Edward "Kid" Ory was a Louisiana French-speaking jazz trombonist and bandleader. He was born near LaPlace, Louisiana. Ory started playing music with homemade instruments in his childhood, by his teens was leading a well-regarded band in southeast Louisiana, he kept LaPlace, Louisiana, as his base of operations because of family obligations until his twenty-first birthday, when he moved his band to New Orleans. He was one of the most influential trombonists of early jazz. Ory was a banjo player during his youth, it is said that his ability to play the banjo helped him develop "tailgate", a particular style of playing the trombone with a rhythmic line underneath the trumpets and cornets; when Ory was living on Jackson Avenue, he was discovered by Buddy Bolden, playing his first new trombone, instead of an old Civil War trombone. Ory's sister said. Ory had one of the best-known bands in New Orleans in the 1910s, hiring many of the great jazz musicians of the city, including the cornetists Joe "King" Oliver, Mutt Carey, Louis Armstrong, who joined the band in 1919.
In 1919, he moved to Los Angeles—one of a number of New Orleans musicians to do so near that time—and he recorded there in 1921 with a band that included Mutt Carey, the clarinetist and pianist Dink Johnson, the string bassist Ed Garland. Garland and Carey were longtime associates who would still be playing with Ory during his 1940s comeback. While in Los Angeles and his band recorded two instrumentals, "Ory's Creole Trombone" and "Society Blues", as well as a number of songs, they were the first jazz recordings made on the West Coast by an African-American jazz band from New Orleans, Louisiana. His band recorded with Nordskog Records. In 1925, Ory moved to Chicago, where he was active and recording with Louis Armstrong, Jelly Roll Morton, Johnny Dodds, Bessie Smith, Ma Rainey, many others, he mentored Benny Goodman and Charles Mingus. During the Great Depression Ory retired from music and did not play again until 1943, he ran a chicken farm in California. From 1944 to about 1961 he led one of the top New Orleans–style bands of the period.
His sidemen during this period included, In addition to Carey and Garland, the trumpeters Alvin Alcorn and Teddy Buckner. All but Buckner and Ewell were from New Orleans; the Ory band was an important force in reviving interest in New Orleans jazz, making popular 1940s radio broadcasts—among them a number of slots on The Orson Welles Almanac program. In 1944–45 the group made a series of recordings for Crescent Records, founded by Nesuhi Ertegun for the express purpose of recording Ory's band. During the late 1940s and early 1950s, Ory and his group appeared at the Beverly Cavern in Los Angeles. In 1958 he played at'On the levee' on the waterfront at San Francisco. Ory retired from music in 1966 and spent his last years in Hawaii, with the assistance of Trummy Young. Ory died in Honolulu, he was buried at Culver City, California. 1950 Kid Ory and His Creole Dixieland Band 1951 At the Beverly Cavern 1953 Live at Club Hangover, Vol. 1 1953 Creole Jazz Band at Club Hangover 1954 Live at Club Hangover, Vol. 3 1954 Kid Ory's Creole Jazz Band 1954 Creole Jazz Band 1954 Kid Ory's Creole Band/Johnny Wittwer Trio 1955 Sounds of New Orleans, Vol. 9 1956 Kid Ory in Europe 1956 Kid Ory's Creole Jazz Band/This Kid's the Greatest!
1956 The Legendary Kid 1956 Favorites! 1957 The Kid from New Orleans: Ory That Is 1957 Dixieland Marching Songs 1957 Kid Ory Sings French Traditional Songs 1958 Song of the Wanderer 1959 At the Jazz Band Ball 1959 Plays W. C. Handy 1960 Dance with Kid Ory or Just Listen 1961 The Original Jazz 1961 The Storyville Nights 1968 Kid Ory Live 1978 Edward Kid Ory and His Creole Band at the Dixieland Jubilee 19?? Kid Ory The Great New Orleans Trombonist 1981 Kid Ory Plays The Blues 1990 Favorites 1992 Kid Ory at the Green Room, Vol. 1 1994 Kid Ory at the Green Room, Vol. 2 1997 Kid Ory and His Creole Band at the Dixieland Jubilee 1997 Kid Ory's Creole Jazz Band 1998 In Denmark 2000 Live at the Beverly Cavern With Red Allen 1957 Red Allen, Kid Ory & Jack Teagarden at Newport McCusker, John. "Creole Trombone: Kid Ory and the Early Years of Jazz", University Press of Mississippi, 2012 Marcus, Kenneth. Musical Metropolis: Los Angeles and the Creation of Music Culture 1880-1940 Kid Ory on redhotjazz.com Jubilee at the Internet Archive.
Gustav Leonhardt was a Dutch keyboard player, musicologist and editor. He was a leading figure in the movement to perform music on period instruments. Leonhardt professionally played many instruments, including the harpsichord, pipe organ, clavichord and piano, he conducted orchestras and choruses. Gustav Leonhardt was born in's-Graveland, North Holland and studied organ and harpsichord from 1947 to 1950 with Eduard Müller at the Schola Cantorum Basiliensis in Basel. In 1950, he made his debut as a harpsichordist in Vienna, he was professor of harpsichord at the Academy of Music from 1952 to 1955 and at the Amsterdam Conservatory from 1954. He was a church organist. Leonhardt performed and conducted a variety of solo, orchestral and choral music from the Renaissance and Classical periods; the many composers whose music he recorded as a harpsichordist, clavichordist, chamber musician or conductor included Johann Sebastian Bach, Carl Philipp Emanuel Bach, Wilhelm Friedemann Bach, Heinrich Biber, John Blow, Georg Böhm, William Byrd, André Campra, François Couperin, Louis Couperin, John Dowland, Jacques Duphly, Antoine Forqueray, Girolamo Frescobaldi, Johann Jakob Froberger, Orlando Gibbons, André Grétry, George Frideric Handel, Jacques-Martin Hotteterre, Jean-Baptiste Lully, Claudio Monteverdi, Wolfgang Amadeus Mozart, Georg Muffat, Johann Pachelbel, Henry Purcell, Jean-Philippe Rameau, Christian Ritter, Johann Rosenmüller, Domenico Scarlatti, Agostino Steffani, Jan Pieterszoon Sweelinck, Georg Philipp Telemann, Francisco Valls, Antonio Vivaldi, Matthias Weckmann.
Central to Leonhardt's career was Johann Sebastian Bach. Leonhardt first recorded music of the composer in the early 1950s, with recordings in 1953 of the Goldberg Variations and The Art of Fugue; the latter embodies the thesis he had published the previous year arguing that the work was intended for the keyboard, a conclusion now accepted. The recordings helped establish his reputation as a distinguished harpsichordist and Bach interpreter. In 1954 he led the Leonhardt Baroque Ensemble with the English countertenor Alfred Deller in a pioneering recording of two Bach cantatas; the Ensemble included his wife Marie Leonhardt, Eduard Melkus, Alice Harnoncourt-Hoffelner, Nikolaus Harnoncourt and Michel Piguet. In 1971, Leonhardt and Harnoncourt undertook the project of recording the complete Bach cantatas; the project, the first cycle on period instruments, ended up taking nineteen years, from 1971 to 1990. In addition, Leonhardt recorded Bach's St Matthew Passion, Mass in B minor and the complete secular cantatas, as well as the harpsichord concertos, Brandenburg concertos, most of his chamber and keyboard music.
To the surprise of some of his associates, Leonhardt accepted the role of Johann Sebastian Bach in The Chronicle of Anna Magdalena Bach, a 1968 film by Jean-Marie Straub and Danièle Huillet. The keyboardist and scholar John Butt said, "...there’s no doubting the enormous influence held over multiple generations of music making in the Baroque field". More Leonhardt influenced the technique and style of many harpsichordists through his teaching and recordings. In comparing recordings of Bach's Goldberg Variations, Butt asserts that a "classic case" of the anxiety of influence is at work in the Goldberg recording by Ton Koopman, in which "what is evident is the incessant ornamentation added to every measure regardless of whether there is obvious ornamentation in the notation.... My immediate reaction is that this performance's principal message is'Not Leonhardt'." He says that "Bob van Asperen takes rhythmic subtlety to a new extreme and presents the most rhythmically nuanced account of the work, one that will be ideal to some and mannered to others."
By contrast, Butt argues, the younger Christophe Rousset plays the Goldberg Variations in a "meat-and-potatoes" manner with "a steady rhythm articulation, a matter-of-fact presentation with little extra ornamentation," demonstrating that "certainly Rousset does not seem to count among the'radical reactivists' such as Koopman and van Asp
Edward Hagedorn was an American artist, living most of his life in California. He painted and made prints, was influenced by German Expressionism as well as Surrealism. Hagedorn was born on 26 January 1902 in Oakland, the son of Henry and Edna Hagedorn, his mother died in childbirth, he was raised by his maternal grandmother and by his aunt, Grace Kafka. At the age of 16, he enrolled in the San Francisco Art Association, from 1923 to 1926 attended the California School of Fine Arts. Around 1930 he may have moved to New York for a brief period, he participated in numerous exhibitions from the late 1920s through the 1930s, won honors from the Pennsylvania Academy and the Brooklyn Museum. Despite these successes, he did not take advantage of offers from museum curators and art dealers that may have increased his fame. After receiving a substantial inheritance in the late 1930s, he stopped exhibiting his work publicly. In the catalog to a 1996 exhibition at the University of California, museum curator James Steward wrote: "The spirit went out of much of his work from about 1940, although Hagedorn continued to make art throughout most of his life, it devolved into trivializing depictions of the female nude."He died on 14 December 1982 in Berkeley, California.
Hagedorn illustrated The Fourteen Poems of O. V. De L. Milosz, translated by Kenneth Rexroth and published in 1952. 1938 - M. H. DeYoung Memorial Art Museum 1941 - San Francisco Museum of Art 1994 - Couturier Gallery, Los Angeles 1996 - University of California, Berkeley Art Museum 1996 - Salisbury State College, Maryland 2016 - Danforth Art Museum, Massachusetts Brooklyn Museum of Art, New York Chicago Art Institute, Illinois Library of Congress, Washington, D. C. Oakland Museum, California San Diego Museum, San Diego, California Whitney Museum of American Art, New York, New YorkOne of Hagedorn's etchings was included in the 2011 exhibition “Francisco Goya: Los Caprichos,” at the Nassau County Museum of Art, New York. Martha Schwendener, an art critic for the New York Times, described the work, saying it took "Goya’s image of one goblin, representing a corrupt person, cutting another’s toenails, redrew it to resonate with the Wall Street crash of 1929." AskArt. "Edward Hagendorn". Askart.com. Retrieved 15 May 2016.
Dailey, Victoria. Denenberg, Stuart. Edward Hagedorn: California Modernist and Restraint. California: Denenberg Fine Arts. ISBN 978-0-615-22483-1. Danforth Museum. "Edward Hagedorn: Volcanoes, Wrecks, & Nudes". Danforthart.org. Danforth Art Museum. Retrieved 15 May 2016. Kandel, Susan. "Edward Hagendorn at Coutirier: The Female Nude Made Benign". Los Angeles Times. Retrieved 15 May 2016. Milosz, Oscar; the Fourteen Poems of O. V. De L. Milosz. Translated by Rexroth, Kenneth. Illustrated by Edward Hagedorn. San Francisco: Peregrine Press. Schwendener, Martha. "Goya's Dark Etchings From a Past Full of Horrors". New York Times. Retrieved 15 May 2016. Steward, James. Edward Hagedorn. Bamfa.berkeley.edu. University of California, Berkeley Art Museum. Retrieved 15 May 2016. Danforth Museum. "Edward Hagedorn: Volcanoes, Wrecks, & Nudes". Danforth Art Museum. Retrieved 15 May 2016. Denenberg, Stuart. "Edward Hagedorn". Tfaoi.com. Traditional Fine Arts Organization. Retrieved 15 May 2016. Kandel, Susan. "Edward Hagendorn at Coutirier: The Female Nude Made Benign".
Los Angeles Times. Retrieved 15 May 2016. Steward, James. Edward Hagedorn. Bamfa.berkeley.edu. Retrieved 15 May 2016. "Hagedorn, Edward". Americanart.si.edu. Smithsonian American Art Museum. Retrieved 15 May 2016. Images of paintings and prints "Hagedorn, Edward". Artic.edu. Art Institute of Chicago. Retrieved 15 May 2016. Images of four prints
Muhammad Ali and Ron Lyle fought a boxing match on May 16, 1975. Ali won the bout through a technical knockout in the 11th round; this bout was aired live primetime in the United States via ABC with Howard Cosell doing the play-by-play and it took place in Las Vegas, Nevada. Ali entered the bout at 224.5 pounds, the heaviest he had been at that point in his career. Lyle, at 219 pounds, was at the heaviest weight of his career. Lyle had offered the opportunity to compete for the title despite his loss to the little-known Jimmy Young two months earlier at Honolulu, Hawaii. Ali had forecast that the bout would be a "treat for the people", but in many of the rounds he preferred to defend and absorb Lyle's sharp punches; the challenger had been exhorted by a chant of "Lyle, Lyle" from several Denver followers, in the opening round he bloodied Ali's nose, although the bleeding abated. Ali was jarred sporadically by Lyle's punches the right hand. In the fifth, the champion chose to dance, taunting Lyle with jabs but being pinned against the ropes.
In the sixth, he displayed the "Ali Shuffle", to the delight of the crowd, to the temporary confusion of the stiff-moving challenger. As the ring girl from the Tropicana Hotel strutted past Ali with a big card signaling the start of the eighth round, Ali stared, aware that this was the round in which he had predicted he would knock Lyle out. From his flatfooted stance, he tried for the knockout, but Lyle cornered and fought him off with a jarring right hand. For the next two rounds, Ali rested, boxing defensively and retreating to the ropes while accepting Lyle's punches, but in the fateful 11th. Ali pounced and finished Lyle, making the scorecards of the three judges academic and making Lyle's tv home appearance an unartistic success; the end came with 1:08 of the round, after a straight right hand drove the 33-year old ex-convict across the ring and left him defenseless against the champion's onslaught. Referee Ferd Hernandez stopped the bout. Lyle protested then staggered to his corner in a daze
State ownership called government ownership and public ownership, is the ownership of an industry, asset, or enterprise by the state or a public body representing a community as opposed to an individual or private party. Public ownership refers to industries selling goods and services to consumers and differs from public goods and government services financed out of a government's general budget. Public ownership can take place at the national, local, or municipal levels of government. Public ownership is one of the three major forms of property ownership, differentiated from private, collective/cooperative, common ownership. In market-based economies, state-owned assets are managed and operated as joint-stock corporations with a government owning all or a controlling stake of the company's shares; this form is referred to as a state-owned enterprise. A state-owned enterprise might variously operate as a not-for-profit corporation, as it may not be required to generate a profit. Governments may use the profitable entities they own to support the general budget.
The creation of a state-owned enterprise from other forms of public property is called corporatization. In Soviet-type economies, state property was the dominant form of industry as property; the state held a monopoly on land and natural resources, enterprises operated under the legal framework of a nominally planned economy, thus according to different criteria than enterprises in market and mixed economies. Nationalization is a process of transferring private or municipal assets to a central government or state entity. Municipalization is the process of transferring private or state assets to a municipal government. A state-owned enterprise is a commercial enterprise owned by a government entity in a capitalist market or mixed economy. Reasons for state ownership of commercial enterprises are that the enterprise in question is a natural monopoly or because the government is promoting economic development and industrialization. State-owned enterprises may or may not be expected to operate in a broadly commercial manner and may or may not have monopolies in their areas of activity.
The transformation of public entities and government agencies into government-owned corporations is sometimes a precursor to privatization. State capitalist economies are capitalist market economies that have high degrees of government-owned businesses. Public ownership of the means of production is a subset of social ownership, the defining characteristic of a socialist economy. However, state ownership and nationalization by themselves are not socialist, as they can exist under a wide variety of different political and economic systems for a variety of different reasons. State ownership by itself does not imply social ownership where income rights belong to society as a whole; as such, state ownership is only one possible expression of public ownership, which itself is one variation of the broader concept of social ownership. In the context of socialism, public ownership implies that the surplus product generated by publicly owned assets accrues to all of society in the form of a social dividend, as opposed to a distinct class of private capital owners.
There is a wide variety of organizational forms for state-run industry, ranging from specialized technocratic management to direct workers' self-management. In traditional conceptions of non-market socialism, public ownership is a tool to consolidate the means of production as a precursor to the establishment of economic planning for the allocation of resources between organizations, as required by government or by the state. State ownership is advocated as a form of social ownership for practical concerns, with the state being seen as the obvious candidate for owning and operating the means of production. Proponents assume that the state, as the representative of the public interest, would manage resources and production for the benefit of the public; as a form of social ownership, state ownership may be contrasted with cooperatives and common ownership. Socialist theories and political ideologies that favor state ownership of the means of production may be labelled state socialism. State ownership was recognized by Friedrich Engels in Socialism: Utopian and Scientific as, by itself, not doing away with capitalism, including the process of capital accumulation and structure of wage labor.
Engels argued that state ownership of commercial industry would represent the final stage of capitalism, consisting of ownership and management of large-scale production and manufacture by the state. Within the United Kingdom, public ownership is associated with the Labour Party due to the creation of Clause IV of the "Labour Party Manifesto" in 1918. "Clause IV" was written by Fabian Society member Sidney Webb. When ownership of a resource is vested in the state, or any branch of the state such as a local authority, individual use "rights" are based on the state's management policies, though these rights are not property rights as they are not transmissible. For example, if a family is allocated an apartment, state owned, it will have been granted a tenancy of the apartment, which may be lifelong or inheritable, but the management and control rights are held by various government departments. There is a distinction to be made between public property; the former may refer to assets operated by a specific state institution or branch of government, used by that branch, such as a research laboratory.
The latter refers to assets and resources that are available to the entire public for use, s
Shall We Dance? is a 2004 American romantic comedy-drama film directed by Peter Chelsom and starring Richard Gere, Jennifer Lopez, Susan Sarandon. It is a remake of the 1996 Japanese film of the same name. John Clark is a lawyer with a charming wife, a loving family, who feels that something is missing as he makes his way every day through the city; each evening on his commute home through Chicago, John sees a beautiful woman staring with a lost expression through the window of a dance studio. Haunted by her gaze, John impulsively jumps off the train one night, signs up for ballroom dancing lessons, hoping to meet her. At first, it seems like a mistake, his teacher turns out to be not Paulina, but the older Miss Mitzi, John proves to be just as clumsy as his clueless classmates Chic and Vern on the dance-floor. Worse, when he does meet Paulina, she icily tells John she hopes he has come to the studio to study dance and not to look for a date. But, as his lessons continue, John falls in love with dancing.
Keeping his new obsession from his family and co-workers, John feverishly trains for Chicago's biggest dance competition. His friendship with Paulina blossoms, as his enthusiasm rekindles her own lost passion for dance, but the more time John spends away from home, the more his wife Beverly becomes suspicious. She hires a private investigator to find out what John is doing, but when she finds out the truth, she chooses to discontinue the investigation and not invade her husband's privacy. John is partnered with Bobbie for the competition, although his friend Link steps in to do the Latin dances. Link and Bobbie do well in the Latin dances, while John and Bobbie's waltz goes well, John sees his wife and daughter in the crowd during the quickstep, is distracted by trying to find them, he and Bobbie fall and are disqualified, John and Beverly argue in the parking garage. John quits dancing, to everyone's dismay. Paulina, having been inspired by John to take up competing again, is leaving to go to Europe, is having a going-away party at the dance studio.
She sends John an invitation, but he is not convinced to go until his wife leaves out a pair of dancing shoes that she bought him. He goes and meets Beverly at work, convinces her that while he loves dancing, he still loves her just as much, he teaches her to dance, they go to the party, John and Paulina have one last dance before she leaves. The end scene shows everyone afterwards: Link and Bobbie are now together. Richard Gere as John Clark Jennifer Lopez as Paulina Susan Sarandon as Beverly Clark Lisa Ann Walter as Bobbie Stanley Tucci as Link Peterson Anita Gillette as Miss Mitzi Bobby Cannavale as Chic Omar Miller as Vern Tamara Hope as Jenna Clark Stark Sands as Evan Clark Richard Jenkins as Devine Nick Cannon as Scott Karina Smirnoff as Link's Pouty Dance Partner Mýa Harrison as Vern's Fiancée Ja Rule as Hip-Hop Bar Performer Tony Dovolani as Slick Willy Cesar Corrales as Dancer Slavik Kryklyvyy as Paulina's Pro Ballroom "Sway" - The Pussycat Dolls "Santa Maria" - Gotan Project "Happy Feet" - John Altman "España cañí" - John Altman "I Wanna" - Gizelle D'Cole "Perfidia" - John Altman "Under The Bridges Of Paris" - John Altman "Moon River" - John Altman "Andalucia" - John Altman "The Book Of Love" - Peter Gabriel "The L Train" - Gabriel Yared "I Could Have Danced All Night" - Jamie Cullum "Wonderland" - Rachel Fuller "Shall We Dance?"
- Gotan Project "Let's Dance" - Mýa The original Japanese film had a question mark in its title, the publicity poster for this film includes it. However, the actual film titles on the US film appear as "Shall We Dance", leading to some online sources, including IMDb, referring to it without showing the question mark; the inclusion of the question mark serves to distinguish these two films from the 1937 Fred Astaire and Ginger Rogers film Shall We Dance. Shall We Dance? received a 46% approval rating from Rotten Tomatoes based on reviews from 157 critics. The consensus states: "The cast is warmly appealing, but with the loss of cultural context and addition of big-name celebrities, this American version loses the nuances of the original." Roger Ebert gave the film 3 out of 4 stars, stating "I enjoyed the Japanese version so much I invited it to my Overlooked Film Festival a few years ago, but this remake offers pleasures of its own." The film debuted on October 15, 2004, grossing $11,783,467 in the opening weekend, placing fourth at the North American box office.
Despite its 27% decline in gross earnings, rose to the third spot the following week. The film ran for 133 days, grossing $57,890,460 in the United States and $112,238,000 in internationally, for a worldwide total of $170,128,460. Official website Shall We Dance? on IMDb Shall We Dance? at AllMovie Shall We Dance? at Box Office Mojo Shall We Dance? at Rotten Tomatoes