune In To The Live Show on either our YouTube Channel, FRIGID NY’s YouTube, or you can go to Combined Artform’s Channel. Also follow their Facebook pages for live updates. Our social media will be taken over before and during the show by Saturday Lawson of Punchline Loading and Genevieve Yosco of Sour Grapes Productions! We can’t wait to see you there!

*****A Word From Our Sponsors*****

We have a YouTube Channel. We’re working furiously to get new videos up weekly.

https://www.youtube.com/channel/UC0M6M04VtDpqFzVLxjfrRZA

We have official merch now! Keep us fed and get gifts for the family all at the same time!

https://teespring.com/rnd-younghowze?pid=972

Wanna be a sponsor? Email us for rates at [email protected]

Check out our Social Media

Twitter: @rndyounghowze

Instagram: @rndyounghowze

Facebook: Ricky and Dana Young-Howze

#theatre #nj #theatrelives #nj travels #theatreawards #award show #nominees #part 2 #young howzd theatre awards

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lboogie1906 · 3 years

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John Lester Nash Jr. (born August 19, 1940) is a reggae and pop music singer-songwriter, best known in the US for his hit, "I Can See Clearly Now". He was one of the first non-Jamaican singers to record reggae music in Kingston. He sang in the choir at Progressive New Hope Baptist Church in South Central Houston as a child. He sang covers of R&B hits on Matinee, a local variety show on KPRC-TV. He sang on Arthur Godfrey's radio and TV shows for seven years. Signing with ABC-Paramount, he made his major-label debut in 1957 with the single "A Teenager Sings the Blues." He had his first chart hit in early 1958 with a cover of Doris Day's "A Very Special Love." Marketed as a rival to Johnny Mathis, he enjoyed success as an actor early in his career, appearing in the screen version of playwright Louis S. Peterson's Take a Giant Step. He won a Silver Sail Award for his performance at the Locarno International Film Festival. He continued releasing singles on a variety of labels such as Groove, Chess, Argo, and Warner Bros. #africanhistory365 #africanexcellence https://www.instagram.com/p/CSwbeLDrQwU6o2xr23a1R49SlkriZUYOU1_Bhs0/?utm_medium=tumblr

#africanhistory365 #africanexcellence

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diceriadelluntore · 4 years

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Storia Di Musica #138 - The Oscar Peterson Trio, Night Train, 1963

In questo mese di Settembre dedicato al pianoforte jazz, non potevo sottrarmi dal parlare di lui: Oscar Peterson è stato uno dei più grandi pianisti del jazz. Come gli altri grandi di cui ho parlato in queste domeniche settembrine, mi preme specificare che il loro è stato un ruolo decisivo nella diffusione del jazz: la tecnica di Peterson, la sua abilità espressiva e l’esecuzione di standard che diventeranno leggendari hanno reso il jazz degli anni d’oro popolare e ascoltato, sebbene dal punto di visto creativo sia minore il suo apporto all’evoluzione del jazz. Canadese, classe 1925, in 60 anni di carriera ha suonato migliaia di concerti, tutti estasiati dalla sua tecnica sopraffina, che Duke Ellington definiva degna del “Maharaja of the keyboard”. Di struttura fisica possente (alto quasi 2 metri) a 14 anni vinse il premio nazionale per i giovani pianisti della radio Nazionale canadese, cosa che gli permise di andare a Montreal e studiare pianoforte e composizione. Giovanissimo, ebbe l’occasione di suonare per Maynard Ferguson e di suonare per uno show settimanale alla radio, che gli permise di avere a vent’anni una reputazione di esperto dello swing dalla tecnica sopraffina. L’incontro della vita Peterson lo ha proprio grazie alla radio: lo sente infatti durante un viaggio a Montreal Norman Granz, il leggendario impresario jazz e fondatore della Verve Records, che impone al suo autista di portarlo alla radio dove sta suonando questo ragazzo. Granz sarà il suo manager per tutta la carriera e come primo ingaggio la fa suonare alla Carniegie Hall di New York per uno dei suoi mitici Jazz At The Philarmonic Concerts (che dureranno dal 1944 al al 1983, con il meglio del jazz mondiale). Percorrere la carriera di Peterson significa scandagliare oltre 250 dischi ufficiali, migliaia di registrazioni live che gli valsero 8 Grammy Awards, una valanga di premi Internazionali da riviste, Festival, votazioni di aficionados jazz. Peterson ha suonato con Art Tatum, che lo considerava il suo discepolo più bravo, con Louis Armstrong (un disco leggendario è Louis Armstrong Meets Oscar Peterson del 1957), Stan Getz, Ella Fitzgerald, per una serie di dischi meravigliosi. Indico però forse il suo disco più bello e famoso, suonato con il famoso Trio con Ray Brown al contrabbasso e Ed Thigpen alla batteria. Night Train raccoglie registrazioni del 1962 ed esce a metà 1963, con in copertina uno scatto del grande fotografo Peter Turner e in copertina le note di Benny Green, sassofonista, scrittore e conduttore radiofonico che nel suo show domenica della BBC fu figura fondamentale nella diffusione del jazz in Europa. In scaletta originale 11 brani che diventano 17 nella versione CD, quella che ho nella mia collezione e che è il mio riferimento. Si passa in rassegna il meglio degli standard jazz ma con il cuore legato al blues, sin da quella Night Train che da il titolo al disco che si lega a C Jam Blues di Ellington, per poi spaziare nello swing, che come lo suonava lui nessuno sapeva fare, di Band Call (sempre di Ellington) o Moten Swing di Benny Moten. Il ritmo è elegante e coinvolgente, con la ritmica di Brown e Thigpen che accompagnano il tocco leggero, squillante e preciso di Peterson, che suona una versione dolcissima di Georgia On My Mind, I Got It Bad (And That Ain’t Good) e una sua opera autografa, Hymn To Freedom. Nei brani aggiunti nel Cd, classici come My Heart Belongs To Daddy di Cole Porter, Now’s The Time di Charlie Parker, This Could Be The Start Of Something, canzone popolare che era la sigla del Tonight Show di Steve Allen, che era la trasmissione televisiva più vista della NBC negli anni ‘50. In più c’è una bellissima versione di Volare, cioè Nel Blu Dipinto Di Blu di Modugno-Migliacci che nella vewrsione inglese aveva il testo di Mitchell Parish. Oltre a contenere i migliori pezzi di Peterson, l’album merita per la sua eccellente qualità tonale ed il suo alto standard di qualità di stampa garantito dal lavoro in registrazione di Val Valentin prodotto dal deus ex machina Norman Granz. Che da immenso personaggio, “impose” sempre a Peterson brani brevi, così da poter essere passati più facilmente per radio. Peterson morirà nel 2007, dopo una quantità smisurata di sigarette fumate, cibo mangiato e soprattutto classe ed esecuzioni infinite che lo hanno consegnato alla storia del jazz.

#oscar peterson trio #night train #recensione #1963

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