1.
Oliver King
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Oliver King was a Bishop of Exeter and Bishop of Bath and Wells who restored Bath Abbey after 1500. He became a priest then studied law at the University of Orléans as well as at Cambridge. In 1466 King was appointed Rector of Broughton, Hampshire, and in 1473 Warden of St Johns Hospital, Dorchester. Under the new regime of Edward IV of England he was appointed Clerk of the Signet in 1473, in 1475 was sent as ambassador to the Duke of Brittany. and receiving the salary of £20 per annum. Supposedly being expert in the French language Dr King was effectively second secretary, under Edward IV the Secretarys office expanded the number of clerks to at least four, with a Gentleman and writers of the Kings Signet under him. The Secretary has 3 Getlemen-in-waiting on him for all that office, during the early modern monarchy the Secretaries gradually assumed more importance, and standing at court, their office expanded and their salary improved to the same as the Clerk of the Council. In 1480 he was appointed Canon of the stall at St Georges Chapel, Windsor Castle. King was appointed Bishop of Exeter on 1 October 1492, consecrated on 3 February 1493 and he was then translated to the see of Bath and Wells on 6 November 1495. He died on 29 August 1503, King organised the restoration of Bath Abbey after 1500. The story of the refounding is told on the front of the Abbey in carved Bath stone, King had a dream in which he saw a host of angels on a ladder, the Holy Trinity and an olive tree with a crown on it. He heard a voice, Let an Olive establish the crown, King believed this was a call for him to support the candidature of Henry Tudor as King, and to restore the Abbey. These images are carved on the West Front of the Abbey with coats of arms of the Montague Family, there are also statues of the twelve apostles, including a large statue of St Peter and one of Saint Paul. Greenway, D. E. Porter, S. Roy, joseph Robson Tanner, ed. Tudor Constitutional Documents, A, Parts 1485-1603
2.
Savannah, Georgia
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Savannah is the oldest city in the U. S. state of Georgia and is the county seat of Chatham County. Established in 1733 on the Savannah River, the city of Savannah became the British colonial capital of the Province of Georgia, a strategic port city in the American Revolution and during the American Civil War, Savannah is today an industrial center and an important Atlantic seaport. It is Georgias fifth-largest city and third-largest metropolitan area, Downtown Savannah largely retains the original town plan prescribed by founder James Oglethorpe. Savannah was the host city for the sailing competitions during the 1996 Summer Olympics held in Atlanta. On February 12,1733, General James Oglethorpe and settlers from the ship Anne landed at Yamacraw Bluff and were greeted by Tomochichi, the Yamacraws, Mary Musgrove often served as an interpreter. The city of Savannah was founded on that date, along with the colony of Georgia, in 1751, Savannah and the rest of Georgia became a Royal Colony and Savannah was made the colonial capital of Georgia. By the outbreak of the American Revolutionary War, Savannah had become the southernmost commercial port of the Thirteen Colonies, British troops took the city in 1778, and the following year a combined force of American and French soldiers failed to rout the British at the Siege of Savannah. The British did not leave the city until July 1782, Savannah, a prosperous seaport throughout the nineteenth century, was the Confederacys sixth most populous city and the prime objective of General William T. Shermans March to the Sea. Early on December 21,1864, local authorities negotiated a surrender to save Savannah from destruction. Savannah was named for the Savannah River, which derives from variant names for the Shawnee. The Shawnee destroyed another Native people, the Westo, and occupied their lands at the head of the Savannah Rivers navigation on the fall line and these Shawnee, whose Native name was Ša·wano·ki, were known by several local variants, including Shawano, Savano, Savana and Savannah. Still other theories suggest that the name Savannah originates from Algonquian terms meaning not only southerners, Savannah lies on the Savannah River, approximately 20 mi upriver from the Atlantic Ocean. According to the United States Census Bureau, the city has an area of 108.7 square miles. Savannah is the port on the Savannah River and the largest port in the state of Georgia. It is also located near the U. S. Intracoastal Waterway, Georgias Ogeechee River flows toward the Atlantic Ocean some 16 miles south of downtown Savannah. Savannahs climate is classified as humid subtropical, in the Deep South, this is characterized by long and almost tropical summers and short, mild winters. Savannah records few days of freezing temperatures each year, due to its proximity to the Atlantic coast, Savannah rarely experiences temperatures as extreme as those in Georgias interior. Nevertheless, the temperatures have officially ranged from 105 °F, on July 20,1986, down to 3 °F
3.
Jazz
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Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime. Since the 1920s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms, Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience, intellectuals around the world have hailed jazz as one of Americas original art forms. As jazz spread around the world, it drew on different national, regional, and local musical cultures, New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging musicians music which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock rhythms, electric instruments. In the early 1980s, a form of jazz fusion called smooth jazz became successful. Other styles and genres abound in the 2000s, such as Latin, the question of the origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a term dating back to 1860 meaning pep. The use of the word in a context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a context in New Orleans was in a November 14,1916 Times-Picayune article about jas bands. In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, When Broadway picked it up. That was dirty, and if you knew what it was, the American Dialect Society named it the Word of the Twentieth Century. Jazz has proved to be difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years. Attempts have been made to define jazz from the perspective of other musical traditions, in the opinion of Robert Christgau, most of us would say that inventing meaning while letting loose is the essence and promise of jazz. As Duke Ellington, one of jazzs most famous figures, said, although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements
4.
Dixieland
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Dixieland, sometimes referred to as hot jazz or traditional jazz, is a style of jazz based on the music that developed in New Orleans at the start of the 20th century. The first use of the term Dixieland with reference to music was in the name of the Original Dixieland Jazz Band, at that time, there was no issue of subgenres of jazz, so Dixieland referred to the band and not the music. That reflected the fact that all of the recorded repertoire of New Orleans musicians was from the period when the format was already evolving beyond the traditional New Orleans format. Dixieland may in that sense be regarded as denoting the jazz movement of the 1940s and 1950s as much as any particular subgenre of jazz. The essential elements that were accepted as within the style were the front lines consisting of trumpets, trombones, and clarinets. The Jim Crow associations of the name Dixieland also did little to attract younger coloured musicians to the revival, well-known jazz standard tunes such as Basin Street Blues and When the Saints Go Marching In are known even to non-jazz fans thanks to the enduring popularity of traditional jazz. The Vietnam-era protest song Feel Like Im Fixin to Die Rag is based on tonal centers, Traditional jazz is a major tourist attraction for New Orleans to the present day. It has been an influence on the styles of modern players such as Charles Mingus. New Orleans music combined earlier brass band marches, French quadrilles, biguine, ragtime, the Dixieland sound is created when one instrument plays the melody or a variation on it, and the other instruments improvise around that melody. This creates a more sound than the heavily arranged big band sound of the 1930s or the straight melodies of bebop in the 1940s. The West Coast revival began in the late 1930s in San Francisco which used banjo, the Dutch old-style jazz was played with trumpets, trombones and saxophones accompanied by a single clarinet, sousaphone and a section of Marching percussion usually including a washboard. Dixieland is the given to early jazz by traditional jazz revivalists. The name is a reference to the Old South, specifically anything south of the Mason-Dixon line, the term encompasses earlier brass band marches, French Quadrilles, biguine, ragtime, and blues with collective, polyphonic improvisation. Louis Armstrongs All-Stars was the band most popularly identified with Dixieland during the 1940s and this creates a more polyphonic sound than the arranged ensemble playing of the big band sound or the straight head melodies of bebop. During the 1930s and 1940s, the earlier group-improvisation style fell out of favor with the majority of black players. Though younger musicians developed new forms, many beboppers revered Armstrong, many Dixieland groups of the revival era consciously imitated the recordings and bands of decades earlier. Other musicians continued to create innovative performances and new tunes, for example, in the 1950s a style called Progressive Dixieland sought to blend polyphonic improvisation with bebop-style rhythm. Spike Jones & His New Band and Steve Lacy played with such bands and this style is sometimes called Dixie-bop
5.
Cornet
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The cornet /ˈkɔːrnɪt/ is a brass instrument similar to the trumpet but distinguished from it by its conical bore, more compact shape, and mellower tone quality. The most common cornet is an instrument in B♭, though there is also a soprano cornet in E♭. Both are unrelated to the renaissance and early baroque cornett, the cornet was initially derived from the post horn around 1820 in France. Among the first manufacturers of modern cornets was Parisian Jean Asté in 1828, cornets first appeared as separate instrumental parts in 19th century French compositions. This instrument could not have developed without the improvement of piston valves by Silesian oboe player Friedrich Blühmel. These two instrument makers almost simultaneously invented valves, though it is likely that Blühmel was the inventor and they jointly applied for a patent and were granted this for a period of ten years. Later, and most importantly, François Périnet received a patent in 1838 for a valve which is the basis of all modern brass instrument piston valves. Up until the early 20th century, the trumpet and cornet coexisted in musical ensembles, symphonic repertoire often involves separate parts for trumpet and cornet. As several instrument builders made improvements to instruments, they started to look and sound more alike. The modern day cornet is used in bands, concert bands. The name cornet derives from corne, meaning horn, itself from Latin cornu, while not musically related, instruments of the Zink family are named cornetto or cornett in modern English to distinguish them from the valved cornet described here. The 11th edition of the Encyclopædia Britannica referred to serpents as old wooden cornets, the Roman/Etruscan cornu is the lingual ancestor of these. It is a predecessor of the post horn from which the evolved and was used like a bugle to signal orders on the battlefield. The instrument was once referred to as a cornopean, referencing the earliest cornets with the Stölzel valve system. The cornet was invented by adding valves to the post horn in 1814, the valves allowed for melodic playing throughout the register of the cornet. Trumpets were slower to adopt the new technology, so for the next 100 years or more. The trumpet would play fanfare-like passages, while the cornet played more melodic passages, the modern trumpet has valves that allow it to play the same notes and fingerings as the cornet. Cornets and trumpets made in a key play at the same pitch
6.
Louis Armstrong
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Louis Armstrong, nicknamed Satchmo or Satch, was an American trumpeter, composer, singer and occasional actor who was one of the most influential figures in jazz. His career spanned five decades, from the 1920s to the 1960s and he was also skilled at scat singing. Armstrong was one of the first truly popular African-American entertainers to cross over and he rarely publicly politicized his race, often to the dismay of fellow African Americans, but took a well-publicized stand for desegregation in the Little Rock crisis. His artistry and personality allowed him socially acceptable access to the upper echelons of American society which were restricted for black men of his era. Armstrong often stated that he was born on July 4,1900, although he died in 1971, it was not until the mid-1980s that his true birth date, August 4,1901, was discovered by the researcher Tad Jones through the examination of baptismal records. Armstrong was born into a family in New Orleans, Louisiana. He spent his youth in poverty, in a neighborhood known as the Battlefield. His father, William Armstrong, abandoned the family when Louis was an infant and his mother, Mary Mayann Albert, then left Louis and his younger sister, Beatrice Armstrong Collins, in the care of his grandmother, Josephine Armstrong, and at times his uncle Isaac. At five, he moved back to live with his mother, her relatives and he attended the Fisk School for Boys, where he most likely had early exposure to music. He hung out in dance halls close to home, where he observed everything from licentious dancing to the quadrille, after dropping out of the Fisk School at age eleven, Armstrong joined a quartet of boys who sang in the streets for money. He also started to get into trouble, Cornet player Bunk Johnson said he taught Armstrong to play by ear at Dago Tonys Tonk in New Orleans, although in his later years Armstrong gave the credit to Oliver. It has given me something to live for and he also worked for a Lithuanian-Jewish immigrant family, the Karnofskys, who had a junk-hauling business and gave him odd jobs. They took him in and treated him like family, knowing he lived without a father and he later wrote a memoir of his relationship with the Karnofskys, Louis Armstrong + the Jewish Family in New Orleans, La. the Year of 1907. Armstrong wore a Star of David pendant for the rest of his life and wrote about what he learned from them, how to live—real life, professor Peter Davis instilled discipline in and provided musical training to the otherwise self-taught Armstrong. Eventually, Davis made Armstrong the band leader, the home band played around New Orleans and the thirteen-year-old Louis began to draw attention by his cornet playing, starting him on a musical career. At fourteen he was released from the home, living again with his father and new stepmother, Gertrude, Armstrong got his first dance hall job at Henry Ponces, where Black Benny became his protector and guide. He hauled coal by day and played his cornet at night, later, he played in brass bands and riverboats of New Orleans, and began traveling with the well-regarded band of Fate Marable, which toured on a steamboat up and down the Mississippi River. He described his time with Marable as going to the University, in 1919, Joe Oliver decided to go north and resigned his position in Kid Orys band, Armstrong replaced him
7.
Mute (music)
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A mute is a device fitted to a musical instrument to alter the sound produced, by affecting the timbre, reducing the volume, or most commonly both. The use of a mute is usually indicated in musical notation by the Italian direction con sordino and removed with the senza sordino direction, which means without mute. On string instruments of the family, the mute takes the form of a device attached to the bridge of the instrument, dampening vibrations and resulting in a softer, darker. On the cello and double bass, a mute is often attached to the G-string. On the guitar, a player may palm mute their guitar, some instruments, such as the Fender Jaguar and the Rickenbacker 4001 and 4003 electric bass guitars have built-in string mutes. A variety of mutes have been used on instruments, most of which either squeeze inside the bell of the instrument. The most common type is the mute, a hollow. The second most common brass mute is the cup mute, there are a range of other mutes for brass, such as the solotone mute, the buzz-wah mute, the Wah-wah mute, bucket mutes, and hats or plungers. Muting woodwind instruments is very uncommon, saxophone mutes which are usually made of a soft material, which is placed in the bell to soften the tone. Percussion instruments often require no specialist mutes, the triangle is muted by simply gripping the instrument with the hand, stopping it from vibrating so much. Drums may require muting if they ring too much with cloth, the soft pedal of the piano can be seen as having the effect of a mute. It used to be common for pianos to be fitted with another kind of mute — a piece of felt or similar material which would sit between the hammers and the strings and this results in a very muffled and much quieter sound. It was not used in any context, but was useful for reducing the volume of the instrument when practicing and was often termed a Practice Pedal. Few pianos, apart from some uprights, have this device today, the use of a mute is usually indicated in musical notation by the Italian direction con sordino, which means with mute. The mute should be removed with the senza sordino direction, which means without mute, when written in English the directions, mute and open or unmute are used. The equivalent German terms for with mute are mit Dämpfer, the word Dämpfer is cognate to English damper. In French music, the word for the mute is sourdine, in the case of strings, mute-on and mute-off indications are often written into their parts by players in the form of signs. One example of a sign is an E to indicate when the mute is put on
8.
Donaldsonville, Louisiana
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Donaldsonville is a small city in and the parish seat of Ascension Parish in south Louisiana, United States, located along the River Road of the west bank of the Mississippi River. The population was 7,436 at the 2010 census, a decrease of more than 150 from the 7,605 tabulation in 2000, Donaldsonville is part of the Baton Rouge Metropolitan Statistical Area. Its Historic District has what has been described as the finest collection of buildings from the era to 1933. Union forces attacked the city, occupying it and several of the river beginning in 1862. Fort Butler was built on the west bank of the Mississippi River, the fort was successfully defended on June 28,1863, against a Confederate attack. This battle was one of the first occasions where free blacks, the fort is listed on the National Register of Historic Places. Various cultures of indigenous peoples lived here along the Mississippi River for thousands of years prior to European colonization, the Houma and Chitimacha peoples lived in the area. During the early years of colonization, they suffered high rates of fatalities due to infectious diseases, descendants of both tribes were federally recognized as organized groups in the 20th century and they each have reservations in Louisiana. The French were the first Europeans to colonize the area and they named the site Lafourche-des-Chitimachas, after the regional indigenous people and the local bayou, which they gave the same name. They developed agriculture in the parish, mainly as sugar plantations worked by African slave labor. Acadians, expelled by the British from Acadia in 1755, began to settle in the area from 1756 to 1785, where they developed small subsistence farms. In 1772 when the territory was under Spanish rule, the militia constructed La Iglesia de la Ascensión de Nuestro Señor Jesucristo de Lafourche de los Chetimaches to serve the area, the region returned later to French control for a time. This area was included in the Louisiana Purchase in 1803 and became part of the United States, Americans began to move into the area. Landowner and planter William Donaldson in 1806 commissioned the architect and planner, Barthelemy Lafon and it was renamed Donaldsonville after him. As a result of the wealth gained from sugar and cotton commodity crops, they built fine mansions. In the summer of 1862, Donaldsonville was bombarded by Union forces during the American Civil War as part of the Unions effort to control of the Mississippi River. Admiral David G. Farragut destroyed much of the capital city and put Ascension Parish under martial law. All of the citizens of Donaldsonville, left their homes and went to the bayou
9.
Ascension Parish, Louisiana
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Ascension Parish is a parish located in the U. S. state of Louisiana. As of the 2010 census, the population was 107,215, the parish was created in 1807. Ascension Parish is part of the Baton Rouge, LA Metropolitan Statistical Area as well as the Baton Rouge–Pierre Part Combined Statistical Area and it is one of the fastest growing parishes in the state. During the American Civil War, desertions had been of concern to the Confederate States Army. Henry Watkins Allen, before he was governor, reported more than eight thousand deserters and draft-dodgers about Bayou Teche, there were some 1,200 deserters in Livingston, St. Tammany, and Ascension parishes. Planters in Ascension Parish later complained of raids by guerrillas, in 1864, planter W. R. Hodges requested soldiers to protect the planted fields from such attacks. Union soldiers were accused of wandering about at will, and helping themselves, to whatever could be found, explains the historian John D. Winters in his The Civil War in Louisiana, long a Democratic bastion, since the late 20th century, like much of the rest of the South, Ascension Parish has registered more Republicans and election results have shifted. Since 2000, nearly 14,000 new voters have registered in Ascension Parish, Democrats still lead in registrants with 28,181, Republicans follow with 16,218. There are also 13,052 No Party registrants, as permitted under Louisiana law, Ascension Parish also had a small number of voters registered as upper case Independents. As of April 2007 there were 31 Libertarian Party members and 33 Reform Party registrants, the total registrants in April 2007 stood at 58,221. Republican Eddie J. Lambert, an attorney in Gonzales who resides in Prairieville, has represented Ascension Parish in the Louisiana State Senate since 2016, previously, he was the area state representative from 2004 to 2016. He unseated Juba Diez, the representative from 1976 to 2004, joe Sevario, a Prairieville businessman, served in the state Senate for District 18, including Ascension Parish, from 1976 to 1994. The pair is charged with encouraging a candidate to withdraw from an election on November 8,2016. The grand jury released its true bill to Judge Tess Stromberg of the 23rd Judicial District Court in Ascension, Assumption, among those who testified in the case were Democratic Gonzales City Council member Neal Bourqueat. Matassa and Berthelot turned themselves in to authorities and posted a $5,000 bond, reports, meanwhile, surfaced of a move before the parish council calling for Matassa to resign. He cannot be forced from the office, however, unless convicted of the crime, Matassa and Berthelot fcould receive up to two years in state prison either with or without hard time and/or a fine of $2,000. According to the U. S. Census Bureau, the parish has an area of 303 square miles
10.
Brass band
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A brass band is a musical ensemble generally consisting entirely of brass instruments, most often with a percussion section. Ensembles that include brass and woodwind instruments can in certain traditions also be termed brass bands, balkan-style Brass Bands play a distinctive style of music originating in 19th-century Balkans when Roma trumpeters influenced by Turkish marching bands transposed Folk music into brass. It is popular throughout the Balkans, especially Serbia, Albania, Macedonia, Romania and Bulgaria, the beats are usually fast and accompanied by kolo. The performers each have their instrument of the orchestra and are called trubači, the best known examples of acclaimed music in this style are from Goran Bregović and Boban Marković Orkestar. The Serbian film maker Emir Kusturica has, through his films, all parts apart from the Bass Trombone and percussion are now written in Treble Clef. Note that despite its musical range, the horn in E♭ is traditionally called the tenor horn in British bands. Brass bands have a tradition of competition between bands, often based around local industry and communities. Annual competitions are held in countries to select champion bands at various levels of musical competence. The Salvation Army, part of the Christian church, has deployed brass bands since 1878, the most well-known Salvation Army brass band is The International Staff Band which is based in London. Salvation Army bands vary considerably in size and complement as they are based on the personnel available. The cornet section of a Salvation Army band does not include a Repiano, a Salvation Army band may have 3-6 tenor horns, 2-4 baritones and 2-6 tenor trombones. Salvation Army bands have a tradition of training children in brass playing from an early age. In larger Salvation Army churches there will often be a Junior Band for children as well as a Senior Band for adults, fanfare orchestras are a type of brass band mainly found in Belgium and the Netherlands, while several ensembles exist in Germany, France and Luxembourg. Unlike British bands, they also sport saxophones, there are fanfares affiliated to the military and civil fanfare orchestras which are an important element of cultural tradition in some areas. The tradition of bands in New Orleans, Louisiana dates to the late 19th. Traditionally, New Orleans brass bands could feature various instrumentations, often including trumpets, trombones, clarinets, saxophones, sousaphones and percussion. The Treme Brass Band, while not as old, has members who have been influential throughout New Orleans Brass Band music, a well-known use of these bands is for the New Orleans jazz funeral. Also, a number of groups outside the United States have begun playing this style of music, the style of the music is often characterized by the use of the sousaphone in place of a Double bass to play the bass-line
11.
Storyville, New Orleans
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Storyville was the red-light district of New Orleans, Louisiana from 1897 to 1917. It was established by municipal ordinance under the New Orleans City Council, to regulate prostitution, Sidney Story, a city alderman, wrote guidelines and legislation to control prostitution within the city. The ordinance designated a sixteen block area as the part of the city in which prostitution, the area was originally referred to as The District, but its nickname, Storyville, soon caught on, much to the chagrin of Alderman Story. It was bound by the streets of North Robertson, Iberville, Basin and it was located by a train station, making it a popular destination for travelers throughout the city, and became a centralized attraction in the heart of New Orleans. Only a few of its remnants are now visible, the neighborhood lies in Faubourg Tremé and the land is now used for housing projects. The thirty-eight block area was bounded by Iberville, Basin, St. Louis and his vision came from port cities that legalized prostitution and was officially established on July 6,1897. Most of this district is now occupied by the Iberville Housing Projects. The District was set up to limit prostitution to one area of town where authorities could monitor, in the late 1890s, the New Orleans city government studied the legalized red light districts of northern German and Dutch ports and set up Storyville based on such models. Between 1895 and 1915, blue books were published in Storyville and these books were guides to prostitution for visitors to the districts services, they included house descriptions, prices, particular services, and the stock each house offered. The Storyville blue-books were inscribed with the motto, Order of the Garter and it took some time for Storyville to gain recognition, but by 1900, Storyville was on its way to becoming New Orleanss largest revenue center. Establishments in Storyville ranged from cheap cribs to more expensive houses, New Orleans cribs were 50-cent joints, whereas the more expensive establishments could cost up to $10. Black and white brothels coexisted in Storyville, but black men were barred from legally purchasing services in black or white brothels. Following the establishment of brothels, restaurants and saloons began to open in Storyville. The District was adjacent to one of the railway stations. Jazz did not originate in Storyville, but it flourished there as in the rest of the city, many out-of-town visitors first heard this style of music there before the music spread north. Some outsiders continue to associate Storyville with the origins of jazz and it was tradition in the better Storyville establishments to hire a piano player and sometimes small bands. Famous musicians who got their start in Storyville include Buddy Bolden, Jelly Roll Morton, at the start of World War I, Secretary of War Newton Baker did not want troops to have distractions while deploying. The Navy had troops located in New Orleans and the city was pressed to close Storyville, Prostitution was made illegal in 1917 and Storyville was used for the purpose of entertainment
12.
Kid Ory
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Edward Kid Ory was a Louisiana French-speaking jazz trombonist and bandleader. He was born in Woodland Plantation, near La Place, Louisiana, Ory started playing music with homemade instruments in his childhood, and by his teens was leading a well-regarded band in southeast Louisiana. He kept La Place, Louisiana, as his base of operations because of family obligations until his twenty-first birthday and he was one of the most influential trombonists of early jazz. When Ory was living on Jackson Avenue, he was discovered by Buddy Bolden, playing his first new trombone, Orys sister said he was too young to play with Bolden. Garland and Carey were longtime associates who would still be playing with Ory during his 1940s comeback, while in Los Angeles, Ory and his band recorded two instrumentals, Orys 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. His band recorded with Nordskog Records, Ory paid them Nordskog for the pressings and then sold them with his own label, Kid Orys Sunshine Orchestra, at Spikes Brothers Music Store in Los Angeles. In 1925, Ory moved to Chicago, where he was active, working and recording with Louis Armstrong, Jelly Roll Morton, Oliver, Johnny Dodds, Bessie Smith, Ma Rainey. He mentored Benny Goodman and, later, Charles Mingus, during the Great Depression Ory retired from music and did not play again until 1943. From 1944 to about 1961 he led one of the top New Orleans–style bands of the period, all but Buckner, Probert, and Ewell were originally from New Orleans. The Ory band was an important force in reviving interest in New Orleans jazz, in 1944–45 the group made a series of recordings for Crescent Records, which was founded by Nesuhi Ertegun for the express purpose of recording Orys band. During the late 1940s and early 1950s, Ory and his group appeared at the Beverly Cavern in Los Angeles, Ory retired from music in 1966 and spent his last years in Hawaii, with the assistance of Trummy Young. He was buried at Holy Cross Cemetery in Culver City, California,1956 The Legendary Kid 1956 Favorites. Musical Metropolis, Los Angeles and the Creation of Music Culture 1880-1940 Kid Ory on redhotjazz
13.
Tulane University
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Tulane University is a private, nonsectarian research university in New Orleans, Louisiana, United States. It is generally considered the top university and the most selective institution of education in the state of Louisiana. From a nationwide perspective, U. S. News & World Report categorizes Tulane as most selective, the school is known to attract a geographically diverse student body, with 85% of undergraduate students coming from over 300 miles away. The school was founded as a medical college in 1834. The institution was privatized under the endowments of Paul Tulane and Josephine Louise Newcomb in 1884, Tulane is the 9th oldest private university in the Association of American Universities, which consists of major research universities in the United States and Canada. The Tulane University Law School and Tulane University Medical School are considered the 12th oldest and 15th oldest law and medical schools, respectively, members of Congress, heads of Federal agencies, two Surgeon Generals of the United States, U. S. At least two Nobel laureates have been affiliated with the University, the university was founded as the Medical College of Louisiana in 1834 partly as a response to the fears of smallpox, yellow fever, and cholera in the United States. The university became only the medical school in the South. In 1847, the legislature established the school as the University of Louisiana, a public university. Subsequently, in 1851, the university established its first academic department, the first president chosen for the new university was Francis Lister Hawks, an Episcopalian priest and prominent citizen of New Orleans at the time. The university was closed from 1861 to 1865 during the American Civil War, after reopening, it went through a period of financial challenges because of an extended agricultural depression in the South which affected the nations economy. Paul Tulane, owner of a dry goods and clothing business. This donation led to the establishment of a Tulane Educational Fund and this act created the Tulane University of Louisiana. The university was privatized, and is one of only a few American universities to be converted from a public institution to a private one. In 1884, William Preston Johnston became the first president of Tulane and he had succeeded Robert E. Lee as president of Washington and Lee University after Lees death. He had moved to Louisiana and become president of Louisiana State University, in 1885, the university established its graduate division, later becoming the Graduate School. One year later, gifts from Josephine Louise Newcomb totaling over $3.6 million, Newcomb was the first coordinate college for women in the United States and became a model for such institutions as Pembroke College and Barnard College. In 1894 the College of Technology formed, which would become the School of Engineering
14.
William Manuel Johnson
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William Manuel Bill Johnson, was an American jazz musician, considered the father of the slap style of double bass playing. Johnson claimed to have started slapping the strings of his bass after he broke his bow on the road with his band in northern Louisiana in the early 1910s. Other New Orleans string bass players picked up this style, Johnson was founder and manager of the first jazz band to leave New Orleans and tour widely in the 1910s, The Original Creole Orchestra. In Chicago in the early 1920s he assembled King Olivers Creole Jazz Band and he taught younger Chicago musicians his slap style of string bass playing. He made many recordings in Chicago in the late 1920s. Johnson continued to play with jazz bands and orchestras into the early 1950s. He was also involved in the business along the USA-Mexico border. Johnsons brother Ollie Dink Johnson was also a musician and his sister Anita Gonzales was common-law wife or perhaps married to Ferdinand Jelly Roll Morton during his stays in California. Bill Johnson died in New Braunfels, Texas, at the age of 100. com
15.
Paul Barbarin
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Adolphe Paul Barbarin was a New Orleans jazz drummer, usually regarded as one of the very best of the pre-Big Band era jazz drummers. He studied under the famed drummer, Louis Cottrell, Sr, from the 1950s on, he usually led his own band. He, along with Louis Cottrell, Jr. founded and led the second incarnation of the Onward Brass Band from 1960 to 1969, Paul Barbarin died on February 17,1969 while playing snare drums with Onward Brass Band during a New Orleans Mardi Gras parade. Record producer Al Rose said that his funeral attracted one of the mobs in New Orleans funeral history
16.
Baby Dodds
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Warren Baby Dodds was a jazz drummer born in New Orleans, Louisiana. He is regarded as one of the best jazz drummers of the pre-big band era and he varied his drum patterns with accents and flourishes, and he generally kept the beat with the bass drum while playing buzz rolls on the snare. Some of his influences included Louis Cottrell, Sr. Harry Zeno, Henry Martin. Dodds was among the first drummers to be recorded who improvised while performing, Baby Dodds was the younger brother of clarinetist Johnny Dodds. He was born into a musical family. His father and uncle played violin and his sister played harmonica, in addition, his father was religious and the family regularly sang hymns together. Then I took some rounds out of my mothers chairs and made out of them. At age 16, Dodds saved up money to buy his own drum set. Although Dodds had several paid teachers during his years as a drummer. He started playing in parades around New Orleans with Bunk Johnson and his band and then got a job playing in Willie Hightowers band. The band played in venues around New Orleans, and Dodds recalls hearing many musicians along the way, including Buddy Bolden, John Robichaux. He played with different outfits including those of Frankie Duson and Sonny Celestin. Dodds describes this experience in his autobiography, The jazz played after New Orleans funerals didnt show any lack of respect for the person being buried and it rather showed their people that we wanted them to be happy. Dodds gained reputation as a top young drummer in New Orleans, in 1918, Dodds left Sonny Celestins outfit to play in Fate Marables riverboat band. A young Louis Armstrong also joined the band, and the two of them were on the boats for three years, the band played on four different boats, and usually left New Orleans in May and travel to St. Louis, though they also sometimes traveled further north. They played jazz, popular, and classical music while on the boats, Dodds and Armstrong left Fate Marables band in 1921 due to a disagreement about musical style, and Dodds soon joined King Olivers Creole Jazz Band. They moved to California in 1921 to work with Oliver there, in 1922, the band, excepting Garland, Palao, and Jones, followed Oliver to Chicago, which would be his base of operations for several years. They began playing at the Lincoln Gardens, and Louis Armstrong also joined this outfit, Dodds describes playing with this band as a beautiful experience
17.
Lil Hardin Armstrong
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Lil Hardin Armstrong was a jazz pianist, composer, arranger, singer, and bandleader. She was the wife of Louis Armstrong, with whom she collaborated on many recordings in the 1920s. Her compositions include Struttin with Some Barbecue, Dont Jive Me, Two Deuces, Knee Drops, Doin the Suzie-Q, Just for a Thrill, Clip Joint, and Bad Boy. Her composition Oriental Swing was heavily sampled to create Parov Stelars 2012 retro-song Booty Swing, Armstrong was inducted into the Memphis Music Hall of Fame in 2014. She was born Lillian Hardin in Memphis, Tennessee, where she grew up in a household with her grandmother, Priscilla Martin, during her early years, Hardin was taught hymns, spirituals, and European classical music on the piano. She was drawn to music and later blues. Hardin was married to Louis Armstrong which she met in her band, Hardin first received piano instruction from her third-grade teacher, Violet White. Her mother then enrolled her in Mrs. Hooks School of Music and it was at Fisk University, a college for African Americans located in downtown Nashville, that Hardin was taught a more acceptable approach to the instrument. She received a diploma from Fisk, returning to Memphis in 1917, in August 1918, she moved to Chicago with her mother and stepfather. By then, she had become proficient in reading music, a skill that landed her a job as a sheet music demonstrator at Jones Music Store, the store had been paying Hardin $3 a week, but bandleader Lawrence Duhé offered $22.50. Knowing that her mother would not approve of her working in a cabaret, three weeks later, the band moved on to a better booking at the De Luxe Café, where the entertainers included Florence Mills and Cora Green. From there, the band moved up to the jewel of Chicagos nightlife, here the principal entertainers were Alberta Hunter and Ollie Powers, and there was no finer nightspot in Chicago. When King Olivers Creole Jazz Band replaced Duhés group at the Dreamland and she was with Oliver at the Dreamland in 1921, when an offer came for the orchestra to play a six-month engagement at San Franciscos Pergola Ballroom. At the end of that booking, Hardin returned to Chicago and she later studied at the New York College of Music, where she earned a postdoctorate degree in 1929. In Chicago, Hardin went back to work at the Dreamland, as pianist in an orchestra for Mae Brady, while there, she fell for Jimmie Johnson, a young singer from Washington, D. C. whom she married on August 22,1922. The marriage was short-lived, ending in divorce, in the meantime, the Oliver band returned from California and opened at the Royal Gardens, with Bertha Gonzales at the piano, but soon found itself back at the Dreamland, with Hardin at the piano. King Olivers band was enjoying success at the Dreamland when he sent for Louis Armstrong to join as second cornetist. Armstrong was beginning to make a name for himself in their hometown, New Orleans, and regarded Oliver as his mentor
18.
Gennett Records
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Gennett was an American record company and label in Richmond, Indiana, which flourished in the 1920s. Gennett produced some of the earliest recordings of Louis Armstrong, King Oliver, Bix Beiderbecke and its roster also included Jelly Roll Morton, Blind Lemon Jefferson, Charley Patton, and Gene Autry. Gennett Records was founded in Richmond, Indiana, by the Starr Piano Company and it released its first records in October 1917. The company took its name from its top managers, Harry, Fred, earlier, the company had produced recordings under the Starr Records label. Gennett set up recording studios in New York City and later, in 1921, the sides recorded in New York are generally of about typical audio fidelity for a minor label of the time, and some masters were leased from other New York area firms. Many early religious recordings were made by Homer Rodeheaver, early shape note singers and others, Gennett issued a few early electrically recorded masters recorded in the Autograph studios of Chicago in 1925. These recordings were crude, and like many other Autograph issues are easily mistaken for acoustic masters by the casual listener. Gennett began serious electrical recording in March 1926, using a process licensed from General Electric, at this time the company also introduced an improved record biscuit which was adequate to the demands imposed by the electric recording process. The improved records were identified by a newly designed black label touting the New Electrobeam process, from 1925 to 1934, Gennett released recordings by hundreds of old-time music artists, precursors to country music, including such artists as Doc Roberts and Gene Autry. By the late 1920s, Gennett was pressing records for more than 25 labels worldwide, in 1926, Fred Gennett created Champion Records as a budget label for tunes previously released on Gennett. The Gennett Company was hit severely by the Great Depression in 1930 and it cut back on record recording and production until it was halted altogether in 1934. At this time the only product Gennett Records produced under its own name was a series of recorded sound effects for use by radio stations, in 1935 the Starr Piano Company sold some Gennett masters, and the Gennett and Champion trademarks to Decca Records. Kapp also attempted to revive the Gennett and Champion labels between 1935 and 1937 as specialists in bargain pressings of race and old-time music with but little success. The Starr record plant soldiered on under the supervision of Harry Gennett through the remainder of the decade by offering contract pressing services. For a time the Starr Piano Company was the manufacturer of Decca records. In the years remaining before World War II, Gennett did contract pressing for a number of New York-based jazz and folk music labels, including Joe Davis, Keynote and Asch. With the coming of the Second World War, the War Production Board in March 1942 declared shellac a rationed commodity, newly organized record labels were forced to purchase their shellac allocations from existing companies. Joe Davis purchased the Gennett shellac allocation, some of which he used for his own labels, brunswick Records acquired the old Gennett pressing plant for Decca
19.
Okeh Records
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Okeh Records was a record label founded by the Otto Heinemann Phonograph Corporation, a phonograph supplier established in 1916, which branched out into phonograph records in 1918. Since 1926, it has been a subsidiary of Columbia Records, today, Okeh is an imprint of Sony Masterworks, a specialty label of Columbia. Okeh was founded by Otto K. E. Heinemann, a German-American manager for the U. S. branch of German-owned Odeon Records, Heinemann formed the name of the record label from his initials, on early disc labels, the name is spelled OkeH. The first discs were vertical cut, in 1919, Okeh switched to the lateral-cut method of sound recording, more commony used for disc records. In that year the parent company was renamed the General Phonograph Corporation. The common 10-inch discs retailed for 75 cents each, the 12-inch discs for $1.25, the companys musical director was Fred Hager, who was also credited under the pseudonym Milo Rega. Okeh produced lines of recordings in German, Czech, Polish, Swedish, some were pressed from masters leased from European labels, others were recorded by Okeh in New York. In 1920, Ralph Peers recordings of the African-American blues singer Mamie Smith were a smash hit for Okeh. The company perceived the significant, little-tapped market for blues and jazz by African-American artists, in 1922, Okeh hired Clarence Williams as director of race recordings for Okehs New York studios, in addition to making recordings under his own name. Okeh then opened a studio in Chicago, the center of jazz in the 1920s. Many classic jazz performances by prominent artists as King Oliver, Lucille Bogan, Sidney Bechet, Hattie McDaniel, Louis Armstrong. As part of the Carl Lindstrom Company, Okeh recordings were distributed by other Lindstrom labels, King Oliver and Bennie Moten recorded for Okeh before moving on to other labels. The 8000 race series is highly prized by collectors, partly because Okeh recorded many blues, in 1926, Okeh was sold to Columbia Records. Columbia and its subsequent parent companies have controlled Okeh since then, the original Mamie Smith recording was in 1920, of Crazy Blues. General Phonograph Corp, Okehs manufacturer, used Smith’s success as the press to cultivate the new found market. Okeh had further prominence in the demographic, as African-American artists such as Sara Martin, Eva Taylor, Shelton Brooks, Esther Bigeou, Okeh started a special 8000 series devoted exclusively to race artists. The success of this series led Okeh to start recording where the music was being performed, the 8000 series, which began in 1921, lasted until late 1934, the final number being 8966. Okeh Records pioneered the practice of recording in 1922
20.
Paramount Records
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Paramount Records was an American record label known for its recordings of jazz and blues in the 1920s and early 1930s, including such artists as Ma Rainey and Blind Lemon Jefferson. Paramount Records was founded in 1917 by the Wisconsin Chair Company, the labels offices were located in Port Washington, Wisconsin and the pressing plant was in Grafton. The label was managed by Fred Dennett Key, the Wisconsin Chair Company made wooden phonograph cabinets for Edison Records. In 1915 it started making its own phonographs in the name of its subsidiary and it made phonographs under the Vista brand name through the end of the decade, the line failed commercially. In 1918, a line of gramophone records debuted on the Paramount label, advertisements, however, stated, Paramounts are recorded in our own New York laboratory. In its early years, the Paramount label fared only slightly better than the Vista phonograph line, the product had little to distinguish itself. Paramount released pop recordings with average audio quality pressed on average quality shellac, in the early 1920s, Paramount was accumulating debt while producing no profit. Paramount began offering to press records for other companies on a basis at low prices. Paramount was contracted to press discs for Black Swan Records, when the Black Swan company later floundered, Paramount bought out Black Swan and made records by and for African-Americans. These so-called race music records became Paramounts most famous and lucrative business, Paramounts race record series was launched in 1922 with vaudeville blues songs by Lucille Hegamin and Alberta Hunter. The company had a large mail-order operation which was a key to its early success, most of Paramounts race music recordings were arranged by black entrepreneur J. Mayo Williams. Williams did not know at the time that the market had become Paramounts prime business. Problems with low fidelity and poor pressings continued, Blind Lemon Jeffersons 1926 hits, Got the Blues and Long Lonesome Blues, were quickly rerecorded in the superior facilities of Marsh Laboratories, and subsequent releases used the rerecorded version. Both versions were released on compilation albums, in 1927, Ink Williams moved to competitor Okeh Records, taking Blind Lemon Jefferson with him for just one recording, Matchbox Blues. Paramounts recording of the song can be compared with Okehs on compilation albums. In 1929, Paramount was building a new studio in Grafton, so it sent Charley Patton —sent up by Jackson, Mississippi, storeowner H. C. Speir —to the studio of Gennett Records in Richmond, Indiana, where on June 14 he cut 14 famous sides, as the 12000 race series sold well, Paramounts 20000 popular series floundered. Paramount turned to its label, Broadway Records, which was taken over by Paramount following the collapse of Bridgeport Die & Machine Company in 1924
21.
Columbia Records
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Columbia Records is an American record label owned by Sony Music Entertainment, a subsidiary of Sony Corporation of America, Inc. the United States division of Sony Corporation. It was founded in 1887, evolving from an enterprise named the American Graphophone Company. Columbia is the oldest surviving brand name in the sound business. Columbia Records went on to release records by an array of singers, instrumentalists. It is one of Sony Musics three flagship record labels alongside RCA Records and Epic Records, rather, as above, it was connected to CBS, a broadcasting media company which had purchased the company in 1938, and had been co-founded in 1927 by Columbia Records itself. Though Arista Records was sold to Bertelsmann Music Group, it would become a sister label of Columbia Records through its mutual connection to Sony Music. The Columbia Phonograph Company was founded in 1887 by stenographer, lawyer and New Jersey native Edward Easton and it derived its name from the District of Columbia, where it was headquartered. At first it had a monopoly on sales and service of Edison phonographs and phonograph cylinders in Washington. As was the custom of some of the regional companies, Columbia produced many commercial cylinder recordings of its own. Columbias ties to Edison and the North American Phonograph Company were severed in 1894 with the North American Phonograph Companys breakup, thereafter it sold only records and phonographs of its own manufacture. In 1902, Columbia introduced the XP record, a brown wax record. According to Gracyk, the molded brown waxes may have sold to Sears for distribution. Columbia began selling records and phonographs in addition to the cylinder system in 1901, preceded only by their Toy Graphophone of 1899. For a decade, Columbia competed with both the Edison Phonograph Company cylinders and the Victor Talking Machine Company disc records as one of the top three names in American recorded sound. In order to add prestige to its catalog of artists. The firm also introduced the internal-horn Grafonola to compete with the extremely popular Victrola sold by the rival Victor Talking Machine Company, during this era, Columbia used the famous Magic Notes logo—a pair of sixteenth notes in a circle—both in the United States and overseas. Columbia was split into two companies, one to make records and one to make players, Columbia Phonograph was moved to Connecticut, and Ed Easton went with it. Eventually it was renamed the Dictaphone Corporation, in late 1923, Columbia went into receivership
22.
Red Allen
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Henry James Red Allen was a jazz trumpeter and vocalist whose style has been claimed to be the first to fully incorporate the innovations of Louis Armstrong. Allen was born in the Algiers neighborhood of New Orleans, Louisiana and he took early trumpet lessons from Peter Bocage and Manuel Manetta. Allens career began in Sidney Desvignes Southern Syncopators and he was playing professionally by 1924 with the Excelsior Brass Band and the jazz dance bands of Sam Morgan, George Lewis and John Casimir. After playing on riverboats on the Mississippi River, he went to Chicago in 1927 to join King Olivers band, around this time he made recordings on the side in the band of Clarence Williams. In 1929 Allen joined Luis Russells Orchestra, in which he was a featured soloist until 1932 and he took part in recording sessions that year organized by Eddie Condon, some of which featured Fats Waller and Tommy Dorsey. He also made a series of recordings in late 1931 with Don Redman, in 1933 he joined Fletcher Hendersons Orchestra, in which he stayed until 1934. He played with Lucky Millinders Mills Blue Rhythm Band from 1934 to 1937, Allen seldom received any solo space on recordings with Armstrong but was prominently featured in the bands live performances, even getting billing as a featured attraction. As a bandleader, Allen recorded for Victor from 1929 through 1930, a number of these were popular at the time. He did a session for Decca in 1940 and two sessions for OKeh in 1941. After World War II, he recorded for Brunswick in 1944, Victor in 1946, Allen continued making many recordings under his own name and also with Fats Waller and Jelly Roll Morton and accompanied such vocalists as Victoria Spivey and Billie Holiday. After a short stint with Benny Goodman, Allen started leading his own band at the Famous Door in Manhattan and he then toured with the band around the United States into the late 1950s. In December 1957, Allen made an appearance along with Pee Wee Russell on the television program Sound Of Jazz. In 1959 he made his first tour of Europe when he joined Kid Orys band and he led the house band at New Yorks famous Metropole Cafe from 1954 until the club ceased its jazz policy in 1965. Allen returned to working under his own name and made tours of the United States. He was diagnosed with cancer in late 1966. After undergoing surgery, he made a tour of England. He was survived by his widow, Pearly May, and a son, Red Allens trumpet style has been described, by some critics, as the first to fully incorporate the innovations of Louis Armstrong and to develop an emphasis on phrasing. Allens recordings received much favorable attention and his versatility is shown by his winning of Down Beat awards in both the traditional jazz and the modern jazz categories
23.
Victor Talking Machine Company
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The Victor Talking Machine Company was an American flagship record company headquartered in Camden, New Jersey. The company was founded by Eldridge R. Johnson, who had previously made gramophones to play Emile Berliners disc records, Victor Talking Machine Co. was incorporated officially in 1901 shortly before agreeing to allow Columbia Records use of its disc record patent. Victor had acquired the Pan-American rights to use the trademark of the fox terrier Nipper listening to a gramophone when Berliner. Barraud noticed that whenever he played a recorded by his brother. Barrauds original depicts Nipper staring intently into the horn of an Edison-Bell while both sit on a wooden surface. The London branch was managed by an American, William Barry Owen, Barraud paid a visit with a photograph of the painting and asked to borrow a horn. Owen gave Barraud an entire gramophone and asked him to paint it into the picture, the original painting still shows the contours of the Edison-Bell phonograph beneath the paint of the gramophone when viewed in the correct light. Only 13 originally commissioned His Masters Voice paintings were commissioned by the company, in 1915, the His Masters Voice logo was rendered in immense circular leaded-glass windows in the tower of the Victrola factory building. The tower remains today with replica windows installed during Radio Corporation of Americas ownership of the plant in its later years, today, one of the original windows is located at the Smithsonian museum in Washington, D. C. There are different accounts as to how the Victor name came about, a second account is that Johnson emerged as the Victor from the lengthy and costly patent litigations involving Berliner and Frank Seamans Zonophone. A third story is that Johnsons partner, Leon Douglass, derived the word from his wifes name Victoria, finally, a fourth story is that Johnson took the name from the popular Victor bicycle, which he had admired for its superior engineering. Of these four accounts the first two are the most generally accepted, perhaps coincidentally, the first use of the Victor title on a letterhead, on March 28,1901, was only nine weeks after the death of British Queen Victoria. Before 1925, recording was done by the purely mechanical. No microphone was involved and there was no means of amplification, the recording machine was essentially an exposed-horn acoustical record player functioning in reverse. The sound-vibrated center of the diaphragm was linked to a stylus that was guided across the surface of a very thick wax disc. The wax was too soft to be played back even once without seriously damaging it, although test recordings were sometimes made, although sound quality was gradually improved by a series of small refinements, the process was inherently insensitive. From the start, Victor innovated manufacturing processes and soon rose to preeminence by recording famous performers, in 1903, it instituted a three-step mother-stamper process to produce more stampers and records than previously possible. These new celebrity recordings bore red labels, and were marketed as Red Seal records, for many years these records were single-sided, only in 1923 did Victor begin offering Red Seals in double-sided form
24.
C.G. Conn
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C. G. Conn Ltd. sometimes called Conn Instruments or commonly just Conn, was a United States manufacturer of musical instruments, especially brass instruments. In 1985 their Strobotuner division was bought by Peterson Electro-Musical Products, assets of C. G. Conn were bought by Steinway Musical Instruments in 2000 and in January 2003 were merged with other Steinway properties into a subsidiary called Conn-Selmer. Conn-Selmer is the current company responsible for merchandise manufactured by C. G. Conn Ltd, the company was founded by Charles Gerard Conn. In 1850 he accompanied his family to Three Rivers, Michigan and in the year to Elkhart. Little is known about his life, other than that he learned to play the cornet. With the outbreak of the American Civil War he enlisted in the army on 18 May 1861 at the age of seventeen, on 14 June 1861 he became a private in Company B, 15th Regiment Indiana Infantry, and shortly afterwards was assigned to a regimental band. When his enlistment expired he returned to Elkhart, but re-enlisted on 12 December 1863 at Niles, Michigan in Company G, at the age of nineteen on 8 August 1863 he was elevated to the rank of Captain. During the Assault on Petersburg on 30 July 1864, Conn was wounded, in spite of two imaginative and valiant attempts to escape, he was recaptured and spent the remainder of the war in captivity. He was honorably discharged on 28 July 1865, in 1884 Conn organized the 1st Regiment of Artillery in the Indiana Legion and became its first Colonel, a military title which stayed with him throughout the remainder of his life. He was also the first commander of the Elkhart Commandery of the Knights Templar, Colonel Conn also served as Lieutenant Colonel of the 2nd Regiment of Uniform Rank, Knights of Pythias, and was re-elected many times as Commander of the local G. A. R. His home at Elkhart, the Charles Gerard Conn Mansion, was added to the National Register of Historic Places in 2007, after the war, Conn returned to Elkhart and established a grocery and baking business. He also played cornet in the community band. Conns entrance into the instrument manufacturing business was the result of a split lip. There are three existing stories of how this occurred, but the accepted version is that Del Crampton slugged him in the mouth outside a saloon where both of them had been drinking. Conns upper lip was severely lacerated, and it pained him so to play his cornet that he thought his playing days were over, in addition to running his store, Conn also made rubber stamps and re-plated silverware. He decided to try adhering rubber stamp material to the rim of a mouthpiece which he hoped would conform to his lips, after he showed his friends his idea, he realized that there was tremendous demand for his invention. Conn then began to contemplate manufacturing his new mouthpiece and he needed a rim with a groove which the rubber cement would adhere to more easily. It was in 1874 when Conn converted a discarded sewing machine frame into a simple lathe, Conn patented his rubber-rimmed mouthpiece in 1875 described as an elastic face where the mouthpiece comes in contact with the lips, the object being to prevent fatigue and injury to the lips
25.
Buddy Bolden
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Buddy Boldens father died when he was six, and young Bolden continued to live with his mother and family members afterwards. In documents of the period the name is spelled at different times as Bolen, Bolding, Boldan. He likely went to Fisk School in New Orleans, but evidence for this is circumstantial, as, in the area where he lived, early records of this school and other schools are missing. While there is substantial first hand oral history about Buddy Bolden, stories about his being a barber by trade or that he published a scandal sheet called The Cricket have been repeated in print despite being debunked decades earlier. He was known as King Bolden, and his band was popular in New Orleans from about 1900 until 1907, Bolden was known for his loud sound and improvisation. He made a big impression on younger musicians, while Boldens trombonist Willie Cornish among others recalled making phonograph cylinder recordings with the Bolden band, but no surviving copy has ever been found. Bolden suffered an episode of acute alcoholic psychosis in 1907 at the age of 30, with the full diagnosis of dementia praecox, he was admitted to the Louisiana State Insane Asylum at Jackson, a mental institution, where he spent the rest of his life. Bolden was buried in a grave in Holt Cemetery, a paupers graveyard in New Orleans. In 1998 a monument to Bolden was erected in Holt Cemetery, at least one writer has labeled him the father of jazz. He is credited with creating a looser, more improvised version of ragtime and adding blues to it and he was also said to have taken ideas from gospel music heard in uptown African-American Baptist churches. Instead of imitating other cornetists, Bolden played music he heard by ear, in doing so, he created an exciting and novel fusion of ragtime, black sacred music, marching-band music, and rural blues. Bolden was known for his powerful, loud, wide open playing style, joe King Oliver, Freddie Keppard, Bunk Johnson, and other early New Orleans jazz musicians were directly inspired by his playing. No known recordings of Bolden have survived and his trombonist Willy Cornish asserted that Boldens band had made at least one phonograph cylinder in the late 1890s. Three other old-time New Orleans musicians, George Baquet, Alphonse Picou, the researcher Tim Brooks believes that these cylinders, if they existed, may have been privately recorded for local music dealers and were never distributed in bulk. Some of the songs first associated with his band, such as the traditional song Careless Love, Bolden often closed his shows with the original number Get Out of Here and Go Home, although for more polite gigs, the last number would be Home. One of the most famous Bolden numbers is a song called Funky Butt, Boldens Funky Butt was, as Danny Barker once put it, a reference to the olfactory effect of an auditorium packed full of sweaty people dancing close together and belly rubbing. Other musicians closer to Boldens generation explained that the famous tune originated as a reference to flatulence, I thought I heard Buddy Bolden say, Funky-butt, funky-butt, take it away. It became so known as a rude song that even whistling the melody on a public street was considered offensive
26.
Paul Mares
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Paul Mares, was an American early dixieland jazz cornet & trumpet player, and leader of the New Orleans Rhythm Kings. Mares was born in New Orleans and his father, Joseph E. Mares, played cornet with the military band at the New Orleans lakefront and ran a fur and hide business. Like many New Orleans cornetists of his generation, Joe Maress main influence was King Joe Oliver, about 1919 cornetist Abbie Brunies was offered a job playing in Chicago, and passed the offer on to Mares. In late 1924 Mares returned to New Orleans and he decided to play music on the side while taking over the running of his family fur & hide business. He ran the well and with his prosperity purchased 3 homes for himself and his relatives in New Orleans new suburb of Metairie. Mares also ran a restaurant in New Orleans called The Chicago Bar-B-Q, in the early 1930s he returned to Chicago where he opened up his New Orleans Bar-B-Q there. New Orleans Bar-B-Q became a place for Chicago jazz musicians and home to numerous jam sessions. The 1935 band included the white New Orleanian and N. O. R. K, veteran Santo Pecora on trombone, the black New Orleanian Omar Simeon on clarinet and the legendary Chicagoan altoist, Boyce Brown. Maress last recording session for Okeh Records show his style had not remained static, paul Mares died at the age of 49 of lung cancer, according to his brother Joe, caused by smoking too many cigarettes
27.
Muggsy Spanier
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Francis Joseph Muggsy Spanier was a prominent jazz cornet player based in Chicago. At 13, he began cornet and played with Elmer Schoebel in 1921 and he borrowed the sobriquet of Muggsy from John Muggsy McGraw, the manager of the New York Giants baseball team. In the early 1920s, he played with The Bucktown Five, in 1929 he became a member of a band led by Ted Lewis, then spent two years with Ben Pollack. After an illness, he assembled the eight-man group Muggsy Spanier, in 1939 the band recorded several sessions of Dixieland standards for Bluebird Records that were later called The Great Sixteen and influenced a Dixieland revival. The bands members included George Brunies, Rod Cless, George Zack or Joe Bushkin, Ray McKinstry, Nick Ciazza or Bernie Billings and his other most important ventures were the quartet he co-led with Sidney Bechet in 1940. From 1940–1941 he played with Bob Crosby, in the 1950s, he moved to the West Coast and joined Earl Hiness band from 1957–1959. After touring Europe, he retired in 1964, the Ragtime Bands theme tune was Relaxin at the Touro, named for Touro Infirmary, the New Orleans hospital where Spanier had been treated for a perforated ulcer early in 1938. At the point of death, he was saved by Dr. Alton Ochsner who drained the fluid, one of Spaniers Dixieland numbers is entitled, Oh Doctor Ochsner. Relaxin at the Touro is a fairly straightforward 12-bar blues with a piano introduction, the pianist recalled, many years later, When I finally joined Muggsy in Chicago we met to talk it over at the Three Deuces, where Art Tatum was appearing. Muggsy was now playing opposite Fats Waller at the Sherman hotel, Muggsy was a man of great integrity. We played a blues in C and I made up a little intro, after that I was listed as the co-composer of Relaxin at the Touro. In 1950, in Chicago, Spanier’s second marriage was to Ruth Gries O’Connell, when Spanier was performing at a concert in Chicago in 1956, Buddy Charles was performing at the nearby Black Orchid nightclub. Spanier was heard to exclaim “that’s my boy. ”Bert Whyatt, Muggsy Spanier, The Lonesome Road
28.
Isham Jones
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Isham Edgar Jones was an American bandleader, saxophonist, bassist and songwriter. Jones was born in Coalton, Ohio, to a musical and mining family, and grew up in Saginaw, Michigan, in 1911 one of Joness earliest compositions On the Alamo was published by Tell Taylor Inc. In 1915 Jones moved to Chicago, Illinois and he performed at the Green Mill Gardens, then began playing at Fred Manns Rainbo Gardens. Chicago remained his home until 1932, when he settled in New York City and he also toured England with his orchestra in 1925. In 1917, he composed the tune Were In The Army Now when United States entered the World War I, the same tune has been popular well again during the World War II and its played even by US Army Band. The Isham Jones band made a series of gramophone records for Brunswick throughout the 1920s. His first 26 sides, made at Rainbo Gardens, were credited to Isham Jones Rainbo Orchestra, by the end of 1920, the name was simply Isham Jones Orchestra. He led one of the most popular bands in the 1920s and 1930s. His first successful recording, Wabash Blues written by Dave Ringle and Fred Meinken, was recorded in 1921 by Isham Jones and this million-seller stayed for twelve weeks in the U. S. charts, six at No.1. It was awarded a gold disc by the RIAA, noted musicians who played in Joness band included Louis Panico, Benny Goodman, Woody Herman, Walt Yoder, and Roy Bargy. Reed virtuoso Al Gallodoro appeared briefly with Jones in 1933, taking part in a record date October 3, Jones was reportedly a strict taskmaster and was known for being rather cold and distant. From the start, his Brunswick records were popular, there was a gap from October 1927 to June 1929 where Jones did not record due to disbanding and reorganization. From 1929 to 1932, his Brunswick recordings became more sophisticated with offbeat arrangements by Gordon Jenkins and others, Jones was his own arranger early on. During this period, Jones started featuring violinist Eddie Stone as one of his regular vocalists, Stone had an unusual, almost humorous tone to his voice. His other vocalists included Frank Sylvano, Billy Scott, and Arthur Jarrett, in 1932, he added Joe Martin, another of the bands violinists, as a frequent vocalist. In April that year, young Bing Crosby recorded two sessions with Joness group which included Sweet Georgia Brown, Crosby at this point in his career was still singing in a jazz idiom, transitioning to his better known crooner style. In August 1932, Jones signed with Victor, and these records are considered among the best arranged and performed commercial dance records of the Depression era. Victors recording technique was suited to Jones band, in October 1932, he teamed up with the Three X Sisters in New York who had just departed from CBS radio
29.
Savoy Ballroom
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The Savoy Ballroom was a large ballroom for music and public dancing located at 596 Lenox Avenue, between 140th and 141st Streets in the Harlem neighborhood of Manhattan, New York City. Lenox Avenue was the main thoroughfare through upper Harlem, poet Langston Hughes calls it the Heartbeat of Harlem in Juke Box Love Song, and he set his work Lenox Avenue, Midnight on the legendary street. The Savoy was one of many Harlem hot spots along Lenox and it was opened and owned by white entrepreneur Jay Faggen and Jewish businessman Moe Gale. It was managed by African-American business man and civic leader Charles Buchanan, the Savoy was modeled after Faggens downtown venue, Roseland Ballroom. The Roseland was a swanky, mostly white swing dance club. The Savoys ballroom, which was 10,000 square feet in size, was on the second floor and it could hold up to 4,000 people. The interior was painted pink and the walls were mirrored. Colored lights danced on the sprung layered wood floor, in 1926, the Savoy contained a spacious lobby framing a huge, cut-glass chandelier and marble staircase. Leon James is quoted in Jazz Dance as saying My first impression was that I had stepped into another world, I had been to other ballrooms, but this was different – much bigger, more glamour, real class. The Savoy was extremely popular from the start, a headline from the New York Age March 20,1926, reads Savoy Turns 2,000 Away On Opening Night – Crowds Pack Ball Room All Week. The ballroom did not go dark a single night of the week, the Savoy was unique in having the constant presence of a skilled elite of the best Lindy Hoppers, known as Savoy Lindy Hoppers. Occasionally, groups of dancers such Whiteys Lindy Hoppers turned professional and performed in Broadway, Whitey turned out to be quite a successful agent, and in 1937, the Marx Brothers movie A Day at the Races featured the group. Herbert White was a bouncer at the Savoy who was made manager in the early 30s. He was sometimes known as Mac, but with his ambition to scout dancers at the ballroom to form his own group and he looked for dancers who were young, stylized, and, most of all, they had to have a beat, they had to swing. The Savoy held a yearly dancing festival called the Harvest Moon Ball featuring lindy dancers, the first Ball was held in 1935, and the contestants introduced the Lindy Hop to Europe the next year. Unlike many ballrooms such as the Cotton Club, the Savoy always had a no-discrimination policy, generally, the clientele was 85% black and 15% white, although sometimes there was an even 50/50 split. Somebody else said, Oh, yeah, can he dance, All they wanted to know when you came into the Savoy was, do you dance. Virtuosic dancers, however, excluded others from the northeast corner of the floor, now referred to as the Cats Corner. This part of the floor where the professional Lindy dancers ruled was on the 141st street side of the room and was referred as the corner. Only Whiteys Lindy Hoppers could dance and work routines there, competition was huge in the corner and every serious hopper awaited the nightly showtime
30.
Cotton Club
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The club operated most notably during Americas Prohibition Era. Owney Madden, a prominent bootlegger and gangster, took over the club in 1923 after release from Sing Sing, a deal was arranged between the two that allowed Johnson to still be the club’s manager. Madden used the club as an outlet to sell his #1 beer to the prohibition crowd. While the club was closed briefly in 1925 for selling liquor, a man by the name of Herman Stark became the stage manager from then on. Harlem producer Leonard Harper directed the first two of three opening night floor-shows at the new venue, the Cotton Club was a Whites-only venue. The club reproduced the racist imagery of the times, often depicting blacks as savages in exotic jungles or as darkies in the cotton-growing plantation South, the skin color of the male dancers was more varied. Ellington was expected to write music for an audience of whites. The prices for customers were high so the performers had very high salaries, shows at the Cotton Club were musical revues, and several went under the heading of Cotton Club Parade followed by the year. The revues featured dancers, singers, comedians and variety acts and these revues helped launch the careers of many artists including Fletcher Henderson who led the first house band to play there in 1923. It also helped push Duke Ellingtons career, whose orchestra was the band there from December 4,1927. In 1927, the first revue that Duke Ellington took over as house band was called Rhythmania and featured Adelaide Hall and their recording of Creole Love Call became a worldwide hit. Ellington recorded more than 100 compositions during this era, dorothy Dandridge performed there while still one of The Dandridge Sisters, while Coleman Hawkins and Don Redman played there as part of Hendersons band. Tap dancers Bill Bojangles Robinson, Sammy Davis Jr. and the Nicholas Brothers starred there as well, the club also drew from white popular culture of the day. Walter Brooks, who had produced the successful Broadway show Shuffle Along, was the nominal owner, in 1934, Adelaide Hall starred at the Cotton Club in Cotton Club Parade 1934, the biggest grossing show that ever appeared at the club. The show opened on 11 March and ran for eight months, the score was written by Harold Arlen and Ted Koehler and featured the classic song Ill Wind. During Halls performance of Ill Wind, to add authenticity to the production and it was the first time such equipment had been used on a stage. Featured on the bill was the 16-year-old Lena Horne, the club was closed temporarily in 1936 after the race riot in Harlem the previous year. Photographer Carl Van Vechten vowed to boycott the club for having such racist policies in place, the Cotton Club reopened later that year at Broadway and 48th
31.
Duke Ellington
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Edward Kennedy Duke Ellington was an American composer, pianist, and bandleader of a jazz orchestra, which he led from 1923 until his death in a career spanning over fifty years. Ellington was based in New York City from the mid-1920s onward, in the 1930s, his orchestra toured in Europe. Some of the musicians who were members of Ellingtons orchestra, such as saxophonist Johnny Hodges, are considered to be among the best players in jazz, 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 often composed specifically to feature the style and skills of his individual musicians. Ellington also recorded songs written by his bandsmen, for example Juan Tizols Caravan, and Perdido, after 1941, Ellington collaborated with composer-arranger-pianist Billy Strayhorn, whom he called his writing and arranging companion. With Strayhorn, he composed many extended compositions, or suites, following an appearance at the Newport Jazz Festival, in July 1956, Ellington and his orchestra enjoyed a major career revival and embarked on world tours. Ellington recorded for most American record companies of his era, performed in films, scoring several. His reputation continued to rise after he died, and he was awarded a special posthumous Pulitzer Prize for music in 1999, Ellington was born on April 29,1899, to James Edward Ellington and Daisy Ellington in Washington, D. C. Daisy primarily played parlor songs and James preferred operatic arias and they lived with his maternal grandparents at 2129 Ida Place, NW, in the West End neighborhood of Washington, D. C. Dukes father was born in Lincolnton, North Carolina, on April 15,1879, 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 eras 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, Ellingtons childhood friends noticed that his casual, offhand manner, his easy grace, and his dapper dress gave him the bearing of a young nobleman, and began calling him Duke. Ellington credited his chum 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. Though Ellington took piano lessons, he was interested in baseball. President Roosevelt would come by on his horse sometimes, and stop and watch us play, 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 read, I would play the Soda Fountain Rag as a one-step, two-step, waltz, tango, and fox trot, Ellington recalled
32.
Great Depression
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The Great Depression was a severe worldwide economic depression that took place during the 1930s. The timing of the Great Depression varied across nations, in most countries it started in 1929 and it was the longest, deepest, and most widespread depression of the 20th century. In the 21st century, the Great Depression is commonly used as an example of how far the economy can decline. The depression originated in the United States, after a fall in stock prices that began around September 4,1929. Between 1929 and 1932, worldwide GDP fell by an estimated 15%, by comparison, worldwide GDP fell by less than 1% from 2008 to 2009 during the Great Recession. Some economies started to recover by the mid-1930s, however, in many countries, the negative effects of the Great Depression lasted until the beginning of World War II. The Great Depression had devastating effects in both rich and poor. Personal income, tax revenue, profits and prices dropped, while international trade plunged by more than 50%, unemployment in the U. S. rose to 25% and in some countries rose as high as 33%. Cities all around the world were hit hard, especially dependent on heavy industry. Construction was virtually halted in many countries, farming communities and rural areas suffered as crop prices fell by about 60%. Facing plummeting demand with few sources of jobs, areas dependent on primary sector industries such as mining and logging suffered the most. Even after the Wall Street Crash of 1929 optimism persisted for some time, john D. Rockefeller said These are days when many are discouraged. In the 93 years of my life, depressions have come, prosperity has always returned and will again. The stock market turned upward in early 1930, returning to early 1929 levels by April and this was still almost 30% below the peak of September 1929. Together, government and business spent more in the first half of 1930 than in the period of the previous year. On the other hand, consumers, many of whom had suffered losses in the stock market the previous year. In addition, beginning in the mid-1930s, a severe drought ravaged the agricultural heartland of the U. S, by mid-1930, interest rates had dropped to low levels, but expected deflation and the continuing reluctance of people to borrow meant that consumer spending and investment were depressed. By May 1930, automobile sales had declined to below the levels of 1928, prices in general began to decline, although wages held steady in 1930
33.
Woodlawn Cemetery (Bronx, New York)
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Woodlawn Cemetery is one of the largest cemeteries in New York City and is a designated National Historic Landmark. Located in Woodlawn, Bronx, New York City, it has the character of a rural cemetery, Woodlawn Cemetery opened during the Civil War in 1863, in what was then southern Westchester County, in an area that would be annexed to New York City in 1874. Holly Woodlawn, after changing her name to such, falsely told people she was the heiress to Woodlawn Cemetery, the Cemetery covers more than 400 acres and is the resting place for more than 300,000 people. It is also the site of the Annie Bliss Titanic Memorial, the cemetery contains seven Commonwealth war graves – six British and Canadian servicemen of World War I and an airman of the Royal Canadian Air Force of World War II. As of 2007, plot prices at Woodlawn were reported as $200 per square foot, Woodlawn was the destination for many human remains disinterred from cemeteries in more densely populated parts of New York City, Rutgers Street church graves were also moved to Woodlawn. Most graves were re-interred with a date of December 20,1866 into the Rutgers Plot. West Farms Dutch Reformed Church, at Boone Avenue and 172nd Street in The Bronx, had most of its graves moved to Woodlawn Cemetery in 1867 and interred in the Rutgers Plot, bensonia Cemetery, also known as Morrisania Cemetery, was originally a Native American burial ground. The graves were moved to Woodlawn Cemetery with a date of April 21,1871. Public School #138, in The Bronx, is now on the site, harlem Church Yard cemetery internees were moved to Woodlawn. Most graves were re-interred with a date of August 1,1871 into the Sycamore Plot. Nagle Cemetery remains were moved in November–December 1926 and reinterred in Primrose Plot, Lot 16150, identities of those interred are apparently unknown. The Dyckman-Nagle Burying Ground, West 212th Street at 9th Avenue, in the Borough of Manhattan, was established in 1677. In 1905, the remains, with the exception of Staats Morris Dyckman, by 1927, the Dyckman graves were finally moved to Woodlawn Cemetery. The former Dutch colonial-era cemetery is now a 207th Street subway train yard, the fictional cemetery of the Synagogue in Brooklyn in Once Upon a Time in America is moved here, while naming the place Riverdale Cemetery
34.
The Bronx
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The Bronx is the northernmost of the five boroughs of New York City, within the U. S. state of New York. Since 1914, the Bronx has had the boundaries as Bronx County, a county of New York. The Bronx is divided by the Bronx River into a section in the west, closer to Manhattan. East and west street addresses are divided by Jerome Avenue—the continuation of Manhattans Fifth Avenue, the West Bronx was annexed to New York City in 1874, and the areas east of the Bronx River in 1895. Bronx County was separated from New York County in 1914, about a quarter of the Bronxs area is open space, including Woodlawn Cemetery, Van Cortlandt Park, Pelham Bay Park, the New York Botanical Garden, and the Bronx Zoo in the boroughs north and center. These open spaces are situated primarily on land reserved in the late 19th century as urban development progressed north. The name Bronx originated with Jonas Bronck, who established the first settlement in the area as part of the New Netherland colony in 1639, the native Lenape were displaced after 1643 by settlers. This cultural mix has made the Bronx a wellspring of both Latin music and hip hop. The Bronx, particularly the South Bronx, saw a decline in population, livable housing, and the quality of life in the late 1960s. Since then the communities have shown significant redevelopment starting in the late 1980s before picking up pace from the 1990s until today, the Bronx was called Rananchqua by the native Siwanoy band of Lenape, while other Native Americans knew the Bronx as Keskeskeck. It was divided by the Aquahung River, the origin of Jonas Bronck is contested. Some sources claim he was a Swedish born emigrant from Komstad, Norra Ljunga parish in Småland, Sweden, who arrived in New Netherland during the spring of 1639. Bronck became the first recorded European settler in the now known as the Bronx and built a farm named Emmanus close to what today is the corner of Willis Avenue. He leased land from the Dutch West India Company on the neck of the mainland north of the Dutch settlement in Harlem. He eventually accumulated 500 acres between the Harlem River and the Aquahung, which known as Broncks River or the Bronx. Dutch and English settlers referred to the area as Broncks Land, the American poet William Bronk was a descendant of Pieter Bronck, either Jonas Broncks son or his younger brother. More recent research indicates that Pieter was probably Jonas nephew or cousin, the Bronx is referred to with the definite article as The Bronx, both legally and colloquially. The region was named after the Bronx River and first appeared in the Annexed District of The Bronx created in 1874 out of part of Westchester County
35.
Richmond, Indiana
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Richmond /ˈrɪtʃmənd/ is a city in east central Indiana, United States, bordering on Ohio. It is the county seat of Wayne County, and in the 2010 census had a population of 36,812, situated largely within Wayne Township, its area includes a non-contiguous portion in nearby Boston Township where the Richmond Municipal Airport is located. The city is called the cradle of recorded jazz because some early jazz records were made there at the studio of Gennett Records. The city has received the All-America City Award, most recently in 2009. Richmond is located at 39°49′49″N 84°53′26″W, according to the 2010 census, Richmond has a total area of 24.067 square miles, of which 23.91 square miles is land and 0.157 square miles is water. As of the census of 2010, there were 36,812 people,15,098 households, the population density was 1,539.0 inhabitants per square mile. There were 17,649 housing units at a density of 737.8 per square mile. The racial makeup of the city was 83. 9% White,8. 6% African American,0. 3% Native American,1. 1% Asian,0. 1% Pacific Islander,1. 9% from other races, and 4. 0% from two or more races. Hispanic or Latino of any race were 4. 1% of the population,34. 2% of all households were made up of individuals and 13. 5% had someone living alone who was 65 years of age or older. The average household size was 2.29 and the family size was 2.91. The median age in the city was 38.4 years. 22. 1% of residents were under the age of 18,11. 4% were between the ages of 18 and 24,24. 4% were from 25 to 44,25. 6% were from 45 to 64, and 16. 5% were 65 years of age or older. The gender makeup of the city was 47. 9% male and 52. 1% female, as of the census of 2000, there were 39,124 people,16,287 households, and 9,918 families residing in the city. The population density was 1,685.3 people per square mile, there were 17,647 housing units at an average density of 760.2 per square mile. The racial makeup of the city was 86. 78% White,8. 87% African American,0. 27% Native American,0. 80% Asian,0. 06% Pacific Islander,1. 09% from other races, and 2. 14% from two or more races. Hispanic or Latino of any race were 2. 03% of the population,33. 0% of all households were made up of individuals and 13. 7% had someone living alone who was 65 years of age or older. The average household size was 2.29 and the family size was 2.89. In the city, the population was out with 23. 4% under the age of 18,11. 0% from 18 to 24,27. 5% from 25 to 44,21. 6% from 45 to 64
36.
Decca Records
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Decca Records began as a British record label established in 1929 by Edward Lewis. Its U. S. label was established in late 1934 by Lewis along with American Deccas first president Jack Kapp and later American Decca president Milton Rackmil. In 1937, as a result of anticipating Nazi aggression leading to World War II, Lewis sold American Decca, the British label was renowned for its development of recording methods, while the American company developed the concept of cast albums in the musical genre. Both wings are now part of the Universal Music Group, which is owned by Vivendi, the US Decca label was the foundation company that evolved into UMG. The name Decca was coined by Wilfred S. Samuel by merging the word Mecca with the initial D of their logo Dulcet or their trademark Dulcephone, Samuel, a linguist, chose Decca as a brand name as it was easy to pronounce in most languages. The name dates back to a gramophone called the Decca Dulcephone patented in 1914 by musical instrument makers Barnett Samuel. That company was renamed the Decca Gramophone Co. Ltd. Within years, Decca Records Ltd. was the second largest record label in the world, Decca bought the UK branch of Brunswick Records and continued to run it under that name. In the 1950s the American Decca studios were located in the Pythian Temple in New York City, in classical music, Decca had a long way to go from its modest beginnings to catch up with the established HMV and Columbia labels. The pre-war classical repertoire on Decca was not extensive, but was select, heinrich Schlusnus made important pre-war lieder recordings for Decca. John Culshaw, who joined Decca in 1946 in a junior post and he revolutionised recording – of opera, in particular. Hitherto, the practice had been to put microphones in front of the performers, Culshaw was determined to make recordings that would be a theatre of the mind, making the listeners experience at home not second best to being in the opera house, but a wholly different experience. To that end he got the singers to move about in the studio as they would onstage, used sound effects and different acoustics. His skill, coupled with Decca engineering, took Decca into the first flight of recording companies and his pioneering recording of Wagners Der Ring des Nibelungen conducted by Georg Solti was a huge artistic and commercial success. In the wake of Deccas lead, artists such as Herbert von Karajan, Joan Sutherland, however, Culshaw was, strictly speaking, not the first to do this. Far from being a mere rendering of the score, the 3-LP album set used sound effects to recreate the production as if the listener were watching a stage performance of the work. Until 1947, American Decca issued British Decca classical music recordings, afterwards, British Decca took over distribution through its new American subsidiary London Records. American Decca actively re-entered the classical music field in 1950 with distribution deals from Deutsche Grammophon, American Decca began issuing its own classical music recordings in 1956 when Israel Horowitz joined Decca to head its classical music operations
