...what it is to be American art. One of these innovators was Duke Ellington, a composer, jazz pianist, and big band leader. No other artist single handedly has defined American Music as this jazz giant. He gave American music and jazzes an identity, the first true American art form. Edward Kennedy Ellington was born in Washington, DC on April 29, 1889 to James Edward Ellington and Daisy Ellington. At the age of seven, the young Ellington began taking piano lessons from Marietta Clinkscalps. Both of his parents were pianists. James Edward Ellington preferred operatic bits as Daisy played primarily parlor tunes. At this point in his life, Edward Ellington was more interested in playing baseball with his mates rather than playing the piano. During this time in his childhood, Ellington would acquire his famous pseudonym “Duke.” The title came from his schoolmates. Edward was reared by his mother and her dignified friends. Through this, he developed a Great Gatsby esque demeanor demonstrating a sense of grandeur and grace similar to a noble gentleman of that era and ones forgotten. Many of his peers noticed and deemed him “Duke” Ellington. Ellington’s interest in the piano would not reemerge until he began sneaking into local pool halls looking for the thrills of an older lifestyle. Furthermore, while in those pool halls, he began listening to eclectic styles of the pool hall piano players. As a result, Ellington decided to take his piano lessons and playing a little more...
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...June 6, 2011 The Harlem Renaissance – An Era of Great Change The music, clubs, sports, fashions, and people all together with change, composed together created a movement of power and control for blacks in the northern Manhattan neighborhood of Harlem. Life in Harlem wasn’t your average Southern hospitality. It was filled with excitement and fun. Any two A.M. morning was a simple 12 P.M. afternoon. The streets were blazing with jazz, dance, and people on their way to dance clubs, jobs, or simply roaming the streets to enjoy what Harlem had to offer. Clubs were the main attraction. That went for both blacks and whites. Young whites were entertained with the new style of music rather than the traditional music they listened to with parents who disapproved of “Harlem Music.” Two of the most famous black clubs in Harlem were the Cotton Club and Renaissance Casino and Ballroom. The Cotton Club was a place of great entertainment, featuring three stage shows nightly with anyone from Billie Holiday to Cab Calloway, all the way to Duke Ellington. The club was originally owned by a black icon, then sold to Jack Johnson, a famous black heavyweight champion. He later sold the club to Owney Madden- a mobster of Harlem. A major part of its’ popularity was because many white patrons wanted to see the infamous Owney Madden and Al Capone. Another reason for its’ popularity was when CBS began broadcasting in the Cotton Club in 1927(Npr). Although the Renaissance Casino is unknown...
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...The Evolution of Jazz and its Modern Influence Jazz is a music art form that was created solely in America. It is considered to be one of the most influential forms of music in American history. Not only did it originate in America but it is also one of the few art forms that have two distinctive sounds. The jazz sound is separated into classical jazz and jazz fusion (modern) jazz. Jazz is also one of the only forms of music for which college music majors are required to study several artists’ techniques as a semester course. Jazz music has been used in many forms of music in America. With all the respect that jazz has garnered around the world, unfortunately, the art form has lost popularity over the last 20 years. With the emergence of hip-hop, techno, and other music forms, young musicians of today do not find the music appealing or relevant. All the awards for jazz musicians have been moved off the national television award shows. There is also a movement to remove the jazz categories from the Grammy list completely. This paper will discuss the history of jazz, where it began, how it evolved, and its future. To understand the future of jazz, one must understand what it really is and the instruments that were combined to make the ensemble. Jazz started to form early in the twentieth century in New Orleans. At that time, the sound was called Ragtime. This sound was produced by a band that included the string bass, drums, a guitar or banjo, and a "melodic section" with one...
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...Chapter 21: The Roaring Life of the 1920s Section 1: Changing Ways of Life I. Rural and Urban Differences A. Between 1922 and 1929, migration to the cities accelerated, with nearly 2 million people leaving farms and towns each year (small town values change) 1. City dwellers judged one another by their accomplishments more often than their background a. City dwellers tolerated drinking, gambling, and casual dating (shocking and sinful in small towns) 2. Cities could be impersonal and frightening b. Life was fast paced and neighbors were not as neighborly B. Prohibition: the manufacture, sale, and transportation of alcoholic beverages were legally prohibited 3. 18th Amendment: ratified Jan, 1919 and repealed by the 21st Amendment in Dec, 1933 C. Positive Opinions/Results of Prohibition: 4. Progressives wanted it banned to stop family violence, crime, and poverty c. Support for prohibition was found in the rural native-Protestant dominated West and South d. The church-affiliated Anti-Saloon League led the drive to pass Prohibition e. Woman’s Christian Temperance Union considered drinking a sin 5. WW I reformers advocated prohibition as a war measure f. People were concerned that many German Americans owned many of the brewers g. Drinking reduced the efficiency of soldiers and workers 6. Learned we must...
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...Will Marion Cook is a name to reckon with in the history of black American music. “His great genius will always be a guiding star to those of us who remain,” black violinist Clarence Cameron White wrote on hearing of Cook’s death. Trumpeter Arthur Briggs called Cook “the greatest real musician ever.” Duke Ellington and Eubie Blake praised him as a mentor. Yet while Ellington’s and Blake’s careers are well documented, only academics can describe Cook’s. Even diehard fans of the American popular songbook are hard-pressed to name one of his songs. The first recording devoted to his work appeared only a few years ago, and Marva Griffin Carter’s 2008 biography, Swing Along, is the first since his death in 1944. In the end, the fact of Cook’s importance is better known than its reason. A significant composer, but of what? Didn’t he write something like the first black Broadway musical? Yes, but what else? The tale most often told about Cook has him returning from conservatory training at the Berlin Hochschule für Musik in 1889 and performing a concert at Carnegie Hall. When a reviewer praised him as “the world’s greatest Negro violinist,” Cook stormed into his office, smashed his violin to bits on the man’s desk, and yelled, “I am not the world’s greatest Negro violinist. I am the greatest violinist in the world!” He never played the violin again. Cook’s words might suggest that racism explains his obscurity. Yet a few years later, Cook gave the world a song with these lyrics: Such...
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...Cultural Moves AMERICAN CROSSROADS Edited by Earl Lewis, George Lipsitz, Peggy Pascoe, George Sánchez, and Dana Takagi 1. Border Matters: Remapping American Cultural Studies, by José David Saldívar 2. The White Scourge: Mexicans, Blacks, and Poor Whites in Texas Cotton Culture, by Neil Foley 3. Indians in the Making: Ethnic Relations and Indian Identities around Puget Sound, by Alexandra Harmon 4. Aztlán and Viet Nam: Chicano and Chicana Experiences of the War, edited by George Mariscal 5. Immigration and the Political Economy of Home: West Indian Brooklyn and American Indian Minneapolis, by Rachel Buff 6. Epic Encounters: Culture, Media, and U.S. Interests in the Middle East,1945–2000, by Melani McAlister 7. Contagious Divides: Epidemics and Race in San Francisco’s Chinatown, by Nayan Shah 8. Japanese American Celebration and Conflict: A History of Ethnic Identity and Festival, 1934–1990, by Lon Kurashige 9. American Sensations: Class, Empire, and the Production of Popular Culture, by Shelley Streeby 10. Colored White: Transcending the Racial Past, by David R. Roediger 11. Reproducing Empire: Race, Sex, Science, and U.S. Imperialism in Puerto Rico, by Laura Briggs 12. meXicana Encounters: The Making of Social Identities on the Borderlands, by Rosa Linda Fregoso 13. Popular Culture in the Age of White Flight, by Eric Avila 14. Ties That Bind: The Story of an Afro-Cherokee Family in Slavery and Freedom, by Tiya Miles 15. Cultural Moves: African Americans and the Politics of...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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...OUTLINE OF U.S. HISTORY OUTLINE OF OUTLINE OF U.S. HISTORY C O N T E N T S CHAPTER 1 Early America . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 CHAPTER 2 The Colonial Period . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 CHAPTER 3 The Road to Independence . . . . . . . . . . . . . . . . . . . . . . . . . . 50 CHAPTER 4 The Formation of a National Government . . . . . . . . . . . . 66 CHAPTER 5 Westward Expansion and Regional Differences . . . . . . . 110 CHAPTER 6 Sectional Conflict . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 CHAPTER 7 The Civil War and Reconstruction . . . . . . . . . . . . . . . . . . 140 CHAPTER 8 Growth and Transformation . . . . . . . . . . . . . . . . . . . . . . . 154 CHAPTER 9 Discontent and Reform . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 CHAPTER 10 War, Prosperity, and Depression . . . . . . . . . . . . . . . . . . . . 202 CHAPTER 11 The New Deal and World War I . . . . . . . . . . . . . . . . . . . . . 212 CHAPTER 12 Postwar America . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 CHAPTER 13 Decades of Change: 1960-1980 . . . . . . . . . . . . . . . . . . . . . 274 CHAPTER 14 The New Conservatism and a New World Order . . . . . . 304 CHAPTER 15 Bridge to the 21st Century . . . . . . . . . . . . . . . . . . . . . . . . . 320 PICTURE PROFILES Becoming a Nation . . . . . . . . . . . . . ....
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...SEVENTH EDITION PROJECT MANAGEMENT A Managerial Approach SEVENTH EDITION PROJECT MANAGEMENT A Managerial Approach Jack R. Meredith Broyhill Distinguished Scholar and Chair in Operations Wake Forest University Samuel J. Mantel, Jr. Joseph S. Stern Professor Emeritus of Operations Management University of Cincinnati John Wiley & Sons, Inc. DeDication To Avery and Mitchell, from “papajack.” J. R. M. To Maggie and Patty for their help, support, and affection. S. J. M. VICE PRESIDENT & EXECUTIVE PUBLISHER Don Fowley EXECUTIVE EDITOR Beth Golub ASSOCIATE EDITOR Jen Devine MARKETING MANAGER Carly DeCandia DESIGN DIRECTOR Harry Nolan SENIOR DESIGNER Kevin Murphy SENIOR PRODUCTION EDITOR Patricia McFadden SENIOR MEDIA EDITOR Lauren Sapira PRODUCTION MANAGEMENT SERVICES Ingrao Associates This book was set in by GGS Book Services PMG and printed and bound by RRD/Willard. The cover was printed by RRD/Willard. This book is printed on acid free paper. Copyright © 2009 John Wiley & Sons, Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, Inc...
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...ftoc.indd 16 10/10/08 5:17:22 PM SEVENTH EDITION PROJECT MANAGEMENT A Managerial Approach ffirs.indd 1 10/10/08 5:16:30 PM SEVENTH EDITION PROJECT MANAGEMENT A Managerial Approach Jack R. Meredith Broyhill Distinguished Scholar and Chair in Operations Wake Forest University Samuel J. Mantel, Jr. Joseph S. Stern Professor Emeritus of Operations Management University of Cincinnati John Wiley & Sons, Inc. ffirs.indd 3 10/10/08 5:16:35 PM ftoc.indd 16 10/10/08 5:17:22 PM Dedication To Avery and Mitchell, from “papajack.” J. R. M. To Maggie and Patty for their help, support, and affection. S. J. M. VICE PRESIDENT & EXECUTIVE PUBLISHER Don Fowley EXECUTIVE EDITOR Beth Golub ASSOCIATE EDITOR Jen Devine MARKETING MANAGER Carly DeCandia Design Director Harry Nolan SENIOR DESIGNER Kevin Murphy SENIOR PRODUCTION EDITOR Patricia McFadden SENIOR Media editor Lauren Sapira PRODUCTION MANAGEMENT SERVICES Ingrao Associates This book was set in by GGS Book Services PMG and printed and bound by RRD/Willard. The cover was printed by RRD/Willard. This book is printed on acid free paper. Copyright © 2009 John Wiley & Sons, Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976...
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...62118 0/nm 1/n1 2/nm 3/nm 4/nm 5/nm 6/nm 7/nm 8/nm 9/nm 1990s 0th/pt 1st/p 1th/tc 2nd/p 2th/tc 3rd/p 3th/tc 4th/pt 5th/pt 6th/pt 7th/pt 8th/pt 9th/pt 0s/pt a A AA AAA Aachen/M aardvark/SM Aaren/M Aarhus/M Aarika/M Aaron/M AB aback abacus/SM abaft Abagael/M Abagail/M abalone/SM abandoner/M abandon/LGDRS abandonment/SM abase/LGDSR abasement/S abaser/M abashed/UY abashment/MS abash/SDLG abate/DSRLG abated/U abatement/MS abater/M abattoir/SM Abba/M Abbe/M abbé/S abbess/SM Abbey/M abbey/MS Abbie/M Abbi/M Abbot/M abbot/MS Abbott/M abbr abbrev abbreviated/UA abbreviates/A abbreviate/XDSNG abbreviating/A abbreviation/M Abbye/M Abby/M ABC/M Abdel/M abdicate/NGDSX abdication/M abdomen/SM abdominal/YS abduct/DGS abduction/SM abductor/SM Abdul/M ab/DY abeam Abelard/M Abel/M Abelson/M Abe/M Aberdeen/M Abernathy/M aberrant/YS aberrational aberration/SM abet/S abetted abetting abettor/SM Abeu/M abeyance/MS abeyant Abey/M abhorred abhorrence/MS abhorrent/Y abhorrer/M abhorring abhor/S abidance/MS abide/JGSR abider/M abiding/Y Abidjan/M Abie/M Abigael/M Abigail/M Abigale/M Abilene/M ability/IMES abjection/MS abjectness/SM abject/SGPDY abjuration/SM abjuratory abjurer/M abjure/ZGSRD ablate/VGNSDX ablation/M ablative/SY ablaze abler/E ables/E ablest able/U abloom ablution/MS Ab/M ABM/S abnegate/NGSDX abnegation/M Abner/M abnormality/SM abnormal/SY aboard ...
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