"Perdido" is a jazz standard composed by Juan Tizol, recorded on December 3, 1941 by Duke Ellington. However, it is the January 21, 1942, recording of the song on the Victor label by the Ellington orchestra, of which Tizol was a member, regarded as the original recording. In 1944, Ervin Drake and Hans Lengsfelder were hired to write lyrics for the song. "Perdido" was not sung with the Ellington band, the exception being Ella Fitzgerald on her 1957 album Ella Fitzgerald Sings the Duke Ellington Songbook. Many others recorded the song, including Sarah Vaughan, Dinah Washington, Art Tatum, Quincy Jones, the Charlie Parker Quintet, Dave Brubeck, Charles Mingus, Randy Weston, Erroll Garner, Bill Doggett, Harry James. "Perdido" is Spanish and means lost, but sloppy or indecent. The song refers to Perdido Street in New Orleans. "Perdido" at JazzStandards.com Standards Throwdown!: Perdido "36 different artists recordings of Perdido, in a'Standards Throwdown!'" at rdio.com
Whatever Lola Wants
"Whatever Lola Wants" is a popular song, sometimes rendered as "Whatever Lola Wants, Lola Gets". The music and words were written by Richard Adler and Jerry Ross for the 1955 musical play Damn Yankees; the song is sung by Lola, the Devil's assistant, a part originated by Gwen Verdon, who reprised the role in the film. The saying was inspired by Lola Montez, an Irish-born "Spanish dancer" and mistress of King Ludwig I of Bavaria, who became a San Francisco Gold Rush vamp. Natacha Atlas Les Baxter Tony Bennett Ran Blake Lola Blanc Bob & Ray Les Brown Petula Clark Alma Cogan Annie Cordy - French version Tout ce que veut Lola Xavier Cugat Carla Boni Chiwetel Ejiofor Gracie Fields Ella Fitzgerald Gotan Project The Hi-Lo's - A Musical Thrill Molly Johnson Louis Jordan Stan Kenton - The Stage Door Swings Eartha Kitt Abbe Lane (with Tito Puente and His Orchestra Carmen McRae Amanda Lear: On album With Love Sophie Milman Bebe Neuwirth Caroline O'Connor Patti Page Perez Prado and His Orchestra Julius Pringles Della Reese Aldemaro Romero Dinah Shore Ruby Stewart Anthony Strong Mel Tormé Sarah Vaughan Gwen Verdon Baby Face Willette Marinella Reeve Carney Live at Molly Malone’s Dee Snider for the Dee Does Broadway album "Whatever Lola Wants" is the title of an episode of the 2005 television series Hot Properties and the title of an episode of ABC-TV's 1965 crime drama Honey West.
A film entitled Whatever Lola Wants, directed by Nabil Ayouch and starring Laura Ramsey as Lola, premiered on 11 December 2007 at the Dubai International Film Festival and was scheduled for release in France on 16 April 2008. The Lola Car company is named after this song when company founder Eric Broadley heard the line "What Lola wants, Lola gets" in 1959. Norman Bailey played the song as a trumpet solo on the first live television broadcast of The Lawrence Welk Show on July 2, 1955. Chiwetel Ejiofor sang the song for the 2005 film Kinky Boots; the song was used by Mario Lopez and his partner Karina Smirnoff in Season 3 of Dancing with the Stars. Their tango to it was voted the best celebrity dance by the judges of DWTS on their 100th Episode show. Several seasons Joanna Krupa and her temporary partner Maksim Chmerkovskiy performed an Argentine tango to the song, in Season 9; the song was featured in an episode of Nip/Tuck. The song can be found in a 2011 Diet Pepsi commercial featuring Sofia Vergara and David Beckham.
The song can be found in a 2014 Magnum Italian commercial, celebrating the 25th anniversary of the ice cream brand owned by the British/Dutch Unilever. Whatever Lola Wants - versions and originals on SecondHandSongs Whatever Lola Wants on IMDb Damn Yankees on IMDb Damn Yankees at the Internet Broadway Database Hot Properties episode plot summary on tv.com
Ain't Nobody's Business
"Ain't Nobody's Business" is a 1920s blues song that became one of the first blues standards. It was published in 1922 by Everett Robbins; the song features a lyrical theme of freedom of choice and a vaudeville jazz–style musical arrangement. It was first recorded, as "'Tain't Nobody's Biz-ness if I Do", in 1922 by Anna Meyers, backed by the Original Memphis Five. Recordings by other classic female blues singers, including Sara Martin, Alberta Hunter, Bessie Smith soon followed. In 1947, the song was revived by the jump blues singer Jimmy Witherspoon as "Ain't Nobody's Business", it inspired numerous adaptations of the song. In 2011, Witherspoon's rendition was inducted into the Blues Foundation Hall of Fame as a "Classic of Blues Recording"; the early versions of "Ain't Nobody's Business" feature vocals with piano and sometimes horn accompaniment. They are performed as moderate-tempo blues and have an extended sixteen-bar introduction: The remaining verses are eight bars in length, with the first four describing a situation, such as "If I go to church on Sunday cabaret on Monday", the last four concluding with the refrain "Tain't nobody's biz-ness if I do".
The song's eight-bar chord scheme was a model for subsequent "bluesy" Tin Pan Alley songs and R&B ballads in an AABA form. The music and lyrics are credited to two pianists – Porter Grainger, Bessie Smith's accompanist from 1924 to 1928, Everett Robbins, who had his own bands and worked with Mamie Smith. Clarence Williams, who played the piano on Bessie Smith's recording, is sometimes listed as a co-author of the song. BMI, the performing rights organization, lists Grainger, Williams and Robert Prince; the original lyrics are now in the public domain. Anna Meyers recorded "'Tain't Nobody's Biz-ness if I Do" on October 19, 1922, in New York City, backed by the Original Memphis Five; the song was released as a ten-inch 78-rpm single on Pathé Actuelle for the US market by the French-based Pathé Records. Other early recordings include those by Sara Martin, Alberta Hunter, Bessie Smith. In Smith's version, the lyrics mention an abusive partner: In 1928, a country blues rendition was recorded by Memphis, singer-guitarist Frank Stokes.
His finger-style acoustic guitar version uses a simple I-IV-V chord progression and different lyrics, including the refrain "It ain't nobody's business but mine". In the post–World War II blues era, the jump blues singer Jimmy Witherspoon revived the song as "Ain't Nobody's Business", he performed it in the West Coast blues style with understated backing by piano, bass, a three-piece horn section. The song was recorded in Los Angeles on November 15, 1947, released by Supreme Records in September 1948, it entered the record chart on March 5, 1949, reached number one. Witherspoon's song was the best-selling R&B record of 1949. In 2011, Witherspoon's "Ain't Nobody's Business" was inducted into the Blues Foundation Hall of Fame. According to the Foundation, "its message continued to resonate, as borne out by the remarkable success of Witherspoon's two-part rendition, which remained on the Billboard'race records' charts for 34 weeks, it was rated No. 3 in all-time chart longevity in Joel Whitburn's Top R&B Singles 1942–1988."His rendition inspired numerous artists to record adaptations of the song with variations in the music and lyrics, including versions by Cher, James Booker, Eric Clapton, Sam Cooke, Mary Coughlan, Billie Holiday, Mississippi John Hurt, B.
B. King, Freddie King, Willie Nelson, Diana Ross, Otis Spann, Taj Mahal, Susan Tedeschi, Dinah Washington, Bobby "Blue" Bland, Little Milton, Nell Carter and Wingnut Dishwashers Union. A version by Hank Williams, Jr. peaked at number 15 on the Billboard Hot Country Singles & Tracks chart in 1990. Song lyrics at Wikisource:Ain't Nobody's Business
The piano is an acoustic, stringed musical instrument invented in Italy by Bartolomeo Cristofori around the year 1700, in which the strings are struck by hammers. It is played using a keyboard, a row of keys that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings; the word piano is a shortened form of pianoforte, the Italian term for the early 1700s versions of the instrument, which in turn derives from gravicembalo col piano e forte and fortepiano. The Italian musical terms piano and forte indicate "soft" and "loud" in this context referring to the variations in volume produced in response to a pianist's touch or pressure on the keys: the greater the velocity of a key press, the greater the force of the hammer hitting the strings, the louder the sound of the note produced and the stronger the attack; the name was created as a contrast to harpsichord, a musical instrument that doesn't allow variation in volume. The first fortepianos in the 1700s had smaller dynamic range.
An acoustic piano has a protective wooden case surrounding the soundboard and metal strings, which are strung under great tension on a heavy metal frame. Pressing one or more keys on the piano's keyboard causes a padded hammer to strike the strings; the hammer rebounds from the strings, the strings continue to vibrate at their resonant frequency. These vibrations are transmitted through a bridge to a soundboard that amplifies by more efficiently coupling the acoustic energy to the air; when the key is released, a damper stops the strings' vibration, ending the sound. Notes can be sustained when the keys are released by the fingers and thumbs, by the use of pedals at the base of the instrument; the sustain pedal enables pianists to play musical passages that would otherwise be impossible, such as sounding a 10-note chord in the lower register and while this chord is being continued with the sustain pedal, shifting both hands to the treble range to play a melody and arpeggios over the top of this sustained chord.
Unlike the pipe organ and harpsichord, two major keyboard instruments used before the piano, the piano allows gradations of volume and tone according to how forcefully a performer presses or strikes the keys. Most modern pianos have a row of 88 black and white keys, 52 white keys for the notes of the C major scale and 36 shorter black keys, which are raised above the white keys, set further back on the keyboard; this means that the piano can play 88 different pitches, going from the deepest bass range to the highest treble. The black keys are for the "accidentals". More some pianos have additional keys. Most notes have three strings, except for the bass; the strings are sounded when keys are pressed or struck, silenced by dampers when the hands are lifted from the keyboard. Although an acoustic piano has strings, it is classified as a percussion instrument rather than as a stringed instrument, because the strings are struck rather than plucked. There are two main types of piano: the upright piano.
The grand piano is used for Classical solos, chamber music, art song, it is used in jazz and pop concerts. The upright piano, more compact, is the most popular type, as it is a better size for use in private homes for domestic music-making and practice. During the 1800s, influenced by the musical trends of the Romantic music era, innovations such as the cast iron frame and aliquot stringing gave grand pianos a more powerful sound, with a longer sustain and richer tone. In the nineteenth century, a family's piano played the same role that a radio or phonograph played in the twentieth century. During the nineteenth century, music publishers produced many musical works in arrangements for piano, so that music lovers could play and hear the popular pieces of the day in their home; the piano is employed in classical, jazz and popular music for solo and ensemble performances and for composing and rehearsals. Although the piano is heavy and thus not portable and is expensive, its musical versatility, the large number of musicians and amateurs trained in playing it, its wide availability in performance venues and rehearsal spaces have made it one of the Western world's most familiar musical instruments.
With technological advances, amplified electric pianos, electronic pianos, digital pianos have been developed. The electric piano became a popular instrument in the 1960s and 1970s genres of jazz fusion, funk music and rock music; the piano was founded on earlier technological innovations in keyboard instruments. Pipe organs have been used since Antiquity, as such, the development of pipe organs enabled instrument builders to learn about creating keyboard mechanisms for sounding pitches; the first string instruments with struck strings were the hammered dul
Rock and roll
Rock and roll is a genre of popular music that originated and evolved in the United States during the late 1940s and early 1950s from musical styles such as gospel, jump blues, boogie woogie, rhythm and blues, along with country music. While elements of what was to become rock and roll can be heard in blues records from the 1920s and in country records of the 1930s, the genre did not acquire its name until 1954. According to Greg Kot, "rock and roll" refers to a style of popular music originating in the U. S. in the 1950s prior to its development by the mid-1960s into "the more encompassing international style known as rock music, though the latter continued to be known as rock and roll." For the purpose of differentiation, this article deals with the first definition. In the earliest rock and roll styles, either the piano or saxophone was the lead instrument, but these instruments were replaced or supplemented by guitar in the middle to late 1950s; the beat is a dance rhythm with an accentuated backbeat, always provided by a snare drum.
Classic rock and roll is played with one or two electric guitars, a double bass or string bass or an electric bass guitar, a drum kit. Beyond a musical style and roll, as seen in movies, in fan magazines, on television, influenced lifestyles, fashion and language. In addition and roll may have contributed to the civil rights movement because both African-American and white American teenagers enjoyed the music, it went on to spawn various genres without the characteristic backbeat, that are now more called "rock music" or "rock". The term "rock and roll" now has at least two different meanings, both in common usage; the American Heritage Dictionary and the Merriam-Webster Dictionary both define rock and roll as synonymous with rock music. Encyclopædia Britannica, on the other hand, regards it as the music that originated in the mid-1950s and developed "into the more encompassing international style known as rock music"; the phrase "rocking and rolling" described the movement of a ship on the ocean, but was used by the early twentieth century, both to describe the spiritual fervor of black church rituals and as a sexual analogy.
Various gospel and swing recordings used the phrase before it became used more – but still intermittently – in the 1940s, on recordings and in reviews of what became known as "rhythm and blues" music aimed at a black audience. In 1934, the song "Rock and Roll" by the Boswell Sisters appeared in the film Transatlantic Merry-Go-Round. In 1942, Billboard magazine columnist Maurie Orodenker started to use the term "rock-and-roll" to describe upbeat recordings such as "Rock Me" by Sister Rosetta Tharpe. By 1943, the "Rock and Roll Inn" in South Merchantville, New Jersey, was established as a music venue. In 1951, Ohio, disc jockey Alan Freed began playing this music style while popularizing the phrase to describe it; the origins of rock and roll have been fiercely debated by historians of music. There is general agreement that it arose in the Southern United States – a region that would produce most of the major early rock and roll acts – through the meeting of various influences that embodied a merging of the African musical tradition with European instrumentation.
The migration of many former slaves and their descendants to major urban centers such as St. Louis, New York City, Chicago and Buffalo meant that black and white residents were living in close proximity in larger numbers than before, as a result heard each other's music and began to emulate each other's fashions. Radio stations that made white and black forms of music available to both groups, the development and spread of the gramophone record, African-American musical styles such as jazz and swing which were taken up by white musicians, aided this process of "cultural collision"; the immediate roots of rock and roll lay in the rhythm and blues called "race music", country music of the 1940s and 1950s. Significant influences were jazz, gospel and folk. Commentators differ in their views of which of these forms were most important and the degree to which the new music was a re-branding of African-American rhythm and blues for a white market, or a new hybrid of black and white forms. In the 1930s, swing, both in urban-based dance bands and blues-influenced country swing, were among the first music to present African-American sounds for a predominantly white audience.
One noteworthy example of a jazz song with recognizably rock and roll elements is Big Joe Turner with pianist Pete Johnson's 1939 single Roll'Em Pete, regarded as an important precursor of rock and roll. The 1940s saw the increased use of blaring horns, shouted lyrics and boogie woogie beats in jazz-based music. During and after World War II, with shortages of fuel and limitations on audiences and available personnel, large jazz bands were less economical and tended to be replaced by smaller combos, using guitars and drums. In the same period on the West Coast and in the Midwest, the development of jump blues, with its guitar riffs, prominent beats and shouted lyrics, prefigured many developments. In the documentary film Hail! Hail! Rock'n' Roll, Keith Richards proposes that Chuck Berry developed his brand of rock and roll by transposing the familiar two-note lead line of jump blues piano directly to the electric guitar, creatin
University of Chicago Press
The University of Chicago Press is the largest and one of the oldest university presses in the United States. It is operated by the University of Chicago and publishes a wide variety of academic titles, including The Chicago Manual of Style, numerous academic journals, advanced monographs in the academic fields. One of its quasi-independent projects is a digital repository for scholarly books; the Press building is located just south of the Midway Plaisance on the University of Chicago campus. The University of Chicago Press was founded in 1891, making it one of the oldest continuously operating university presses in the United States, its first published book was Robert F. Harper's Assyrian and Babylonian Letters Belonging to the Kouyunjik Collections of the British Museum; the book sold five copies during its first two years, but by 1900 the University of Chicago Press had published 127 books and pamphlets and 11 scholarly journals, including the current Journal of Political Economy, Journal of Near Eastern Studies, American Journal of Sociology.
For its first three years, the Press was an entity discrete from the university. Heath in conjunction with the Chicago printer R. R. Donnelley; this arrangement proved unworkable, in 1894 the university assumed responsibility for the Press. In 1902, as part of the university, the Press started working on the Decennial Publications. Composed of articles and monographs by scholars and administrators on the state of the university and its faculty's research, the Decennial Publications was a radical reorganization of the Press; this allowed the Press, by 1905, to begin publishing books by scholars not of the University of Chicago. A manuscript editing and proofreading department was added to the existing staff of printers and typesetters, leading, in 1906, to the first edition of The Chicago Manual of Style. By 1931, the Press was an leading academic publisher. Leading books of that era include Dr. Edgar J. Goodspeed's The New Testament: An American Translation and its successor, Goodspeed and J. M. Povis Smith's The Complete Bible: An American Translation.
In 1956, the Press first published paperback-bound books under its imprint. Of the Press's best-known books, most date from the 1950s, including translations of the Complete Greek Tragedies and Richmond Lattimore's The Iliad of Homer; that decade saw the first edition of A Greek-English Lexicon of the New Testament and Other Early Christian Literature, which has since been used by students of Biblical Greek worldwide. In 1966, Morris Philipson began his thirty-four-year tenure as director of the University of Chicago Press, he committed time and resources to lengthening the backlist, becoming known for assuming ambitious scholarly projects, among the largest of, The Lisle Letters — a vast collection of 16th-century correspondence by Arthur Plantagenet, 1st Viscount Lisle, a wealth of information about every aspect of sixteenth-century life. As the Press's scholarly volume expanded, the Press advanced as a trade publisher. In 1992, Norman Maclean's books A River Runs Through It and Young Men and Fire were national best sellers, A River Runs Through It was made into a film directed by and starring Robert Redford.
In 1982, Philipson was the first director of an academic press to win the Publisher Citation, one of PEN's most prestigious awards. Shortly before he retired in June 2000, Philipson received the Association of American Publishers' Curtis Benjamin Award for Creative Publishing, awarded to the person whose "creativity and leadership have left a lasting mark on American publishing." Paula Barker Duffy served as director of the Press from 2000 to 2007. Under her administration, the Press expanded its distribution operations and created the Chicago Digital Distribution Center and BiblioVault. Editorial depth in reference and regional books increased with titles such as The Encyclopedia of Chicago, Timothy J. Gilfoyle's Millennium Park, new editions of The Chicago Manual of Style, the Turabian Manual, The University of Chicago Spanish Dictionary; the Press launched an electronic reference work, The Chicago Manual of Style Online. In 2014, the Press received The International Academic and Professional Publisher Award for excellence at the London Book Fair.
Garrett P. Kiely became the 15th director of the University of Chicago Press on September 1, 2007, he heads one of academic publishing's largest operations, employing more than 300 people across three divisions—books and distribution—and publishing 72 journal titles and 280 new books and 70 paperback reprints each year. The Press publishes across many subject areas, it publishes regional titles, such as The Encyclopedia of Chicago, edited by James R. Grossman, Ann Durkin Keating, Janice Reiff; the Press has expanded its digital offerings to include most newly published books as well as key backlist titles. In 2013, Chicago Journals began offering e-book editions of each new issue of each journal, for use on e-reader devices s
I Can't Give You Anything but Love, Baby
"I Can't Give You Anything but Love, Baby" is an American popular song and jazz standard by Jimmy McHugh and Dorothy Fields. The song was introduced by Adelaide Hall at Les Ambassadeurs Club in New York in January 1928 in Lew Leslie's Blackbird Revue, which opened on Broadway that year as the successful Blackbirds of 1928, wherein it was performed by Adelaide Hall, Aida Ward, Willard McLean. In the 100-most recorded songs from 1890 to 1954, "I Can't Give You Anything But Love, Baby" is No. 24. Jimmy McHugh and Dorothy Fields had written the score for a revue at Les Ambassadeurs Club on 57th Street, New York, which featured the vocalist Adelaide Hall. However, the producer Lew Leslie believed; the team pondered for a while before playing Leslie "I Can't Give You Anything but Love, Baby". This was the song Leslie had been looking for and he included it in the revue. Blackbird Revue opened on January 4, 1928 with Adelaide Hall singing "I Can't Give You Anything but Love, Baby" solo. On, Fields and McHugh wrote a second half for the revue and Leslie expanded the production.
With extra songs and extra performers added, Leslie renamed the revue Blackbirds of 1928 and took the full production for a tryout in Atlantic City, New Jersey, where it appeared at Nixon's Apollo Theatre. On May 9, 1928, Blackbirds of 1928 opened at the Liberty Broadway; the idea behind the song came during a stroll Fields and McHugh were taking one evening down Fifth Avenue. McHugh and Fields understood that the couple did not have the resources to buy jewelry from Tiffany's, but they drew closer to them, it was they heard the man say, "Gee, honey I'd like to get you a sparkler like that, but right now, i can't give you nothin' but love!" Hearing this, McHugh and Fields rushed to a nearby Steinway Tunnel, within an hour they came up with "I Can't Give You Anything but Love, Baby". Some controversy surrounds the song's authorship. Andy Razaf's biographer Harry Singer offers circumstantial evidence that suggests Fats Waller might have sold the melody to McHugh in 1926 and that the lyrics were by Andy Razaf.
Alternatively, Philip Furia has pointed out that Fields' verse is identical to the end of the second verse of Lorenz Hart's and Richard Rodgers' song "Where's That Rainbow?" from Peggy-Ann, the 1926 musical comedy with book by Fields' brother Herbert and produced by their father Lew: In the 1931 short film The Birthday Party, the song is performed as a duet between Mickey and Minnie Mouse. The song is featured in the screwball comedy Bringing Up Baby in a scene where quirky heiress Susan Vance and befuddled paleontologist Dr. David Huxley attempt to coax a surly leopard named Baby off the roof of a house by singing "I can't give you anything but love, Baby". In Seven Sinners, the song is performed by the character Bijou Blanche, portrayed by Marlene Dietrich. Lena Horne performed this song in the film Stormy Weather. Judy Holliday sings this while playing cards in the film Born Yesterday; the song is sung by the strip-club MC in John Cassavetes' film The Killing of a Chinese Bookie. The song is featured in the short animation Contract.
The song is used in the film version of The Green Mile. The song is featured in the 2006 Tony-award-winning Broadway play Jersey Boys; the song is played during the episode "He's Our You" of Lost. The song is played during The Aviator. A version of the song sung by Doris Day is played during the opening credits of Married Life. Thomas Anders both in English and Spanish Louis Armstrong (recorded March 5, 1929, released by Columbia with the flip side "Black and Blue" and with the flip side "Mood Indigo". For other Louis Armstrong versions, including a 1943 film performance see Ricky Riccardi's treatment of the song. Gene Austin Les Backer (recorded October 22, 1928, released by Vocalion as catalog number 15737, with the flip side "My Blackbirds Are Bluebirds Now"Rube Bloom (recorded August 2, 1928, released by OKeh as catalog number 41117, with the flip side "Because My Baby Don't Mean'Maybe' Now"Chi-Chi Girl released a 2016 cover produced by Joel DiamondKing Cole Quintet Lillie Delk Christian (recorded December 11, 1928, released by OKeh as catalog number 8650, with the flip side "Sweethearts on Parade"June Christy - Cool Christy Bing Crosby included the song in his album Some Fine Old Chestnuts Marlene Dietrich Mary Dixon Doris Day Dude Sky Vine Street Boys Duke Ellington and his Orchestra Gay Ellis & her Novelty Orchestra Seger Ellis and his Orchestra (recorded June 8, 1928, released by OKeh a