Miles Dewey Davis III was an American jazz trumpeter and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th century music. Davis adopted a variety of musical directions in a five-decade career that kept him at the forefront of many major stylistic developments in jazz. Born and raised in Illinois, Davis left his studies at the Juilliard School in New York City and made his professional debut as a member of saxophonist Charlie Parker's bebop quintet from 1944 to 1948. Shortly after, he recorded the Birth of the Cool sessions for Capitol Records, which were instrumental to the development of cool jazz. In the early 1950s, Miles Davis recorded some of the earliest hard bop music while on Prestige Records but did so haphazardly due to a heroin addiction. After a acclaimed comeback performance at the Newport Jazz Festival in 1955, he signed a long-term contract with Columbia Records and recorded the 1957 album'Round About Midnight, it was his first work with saxophonist John Coltrane and bassist Paul Chambers, key members of the sextet he led into the early 1960s.
During this period, he alternated between orchestral jazz collaborations with arranger Gil Evans, such as the Spanish-influenced Sketches of Spain, band recordings, such as Milestones and Kind of Blue. The latter recording remains one of the most popular jazz albums of all time, having sold over four million copies in the U. S. Davis made several line-up changes while recording Someday My Prince Will Come, his 1961 Blackhawk concerts, Seven Steps to Heaven, another mainstream success that introduced bassist Ron Carter, pianist Herbie Hancock, drummer Tony Williams. After adding saxophonist Wayne Shorter to his new quintet in 1964, Davis led them on a series of more abstract recordings composed by the band members, helping pioneer the post-bop genre with albums such as E. S. P and Miles Smiles, before transitioning into his electric period. During the 1970s, he experimented with rock, African rhythms, emerging electronic music technology, an ever-changing line-up of musicians, including keyboardist Joe Zawinul, drummer Al Foster, guitarist John McLaughlin.
This period, beginning with Davis' 1969 studio album In a Silent Way and concluding with the 1975 concert recording Agharta, was the most controversial in his career and challenging many in jazz. His million-selling 1970 record Bitches Brew helped spark a resurgence in the genre's commercial popularity with jazz fusion as the decade progressed. After a five-year retirement due to poor health, Davis resumed his career in the 1980s, employing younger musicians and pop sounds on albums such as The Man with the Horn and Tutu. Critics were unreceptive but the decade garnered the trumpeter his highest level of commercial recognition, he performed sold-out concerts worldwide while branching out into visual arts and television work, before his death in 1991 from the combined effects of a stroke and respiratory failure. In 2006, Davis was inducted into the Rock and Roll Hall of Fame, which recognized him as "one of the key figures in the history of jazz." Rolling Stone described him as "the most revered jazz trumpeter of all time, not to mention one of the most important musicians of the 20th century," while Gerald Early called him inarguably one of the most influential and innovative musicians of that period.
Miles Dewey Davis III was born on May 26, 1926, to an affluent African-American family in Alton, fifteen miles north of St. Louis, he had an older sister, Dorothy Mae, a younger brother, Vernon. His mother, Cleota Mae Henry of Arkansas, was a music teacher and violinist, his father, Miles Dewey Davis Jr. of Arkansas, was a dentist. They owned a 200-acre estate near Arkansas with a profitable pig farm. In Pine Bluff, he and his siblings fished and rode horses. In 1927, the family moved to Illinois, they lived on the second floor of a commercial building behind a dental office in a predominantly white neighborhood. From 1932 to 1934, Davis attended John Robinson Elementary School, an all-black school Crispus Attucks, where he performed well in mathematics and sports. At an early age he liked music blues, big bands, gospel. In 1935, Davis received his first trumpet as a gift from a friend of his father, he took lessons from Elwood Buchanan, a teacher and musician, a patient of his father. His mother wanted him to play violin instead.
Against the fashion of the time, Buchanan stressed the importance of playing without vibrato and encouraged him to use a clear, mid-range tone. Davis said. In years Davis said, "I prefer a round sound with no attitude in it, like a round voice with not too much tremolo and not too much bass. Just right in the middle. If I can't get that sound I can't play anything." In 1939, the family moved to 1701 Kansas Avenue in East St. Louis. On his thirteenth birthday his father bought him a new trumpet, Davis began to play in local bands, he took additional trumpet lessons from Joseph Gustat, principal trumpeter of the St. Louis Symphony Orchestra. In 1941, the 15-year-old attended East St. Louis Lincoln High School, where he joined the marching band directed by Buchanan and entered music competitions. Years Davis said that if he lost a contest, it was because of racism, but he added that these experiences made him a better musician; when a drummer asked him to play a certain passage of music, he couldn't do it, he began to learn music theory.
"I went and got everything, every book I could get to learn
BloomBars is a not-for-profit community arts organization based in the Columbia Heights neighborhood of Washington, D. C.. Launched in June, 2008 out of a former print shop at 3222 11th Street NW by John Chambers, the space hosts dance and wellness classes, film screenings, an open mic night, art exhibitions/performances and facilitates an artist residency program. Founder and "chief executive gardener" John Chambers purchased the two-story Columbia Heights property and the space was still undergoing renovations when BloomBars first opened its doors on June 30, 2008. At the time, Chambers was "senior vice president at GMMB, a political consulting and advocacy advertising firm for Democratic candidates, including the Obama campaign."Chambers brought a background in advocacy and communications for social justice issues to his vision for the new arts community space and left his marketing career to work at BloomBars full-time. In December 2010, funding problems threatened to close BloomBars' doors.
The organization launched an aggressive fundraising campaign and raised $20,000 in a joint online/offline campaign, which allowed the organization to continue operations. This campaign relied on the collaborative fundraising website Indiegogo; as of 2010, "the venue has partnered with over 1,000 local and international non-profits" and has enabled "literally thousands of artists to experiment in front of a welcoming and open-minded audience." In 2011, BloomBars established a fiscal sponsorship with the nonprofit arts support organization Fractured Atlas. BloomBars is a volunteer run, not-for-profit organization and community "founded on the belief that art and artists have the power to transform communities and alter the way individuals think and experience." It "bills itself as an underground'spontaneous' scene for art and music" and is an all-ages, "alcohol and profanity free establishment" funded through a "donation based structure."The decision to ban alcohol from the space is "a policy that some friends say is financially ill-advised but that stuck to because he thinks booze turns off some people and takes focus off the art."The goal is to become "part of an international network of creative spaces" and to both replicate and expand the organization's community-based structure.
The organization has a strong commitment to Columbia Heights. As cited in DCist, a local online news blog, "'BloomBars has a love affair with Columbia Heights — the history, cultural diversity, residents new and old, its businesses that we all support religiously,' explained Chambers.'We've felt like undercover ambassadors for Columbia Heights.'"BloomBars' motto is "You Bloom. We Bloom." and from the space's opening until mid-2011, those words were painted above its front doors in place of a venue sign. BloomBars is "a community-based venture, rooted in the arts, that could serve as an incubator for individual and community growth." Explaining the organization's structure, Chambers has said, "cultural shifts in behavior can happen over time if we communicate our value, help folks understand that a donation is an investment in their growth, the community’s growth—like our tag,'You Bloom. We Bloom.'" BloomBars does not establish its own programming, but facilitates programming run by the wider community.
Anyone with interest and initiative is able to pitch a schedule time for a performance. The organization maintains a comprehensive "multi-media effort through outlets like Bloom TV and its newsletter, The Weekly Bloom." BloomBars has a Facebook page and Twitter feed which both have extensive followings. Staff Pics: Second Best Open Mic: "Don’t let the name fool you—if you’re looking for beer, conventional'service,' or consistent hours of operation BloomBars is not the spot for you, but sign up for its mailing list and wander over to this established establishment on an evening when it’s holding a showcase, you’ll discover one of D. C.’s best-kept secrets." BloomBars hosted a two-week alliance between a popular South African Hip-Hop artist and an acclaimed American Hip-Hop artist. The vision grew "into a comprehensive two-week schedule to include intense traveling, literacy activism, HIV/Aids awareness presentations, educational workshops, more, with Asheru serving as guide and ambassador." BloomBars was cited among five independent local businesses along 11th Street NW that established the street as Washington DC's "Hip Strip" according to the New York Times.
"There's no booze on offer at this nonprofit'art bar' — but partiers are still welcome." Bloombars official site Bloombars in washingtonpost.com Going Out Guide Washington D. C. Columbia Heights' Hip Strip in The New York Times
National Theatre (Washington, D.C.)
The National Theatre is located in Washington, D. C. and is a venue for a variety of live stage productions with seating for 1,676. Despite its name, it is not a governmentally funded national theatre, but operated by a private, non-profit organization; this historic playhouse was founded on December 7, 1835, by William Corcoran and other prominent citizens who wanted the national capital to have a first-rate theatre. The theatre's initial production was Man of the World; the theatre has been in continuous operation since, at the same Pennsylvania Avenue location a few blocks from the White House. Its name was changed at times to "Grover's National Theatre," and "Grover's Theatre," as management changed. Famed actor Joseph Jefferson managed the theatre at one time; the structure has been rebuilt several times, including partial reconstructions after five fires in the 19th century. The current building, at 1321 Pennsylvania Avenue NW, was constructed in 1923, opening in September of that year. Located three blocks from the White House, the theater has entertained every U.
S. President of the United States since Andrew Jackson. On April 14, 1865, Tad Lincoln was attending a performance of Aladdin and the Wonderful Lamp at Grover's Theater when his father, President Abraham Lincoln, was assassinated at Ford's Theatre. Like many theatres in the U. S. prior to the National Theatre was racially segregated. Black actors were allowed to appear on stage, but African Americans audience members were relegated to a special section. During the Washington run of Porgy and Bess in 1936, the cast, led by Todd Duncan, protested the audience's segregation. Duncan stated that he "would never play in a theatre which barred him from purchasing tickets to certain seats because of his race." Management would give into the demands and allow for the first integrated performance at National Theatre. A movement to integrate the playhouse was spearheaded by actor Helen Hayes, educator Gilbert V. Hartke, O. P. Washington art impresario Patrick Hayes, Washington Post theatre critic Richard L. Coe.
When that effort failed, they persuaded Actors Equity performers to refuse to play at the theatre. Rather than desegregating, the New York management discontinued live performances in 1948. One prestige attraction, the Washington premier of the British film The Red Shoes, was presented. Earlier in 1941, Walt Disney's Fantasia played at the theatre for seven weeks as a prestige attraction; the theatre remained dark until it reopened as an integrated theater in 1952. In 1970, the theatre came under the management of the Nederlander Organization. In 1974, the not-for-profit National Theatre Corporation was established by Roger L. Stevens, Maurice B. Tobin, Donn B. Murphy and others to save the failing enterprise, in the wake of racial riots, a downtown made unfashionable by the growth of the surrounding suburbs; the theatre underwent a major renovation in 1982–1983, when the original wing housing dressing rooms was replaced with a modern structure. The refurbished structure opened in concert with the redevelopment of that part of downtown Washington, D.
C. that included The Shops at National Place, the 774 room flagship JW Marriott Hotel, National Press Club. Stage designer Oliver Smith supervised the interior design; the 1835 stone foundations and brick stage house still exist, although the rock work is now reinforced with steel caissons to resist erosion by the Tiber Creek, which flows beneath the building. From the stage, President Ronald Reagan saluted the refurbished "neighborhood theatre" in January 1984. Among the Broadway productions which have had out-of-town try-outs at the National are Amadeus, Crazy for You, Dolly!, Show Boat and West Side Story. In 2012, Jam Theatricals assumed operations for the theatre from the Shubert Organization; the many performers who have appeared at the theatre include Pearl Bailey, Ethel Barrymore, Lionel Barrymore and John Barrymore, Warren Beatty, Sarah Bernhardt, Claire Bloom, Edwin Booth, John Wilkes Booth, Fanny Brice, Tom Burke, Carol Channing, George M. Cohan, Claudette Colbert, Katharine Cornell, Hume Cronyn, Tim Curry, Ruth Draper, Todd Duncan, Maurice Evans, Lillian Gish, Ruth Gordon, Valerie Harper, Julie Harris, Rex Harrison, Helen Hayes, Audrey Hepburn, Katharine Hepburn, Joseph Jefferson, James Earl Jones, Lucille La Verne, Eva LeGallienne, Jerry Lewis, Alfred Lunt and Lynn Fontanne, Eartha Kitt, Ian McKellen, Mary Martin, Ethel Merman, Rita Moreno, Helen Morgan, Rosie O'Donnell, Laurence Olivier, Annie Oakley, Geraldine Page, Robert Redford, Debbie Reynolds, Chita Rivera, Will Rogers, Rosalind Russell, George C.
Scott, Kevin Spacey, Jessica Tandy, Norma Terris, Marlo Thomas, Lily Tomlin, Franchot Tone, Rip Torn and Liv Ullmann. Winston Churchill once spoke from the stage; the National Theatre has expanded its activities to include not only Broadway musical performances but concerts, opera, ballet and receptions. The National Theatre Corporation is a non-profit organization, responsible for the operation of the theatre. Sarah K. Bartlo, is the Executive Director; the National Theatre Group manages the daily activities of the theatre and provides content for the main stage. Theater in Washington D. C. Stage for a Nation - The National Theatre - 150 Years by Douglas Bennett Lee, Roger L. Meersman, Donn B. Murphy, 1985 The National Theatre Burning of a Theatre, New York Times, 29 January 1873. What If the Lincolns had Attended the Play at Grover's Theatre
Cabell Calloway was an American jazz singer and bandleader. He was associated with the Cotton Club in New York City, where he was a regular performer. Calloway was a master of energetic scat singing and led one of the United States' most popular big bands from the start of the 1930s to the late 1940s. Calloway's band included trumpeters Dizzy Gillespie and Adolphus "Doc" Cheatham, saxophonists Ben Webster and Leon "Chu" Berry, New Orleans guitarist Danny Barker, bassist Milt Hinton. Calloway continued to perform until his death in 1994 at the age of 86. Calloway was born in New York, on Christmas Day in 1907 to an African American family, his mother, Martha Eulalia Reed, was a Morgan State College graduate and church organist. His father, Cabell Calloway Jr. graduated from Lincoln University of Pennsylvania in 1898, worked as a lawyer and in real estate. The family moved to Baltimore, when Calloway was 11. Calloway grew up in the Sugar Hill neighborhood of West Baltimore, he studied music and voice throughout his formal schooling.
Despite his parents' and teachers' disapproval of jazz, he began performing nightclubs in Baltimore. His mentors included pianist Johnny Jones. Calloway attended Frederick Douglass High School and played basketball at the guard position for the high school and professional Baltimore Athenians team, he graduated in 1925. After graduation Calloway joined his older sister, Blanche, in a tour of the popular black musical revue Plantation Days. Blanche Calloway became an accomplished bandleader before her brother, he would credit her as his inspiration for entering show business, his parents wanted him to be a lawyer, like his father, so he enrolled at Crane College in Chicago, but he was more interested in singing and entertaining. He spent most of his nights at the Dreamland Ballroom, the Sunset Cafe, the Club Berlin, performing as a singer and master of ceremonies. At the Sunset Café, he was an understudy for singer Adelaide Hall. Here he performed with Louis Armstrong, who taught him to sing in the scat style.
He left school to sing with the Alabamians band. In 1930 Calloway led the band The Missourians, which became known as Cab Calloway and His Orchestra. At the Cotton Club in Harlem, New York, the band was hired in 1931 to substitute for the Duke Ellington Orchestra while it was touring; the band's popularity led to sharing the role of house band with Ellington. It performed twice on week for radio broadcasts on NBC. Calloway appeared on radio programs with Bing Crosby. In 1931 Calloway recorded his most famous song, "Minnie the Moocher". "The Old Man of the Mountain", "St. James Infirmary Blues", "Minnie the Moocher" were performed in the cartoons The Old Man of the Mountain, Snow White, Minnie the Moocher, respectively. Through rotoscoping, Calloway performed voiceover for these cartoons, but his dance steps were the basis of the characters' movements, he scheduled concerts in some communities to coincide with the release of the films to take advantage of the publicity. As a result of the success of "Minnie the Moocher", Calloway became identified with its chorus, gaining the nickname "The Hi De Ho Man".
He performed in the 1930s in a series of short films for Paramount. In these films, Calloway can be seen performing a gliding backstep dance move, which some observers have described as the precursor to Michael Jackson's moonwalk. Calloway said 50 years "it was called The Buzz back then." The 1933 film International House featured Calloway performing his classic song, "Reefer Man", a tune about a man who favors marijuana cigarettes. Calloway made his "first proper Hollywood movie appearance" opposite Al Jolson in The Singing Kid in 1936, he sang a number of duets with Jolson, the film included Calloway's band and cast of 22 Cotton Club dancers from New York. According to film critic Arthur Knight, the creators of the film intended to "erase and celebrate boundaries and differences, including most emphatically the color line...when Calloway begins singing in his characteristic style – in which the words are tools for exploring rhythm and stretching melody – it becomes clear that American culture is changing around Jolson and with Calloway".
Calloway's band recorded for Brunswick and the ARC dime store labels from 1930 to 1932, when he signed with RCA Victor for a year. He returned to Brunswick in late 1934 through 1936 with Variety, run by his manager, Irving Mills, he remained with Mills. Their sessions were continued by Vocalion through 1939 and OKeh through 1942. After an AFM recording ban due to the 1942–44 musicians' strike ended, Calloway continued to record. In 1941 Calloway fired Dizzy Gillespie from his orchestra after an onstage fracas erupted when Calloway was hit with spitballs, he wrongly accused Gillespie. In 1943 Calloway appeared in the film Stormy Weather, one of the first films with a black cast; the band formed baseball and basketball teams during the 1930s, starring Calloway, Milt Hinton, Chu Berry, Benny Payne, Dizzy Gillespie. In the late 1940s, Calloway wrote a humorous pseudo-gossip column called "Coastin' with Cab" for Song Hits magazine, it was a collection of celebrity snippets such as the following in the May 1946 issue: "Benny Goodman was dining at Ciro's steak house in New York when a homely girl entered.'If her face is her fortune,' Benny quipped,'she'd be tax-free'."
In the late 1940s, howe
Edward Kennedy "Duke" Ellington was an American composer and leader of a jazz orchestra, which he led from 1923 until his death over a career spanning more than fifty years. Born in Washington, D. C. Ellington was based in New York City from the mid-1920s onward and gained a national profile through his orchestra's appearances at the Cotton Club in Harlem. In the 1930s, his orchestra toured in Europe. Although considered to have been a pivotal figure in the history of jazz, Ellington embraced the phrase "beyond category" as a liberating principle and referred to his music as part of the more general category of American Music rather than to a musical genre such as jazz; some of the jazz musicians who were members of Ellington's orchestra, such as saxophonist Johnny Hodges, are considered to be among the best players in the idiom. Ellington melded them into the best-known orchestral unit in the history of jazz; some members stayed with the orchestra for several decades. A master at writing miniatures for the three-minute 78 rpm recording format, Ellington wrote more than one thousand compositions.
Ellington recorded songs written by his bandsmen, for example Juan Tizol's "Caravan", "Perdido", which brought a Spanish tinge to big band jazz. In the early 1940s, Ellington began a nearly thirty-year collaboration with composer-arranger-pianist Billy Strayhorn, whom he called his writing and arranging companion. With Strayhorn, he composed many extended compositions, or suites, as well as additional short pieces. Following an appearance at the Newport Jazz Festival, in July 1956, Ellington and his orchestra enjoyed a major revival and embarked on world tours. Ellington recorded for most American record companies of his era, performed in several films, scored several, composed a handful of stage musicals. Ellington was noted for his inventive use of the orchestra, or big band, for his eloquence and charisma, his reputation continued to rise after he died, he was awarded a posthumous Pulitzer Prize Special Award for music in 1999. Ellington was born on April 29, 1899, to James Edward Ellington and Daisy Ellington in Washington, D.
C. Both his parents were pianists. Daisy played parlor songs and James preferred operatic arias, they lived with his maternal grandparents at 2129 Ida Place, NW, in the West End neighborhood of Washington, D. C. Duke's father was born in Lincolnton, North Carolina, on April 15, 1879, moved to Washington, D. C. in 1886 with his parents. Daisy Kennedy was born in Washington, D. C. on January 4, 1879, the daughter of a former American slave. James Ellington made blueprints for the United States Navy; when Ellington was a child, his family showed racial pride and support in their home, as did many other families. African Americans in D. C. worked to protect their children from the era's Jim Crow laws. At the age of seven, Ellington began taking piano lessons from Marietta Clinkscales. Daisy surrounded her son with dignified women to reinforce his manners and teach him to live elegantly. Ellington's childhood friends noticed that his casual, offhand manner, his easy grace, his dapper dress gave him the bearing of a young nobleman, began calling him "Duke."
Ellington credited his friend Edgar McEntree for the nickname. "I think he felt that in order for me to be eligible for his constant companionship, I should have a title. So he called me Duke."Though Ellington took piano lessons, he was more interested in baseball. "President Roosevelt would come by on his horse sometimes, stop and watch us play", he recalled. Ellington went to Armstrong Technical High School in Washington, D. C, he gained his first job selling peanuts at Washington Senators baseball games. In the summer of 1914, while working as a soda jerk at the Poodle Dog Café, Ellington wrote his first composition, "Soda Fountain Rag", he created the piece by ear, as he had not yet learned to write music. "I would play the'Soda Fountain Rag' as a one-step, two-step, waltz and fox trot", Ellington recalled. "Listeners never knew. I was established as having my own repertoire." In his autobiography, Music is my Mistress, Ellington wrote that he missed more lessons than he attended, feeling at the time that playing the piano was not his talent.
Ellington started sneaking into Frank Holiday's Poolroom at the age of fourteen. Hearing the poolroom pianists play ignited Ellington's love for the instrument, he began to take his piano studies seriously. Among the many piano players he listened to were Doc Perry, Lester Dishman, Louis Brown, Turner Layton, Gertie Wells, Clarence Bowser, Sticky Mack, Blind Johnny, Cliff Jackson, Claude Hopkins, Phil Wurd, Caroline Thornton, Luckey Roberts, Eubie Blake, Joe Rochester, Harvey Brooks. Ellington began listening to, imitating ragtime pianists, not only in Washington, D. C. but in Philadelphia and Atlantic City, where he vacationed with his mother during the summer months. He would sometimes hear strange music played by those who could not afford much sheet music, so for variations, they played the sheets upside down. Henry Lee Grant, a Dunbar High School music teacher, gave him private lessons in harmony. With the additional guidance of Washington pianist and band leader Oliver "Doc" Perry, Ellington learned to read sheet music, project a professional style, improve his technique.
Ellington was inspired by his first encounters with stride pianists James P. Johnson and Luckey Roberts. In New York he took advice from Will Marion Cook, Fats Waller, Sidney Bechet. Ellington started to play gigs in cafés and clubs in and aro
The Uline Arena renamed the Washington Coliseum, was an indoor arena in Washington, D. C. located at 1132, 1140, 1146 3rd Street, Washington, D. C.. It was the site of one President Dwight D. Eisenhower's inauguration ball in 1953, the first concert by The Beatles in the United States in 1964 and several other memorable moments in sports, show business, politics and in the civil rights movement of the 1960s, it was a major arena in Washington until the early 1970s. The arena was home to the Washington Capitols of the Basketball Association of America and National Basketball Association, who were once coached by Red Auerbach; the American Basketball Association's Washington Caps played there in 1969–1970. Once abandoned and used as a parking facility, today it has been renovated and houses offices and the REI DC Flagship store, it is directly adjacent to the railroad tracks heading into Union Station and bounded by L and M Street NE. It is located across from the NoMa–Gallaudet U station southern entrance.
Starting in 1938, the area of building an arena was in the works. Michael J. Uline, president of Capitol Garden Corp. was considering it June of that year but was waiting on a decision by the local government on whether or not they were going to build an arena of their own at the intersection of 4th Street NW and Constitution Avenue NW. Michael Uline held 68 patents and was a successful businessman from the Netherlands. By early 1940, the arena was under construction, it was however being criticized. On March 14, 1940, Coach Bill Reinhart of the George Washington University Basketball team was critical of the design: there were too many seats behind the backboards and not enough on the sidelines. On March 20, the architect, Joe Harry Lapish, responded to the criticism by stating that the arena would be able to house between 6,500 and 7,000 basketball spectators including 4,500 to 5,000 desirable seats on the sidelines. On December 28, 1940, while the arena was nearing completion, Michael Uline announced that it would open on January 28, 1941 and would present a 15-performance engagement of "Ice-Capades of 1941" in 13 days which would end on February 9.
More details of the interior where shared. The heated arena would feature arm-rest seats, each with a complete and unhindered view of the ice by post supports and beams; the ice surface would be the biggest in the country. It would be frozen using the Vedder system connected to the plant located next door which would provide the brine by-pass. Raoul Le Mat was General Manager; the following day, further details of the 1941 program was announced. A rodeo was planned and other activities were in the works: roller follies, a defense exposition a Cherry Blossom Festival, professional and amateur hockey and college basketball were considered. On January 9, 1941, the owner announced that the arena had been awarded the Indoor Speed Skating Championship by the National Amateur Ice Skating Union to take place on February 22 and 23, 1941. All the speed skating stars from the country would be present for the event including Leo Freisinger, it was announced that Eddie Bean, a well-known local golfer would become the new Ticket Sale Director for the Uline Arena.
He had handled the ticket sales of the Washington Baseball Club and of the Redskins for a decade. On January 22, it was announced that the third boxing performance between Joey Archibald and Harry Jeffra would take place on February 18, 1941; the following day, it was announced by the Evening Star that Mr. Uline had purchased an American Hockey League team to be known as the Washington Ulines, it was to be in fact the Washington Lions. It would become a step up over the other Washington hockey team, the Washington Eagles in the Eastern Hockey League. Mr. Uline had considered getting a National Hockey League team but due to the maintenance cost had decided to go with the American Hockey League instead; the Uline rick opened on January 28, 1941 with the Ice-Capades. The show took place in front of 3,000 people; the space in what was described as a "concrete cavern" was well received by the public. However, it seems that the ice was faulty, to be remediated by the following night: the "blades cut the brittle surface like snowball scrapers and precipitated several unscheduled spills".
On February 10, 1941, Sonja Henie's Hollywood Ice Revue went on the ice in the Uline Arena. The first Hockey game to take place in the arena was between Georgetown University Hoyas and Temple University Owls on February 15, 1941; the first boxing match was on March 6, 1941 between Billy Conn and Daniel Hassett in preparation for the match between Billy Conn and Joe Louis. Soon after it opened, the Uline Arena offered public skating every day: weekdays and Sundays from 2 pm to 4:30 pm and 8:30 pm to 11 pm, it offered Saturday morning sessions from 10:00am to 12:30 pm. Admission was 35 cents for 55 cents in the evening. Children's admission was 35 cents in the evening. On November 3, 1941, just a few weeks before the Japanese attack on Pearl Harbor brought the United States into the war on December 7, 1941, the Pageant of American Freedom took place at the Uline Arena, it was variety show by Ben Hecht and Charles MacArthur with a 200 chorus of 90 voices and an Orchestra. All proceeds went to the D.
C. Defense Council and the ad featured Mickey Mouse, Donald Duck and Goofy waving a flag, playing the drums and the flute, it appears. On January 30, 1942, President Franklin D. Roosevelt celebrated his 60th birthday, it was a nationwide celebrati
Shirley Valerie Horn was an American jazz singer and pianist. She collaborated with many jazz greats including Miles Davis, Dizzy Gillespie, Toots Thielemans, Ron Carter, Carmen McRae, Wynton Marsalis and others, she was most noted for her ability to accompany herself with nearly incomparable independence and ability on the piano while singing, something described by arranger Johnny Mandel as "like having two heads", for her rich, lush voice, a smoky contralto, described by noted producer and arranger Quincy Jones as "like clothing, as she seduces you with her voice". Shirley Horn was born and raised in Washington, D. C.. Encouraged by her grandmother, an amateur organist, Horn began piano lessons at the age of four. Aged 12, she studied piano and composition at Howard University graduating from there in classical music. Horn was offered a place at the Juilliard School. Horn formed her first jazz piano trio when she was 20. Horn's early piano influences were Erroll Garner, Oscar Peterson and Ahmad Jamal, moving away from her classical background, Horn said that "Oscar Peterson became my Rachmaninov, Ahmad Jamal became my Debussy."
She became enamored with the famous U Street jazz area of Washington, sneaking into jazz clubs before she was of legal age. According to jazz journalist James Gavin, the small New York City record label Stere-O-Craft discovered Horn in Washington, D. C. and brought her to New York to record 1960's Embers and Ashes. Horn had recorded with violinist Stuff Smith in Washington, D. C. in 1959, as a pianist in one of the rhythm sections featured on Cat on a Hot Fiddle. For Horn, Verve Records did not include her name on the album's list of backing musicians, the experience did not raise her professional profile. Horn's Embers and Ashes record attracted the attention of jazz trumpeter Miles Davis, who praised Horn publicly and invited her to play intermission sets during his performances at the Village Vanguard. Davis's praise had particular resonance in two respects: because he was respected as a musician, because he offered public praise for fellow musicians at that time. A 1961 live performance recorded in St. Louis' Gaslight Square district was released on LP under the title "Live" at the Village Vanguard..
By 1962, Horn had attracted the attention of Mercury Records vice-president Quincy Jones, who signed Horn to Mercury. On her two Mercury LPs, Horn was placed in a traditional pop setting with medium-sized jazz orchestra, on neither album did she play piano. According to jazz journalist James Gavin, a third Mercury LP was recorded but never issued, as of 1993, the tapes for that album were presumed to be lost. Horn's final LP of the 1960s was 1965's Travelin' Light, recorded for ABC-Paramount, she did not achieve significant popular success. Though she had recorded a song by The Beatles on Travelin' Light, Horn for the most part resisted efforts to remake her into a popular singer in the mid-1960s saying of such attempts "I will not stoop to conquer." From the late-1960s to the early 1980s, she was semi-retired from music, staying in Washington, D. C. to raise her daughter Rainy with her husband, Sheppard Deering, limiting her music to local performances. She made one album in 1972 for Perception Records, but the record received little notice, Horn did not tour to promote it.
In 1978, Horn's career got a boost when SteepleChase Records of Denmark tracked her down in Washington, D. C. and offered to record her with drummer Billy Hart, bassist Buster Williams. The resulting album, A Lazy Afternoon was the first of a total of four Horn albums released by SteepleChase between 1978 and 1984. Horn began to play engagements in North America and Europe, including the North Sea Jazz Festival, where two of her albums were recorded. In 1986, Horn signed a one-record deal with CBS-Sony for the Japanese market and released All of Me, a studio session recorded in New York City with her regular trio and guest Frank Wess on three tracks. By early 1987, Verve Records was pursuing a recording contract with her, in May of that year, the live album I Thought About You, her first for Verve, was recorded in Hollywood. Horn recorded one further session for an indepdendent jazz label returned to Verve, she released a total of 11 studio and live albums for the label during her lifetime. Horn's most commercially successful years were spent with Verve, the label helped her find a large international audience.
Miles Davis made a rare appearance as a sideman on Horn's 1991 album You Won't Forget Me. Although she preferred to perform in small settings, such as her trio, she recorded with orchestras, as on the 1992 album Here's to Life, the title song of which became her signature song. A video documentary of Horn's life and music was released at the same time as "Here's To Life" and shared its title. At the time, arranger Johnny Mandel commented that Horn's piano skill was comparable to that of the noted jazz great Bill Evans. A follow-up was made in 2001, named. Horn worked with the same rhythm section for 25 years: Charles Ables and Steve Williams. Don Heckman wrote in the Los An