Category Archives: Oldies

Audrey - The Dave Brubeck Quartet - Brubeck Time (Vinyl, LP, Album)

Tomus fu usato dai latini con lo stesso significato di volumen vedi sotto anche la spiegazione di Isidoro di Siviglia. Che fossero fatti di papiro, pergamena o carta, i rotoli furono la forma libraria dominante della cultura ellenisticaromanacinese ed ebraica.

Gli autori cristiani potrebbero anche aver voluto distinguere i loro scritti dai testi pagani scritti su rotoli. La storia del libro continua a svilupparsi con la graduale transizione dal rotolo al codexspostandosi dal Vicino Oriente del II - II millennio a. Fino al II secolo d. All'arrivo del Medioevocirca mezzo millennio dopo, i codici - di foggia e costruzione in tutto simili al libro moderno - rimpiazzarono il rotolo e furono composti principalmente di pergamena.

Quattro son troppi? Anche nei suoi distici, Marziale continua a citare il codex: un anno prima del suddetto, una raccolta di distici viene pubblicata con lo scopo di accompagnare donativi. Questa mole composta da numerosi fogli contiene quindici libri poetici del Nasone». Dal II secolo a. Nel mondo antico non godette di molta fortuna a causa del prezzo elevato rispetto a quello del papiro.

Il libro in forma di rotolo consisteva in fogli preparati da fibre di papiro phylire disposte in uno strato orizzontale lo strato che poi riceveva la scrittura sovrapposto ad uno strato verticale la faccia opposta. La scrittura era effettuata su colonne, generalmente sul lato del papiro che presentava le fibre orizzontali. Non si hanno molte testimonianze sui rotoli di pergamena tuttavia la loro forma era simile a quella dei libri in papiro.

Gli inchiostri neri utilizzati erano a base di nerofumo e gomma arabica. Dal II secolo d. La vecchia forma libraria a rotolo scompare in ambito librario. In forma notevolmente differente permane invece in ambito archivistico. Questo mezzo, permettendo l'accelerazione della produzione delle copie di testi contribuisce alla diffusione del libro e della cultura. Altri suoi distici rivelano che tra i regali fatti da Marziale c'erano copie di Virgiliodi Cicerone e Livio.

Le parole di Marziale danno la distinta impressione che tali edizioni fossero qualcosa di recentemente introdotto. Sono stati rinvenuti "taccuini" contenenti fino a dieci tavolette.

Nel tempo, furono anche disponibili modelli di lusso fatti con tavolette di avorio invece che di legno. Ai romani va il merito di aver compiuto questo passo essenziale, e devono averlo fatto alcuni decenni prima della fine del I secolo d. Il grande vantaggio che offrivano rispetto ai rolli era la capienza, vantaggio che sorgeva dal fatto che la facciata esterna del rotolo era lasciata in bianco, vuota.

Il codice invece aveva scritte entrambe le facciate di ogni pagina, come in un libro moderno. La prima pagina porta il volto del poeta. I codici di cui parlava erano fatti di pergamena ; nei distici che accompagnavano il regalo di una copia di Omeroper esempio, Marziale la descrive come fatta di "cuoio con molte pieghe". Ma copie erano anche fatte di fogli di papiro. Quando i greci ed i romani disponevano solo del rotolo per scrivere libri, si preferiva usare il papiro piuttosto che la pergamena.

I ritrovamenti egiziani ci permettono di tracciare il graduale rimpiazzo del rotolo da parte del codice. Fece la sua comparsa in Egitto non molto dopo il tempo di Marziale, nel II secolo d.

Il suo debutto fu modesto. A tutt'oggi sono stati rinvenuti 1. Verso il d. I ritrovamenti egiziani gettano luce anche sulla transizione del codex dal papiro alla pergamena.

Sebbene gli undici codici della Bibbia datati in quel secolo Audrey - The Dave Brubeck Quartet - Brubeck Time (Vinyl papiracei, esistono circa 18 codici dello stesso secolo con scritti pagani e quattro di questi sono in pergamena. Non ne scegliemmo alcuno, ma ne raccogliemmo altri otto per i quali gli diedi dracme in conto. Il codex tanto apprezzato da Marziale aveva quindi fatto molta strada da Roma.

Nel terzo secolo, quando tali codici divennero alquanto diffusi, quelli di pergamena iniziarono ad essere popolari. In breve, anche in Egittola fonte mondiale del papiroil codice di pergamena occupava una notevole quota di mercato. Sono tutti di pergamena, edizioni eleganti, scritti in elaborata calligrafia su sottili fogli di pergamena. Per tali edizioni di lusso il papiro era certamente inadatto.

In almeno un'area, la giurisprudenza romanail codex di pergamena veniva prodotto sia in edizioni economiche che in quelle di lusso. La caduta dell'Impero romano nel V secolo d. Il papiro divenne difficile da reperire a causa della mancanza di contatti con l' Antico Egitto e la pergamenache per secoli era stata tenuta in secondo piano, divenne il materiale di scrittura principale.

I monasteri continuarono la tradizione scritturale latina dell' Impero romano d'Occidente. Additionally, original songs have been created specifically for use in the franchise, including " Make Way For Tomorrow, Today " by Richard M.

The scores for every MCU film and television series have received album releases, and several compilation albums featuring existing songs used in the films have also been released. Critical response to the MCU's music has been mixed, with focus placed on a lack of memorable, identifiable themes that are comparable to other large media franchises, and on the lack of continuity between works. Despite this, some critics have shown appreciation for the individual work of some of the more traditional composers like Silvestri, and for Tyler's efforts in attempting to establish a consistent tone for the franchise and some thematic continuity between his scores and Silvestri's work.

After Iron Man director Jon Favreau 's previous collaborator John Debney was unavailable to score the film, [1] Djawadi sought out the role himself. I want to do something completely different, instead of going down the orchestral route.

I want to do more rock and roll. Djawadi composed several themes for the character of Tony Stark, representing his different moods and attitudes, all inspired by Robert Downey, Jr. Other themes for the film are "not so much character based, but rather plot based that carry you through the movie". Director Louis Leterrier 's first choice for composer on The Incredible Hulk was Craig Armstrongonce the arranger for Massive Attacka band Leterrier was fond of and had collaborated with on the film Unleashed ; this choice had surprised Marvel, who often had directors asking for the likes of John Williams or Danny Elfmanand the studio was hesitant due to Armstrong's lack of experience writing for action films.

Leterrier listened to Armstrong's previous music while planning and editing the film, [6] and music editor Peter Myles used Armstrong's work and similar music by others in the film's temp score. Armstrong chose not to listen to the temp, or watch Ang Lee 's Hulkbefore composing the score, which he began in his home in GlasgowScotland, before moving to Remote Control in Los Angeles to be closer to the production.

The score was recorded in four days, resulting in little time for adjustments on the day, forcing Armstrong to "create very specific demos" that were "completely accurate" for Matt Dunkley to orchestrate. Additionally, "about half the score" features various ethnic instruments performed by Pete Lockett. When Armstrong first began working in Glasgow, he did so with three sequences which he called "the keys to opening up" the score: the Abomination and the Hulk 's alley fight, "which was complex because of its choreography"; Bruce Banner and Betty Ross ' reunion, "the romantic element of the score"; and the Hulk and Betty in the cave, which "combines The Hulk Theme and when Hulk and Betty are together, so the Bruce and Betty Theme was totally different than my music for The Hulk and Betty".

For the Hulk's theme, Armstrong compared it to Williams' main theme for Jawswith "simple notation" that "summed up the complete concept". The theme features a bass C notewith string glissandos up an octave and then back down to the original note. This score while employing much guitar and more contemporary elements, it is also much bigger and darker in tone and scope. They are different scores with different results.

Morello returned to again contribute guitar performances for the film, this time collaborating with Debney to write some of the music itself, with Debney first composing the score, and then working with Morello on the guitar parts and "textures".

Debney called Iron Man 2 "odd in that there were not a lot of places where a true superhero theme could be played. What was ultimately chosen "was less thematic. It was sort of a groove with a little bit of French horn.

Maybe that was the right choice, but it was a difficult decision. It was difficult to find the areas in the movie where we could let Tony be a superhero. It's a different kind of movie because they kiss and then all of a sudden the mood is broken. It's just the nature of this character. However, Debney did not feel the same about his music for the villain, Ivan Vankowhich he described as a personal "joy". He said that Favreau "gave me a great opportunity to get into [the opening] scene and learn [Vanko]'s circumstances and to play sincerely sad music for him and the relationship he had with his father.

Jon gave me the opportunity to morph that and turn it into something really dark and twisted. For me that was the most satisfactory part of the score and the film". Director Kenneth Branagh 's frequent composing collaborator Patrick Doyle called Thor "the most commercially high profile film I have done since Frankenstein ", and noted that " Marvel Studios have a brand in Thor. Their interest, like mine, was for strong thematic material that would capture the essence of that brand.

He was keen, as indeed I was, that the grand images were not in any way hyperbolized, and that there would be a balance between playing with, and against the images.

Doyle took inspiration for the score from his own Celtic background, which he described as "very intertwined" with the Norse mythology that Thor is based on, as well as the works of Richard Wagner. He found the main challenge of the score to be composing a "superhero theme" for the titular character, and a second main theme representing Asgard, the latter of which Doyle wanted "to come across as an old folk song from a Celtic world".

He noted that the Asgard theme develops throughout the film to also represent traveling, action, and fighting. Of the other themes he composed for the film, Doyle also noted a theme for Jotunheimanother world visited in the film. On specific instrumentation for the character of Thor, Doyle jokingly noted that a piccolo would be inappropriate, and that a character with such a big personality and physicality required "a slightly more robust set of musical instruments: horns, low brass, slow strings etc.

Johnston wanted a full orchestral score "to allow for movement" between the film's two genres: a period piece and a futuristic, high-tech sci-fi film. Silvestri noted the appropriateness of the fact that his style of music, which he describes as "romantically heroic", is often described by others as "patriotic", as well as his tendency to use brass instruments, which can "compete sonically and give the music some kind of presence where it might not have any", something necessary during the film's action sequences.

In Silvestri's first meeting with Johnston, the latter raised his desire for a central theme. On this, Silvestri said, "To have some kind of musical signature either for a character or some aspect of the film, truly holds the score together. A theme makes the music feel like one piece in a sense. On the Red Skull himself, Silvestri looked to take the character seriously and "play him as bad", but allowed for more compassion for the character when he talks about his tortured past.

In NovemberMarvel announced that Silvestri would return to compose the score for the crossover film Marvel's The Avengers. Silvestri found it helpful to have already been part of the "Marvel process", which gave him a "sense of how Marvel treats their characters, cares for them, and a bit of what that Marvel post-production process feels like".

He called Silvestri "letter perfect for this movie because he can give you the heightened emotion Both Whedon and Silvestri wanted the score to build throughout the film, to climax in the final battle.

For the aftermath of that fight, Silvestri uses a simple guitar piece to give the audience a rest with a "complete sonic break" from what comes before in the film. He then segues back into the full orchestra for the end of the film. Silvestri expanded on this for the final score, having the music transition from the onscreen quartet to the entire orchestra playing the same piece when the fighting begins.

So I stayed away from all of that. With Iron Man 3 featuring a post- Avengers Tony Stark, Marvel and incoming director Shane Black wanted to move away from the rock sound of the previous Iron Man films, [20] and towards "a score that echoed the classics of super hero film history", [21] for which they approached Brian Tylera Marvel fan whose previous music had often been used in temp scores for other films by the studio.

Tyler stated that Marvel was interested in him for his more thematic work from the likes of The Greatest Game Ever PlayedAnnapolisand Partitionrather than his "modern" action music such as that for The Fast and the Furious films and Battle: Los Angelesand wanted him to combine the energy of the latter with the sensibilities of the former.

In addition to the classic orchestra, Tyler recorded metallic sounds such as anvils being hit to add an element of "iron" to the score. As a nod to the Album) Iron Man composer's use of guitars, Tyler added instances of the orchestra performing Black Sabbath -like riffs throughout the film. Marvel specifically asked Tyler for a new and different, "really identifiable" theme for Iron Man to represent his "serious" new role in the MCU as a "legitimate superhero", which Tyler described as a thematic reboot.

To create a "bigger and grander" sound than the previous Iron Man scores, Tyler took influence from the works of John Williams, Alex Northand John Barryamong others. Tyler composed the new theme on piano, but always intended it to be a "march and anthem" with a large brass component. Tyler also used the same theme played on a harp to represent Stark's sad emotional state after he is stranded without the Iron Man suit, [20] and created a "wild s style" arrangement of it for the film's main titles which had reminded Tyler of a typical police series from that era.

The idea of spirituality also extends to the Mandarin 's theme; Tyler noted the ambiguity Album) the character in terms of ethnicity and culture, and how he appears in the film as a "be-all" terrorist, as well as his role as a fanatical, "quasi-religious leader" comparable to Jim Jones. Branagh chose not to return for the sequel to Thor[23] and was replaced as director by Alan Taylor. Tyler was chosen by Marvel to replace Burwell based on the positive experience the company had working with him on Iron Man 3.

On differentiating his scores for Iron Man 3 and The Dark WorldTyler said that they were at the opposite ends of the "superhero spectrum", and so even though he used full orchestras for both, "the actual writing of the notes and the harmonies and all that was different. Yet they live in the same universe. So it required something different. I think my score for Thor: The Dark World would have been out of place in the first film and vice versa. Tyler also introduced a new theme for post- Avengers Loki to reflect his increasingly complicated personality and storyline, [22] performed on a harp to play against expectations.

When Henry Jackman was in the running to score Captain America: The First Avengerhe had written "a full-on traditional symphonic, Americana score" as proof-of-concept for Marvel, which he looked to return to when Marvel asked him to score the sequel, Captain America: The Winter Soldier. He felt that Silvestri had used that same style to great effect in the first film, but found that the second film "could not have been more different, and the score was not suitable, so I had to rewrite it".

Jackman first created three pieces of music for directors Anthony and Joe Russo : a modern Captain America theme; a six-to-seven minute suite for the Winter Soldier; and a track representing Hydra. The one note Feige gave Jackman on the score was asking him to embrace "those moments that are emotional or historical or nostalgic", such as when the character visits his own Smithsonian exhibit. For those, Jackman took some inspiration from the works of Aaron Copland. It is violent—it's got screaming and banging and it's dystopian and dysfunctional.

Much closer to a modern electronic thing than anything orchestral. He also tried to give the piece an arc, where the human elements get more "revealed toward the end of the film" as Captain America and the audience come to learn who the Winter Soldier is and care about him.

As he did on his previous films, director James Gunn brought his composer Tyler Bates onto Guardians of the Galaxy in pre-production so Bates could write music ahead of time for Gunn to film to. Music is often an afterthought in film, but never for us. Bates found the score to be his "most demanding", and explained that "at least half the cues in the movie have more than tracks of audio", consisting of multiple orchestral passes, choirs, overdubs, and other instrumentation.

It exists more, not only to be propulsive in the action sequences and to set up some of the comedic moments, but really to underscore the emotional depth of the characters. Bates said on using themes and motifs in the score, "Very few movies that are made these days are fantastical enough to sustain huge, bold identifiable themes. Even with the majority of the comic-book films, they have a tendency to be steeped in a realism that would be disturbed or interrupted by highly emotive, melodic themes, and it seems like a lot of the stuff going in these films is propulsive and somewhat cold emotionally.

Bates said that he would have infused the score with more of those electronic elements if it was not for the "frenetic working process" on the film. But also, it needed to all fit together and hang together seamlessly, and that was something we worked really hard on doing.

He gave Hulk's farewell to Black Widow, Quicksilver 's sacrifice, and the time spent at Hawkeye 's farm as examples of this. Tyler stated that his usual approach to taking over a franchise from another composer is to "try to take from what's before me and also forge ahead". Titled "Rise Together", Tyler said that it "is much more about pageantry and a march, and there's a slight militaristic aspect. I tend to stay away from that, but I felt that that, combined with a choir, would make them feel larger than life.

And certainly, this is when they're 'rising together,' so you need to have that unifying heroic theme with them. Tyler composed several other new themes for the film, to represent the titular villain Ultron ; the relationship that develops between Black Widow and the Hulk; and the new Avenger Vision. The melody is simple so that it is easy to remember, but starts flat by one note to make the theme sound slightly "off", is played on two pianos with one of them out of tune, and when the main phrase is repeated the last note is played "ahead by a beat" the second time; "not only out of tune, but out of time.

And so that melody, that had to be almost like a lullaby, but broken. Steven Price was announced as the composer for Ant-Man by director Edgar Wrightwho he had previously worked with, in February[59] but they both left the film that March.

Feige asked that they instead take "the classic symphonic approach with big themes and bold brass", [62] which Beck did with the unique twist of "a sneaky sense of fun since it is, after all, not only a superhero movie, but also a heist comedy.

Beck composed two main themes for the film: the Ant-Man superhero theme and a theme for family. In addition to using the traditional brass for the Ant-Man theme, Beck used an alto flute and violas, which he felt had "a little bit of the sound world of the heist movie and the spy movie, the old James Bond sound. Reed wanted it to have more of a sense of fun, and Beck eventually wrote a piece evoking the "classic guitar surf music", but with the orchestra rather than a guitar.

The family theme represents the film's two father-daughter relationships, between Scott Lang and his daughter Cassie Langand between Hank Pym and his daughter Hope van Dyne. Additionally, the villainous Yellowjacket has "a more traditional theme, presented in traditional fashion, but augmented with processed electronics to convey the crazed and obsessed nature of the character".

Of the many ant species featured in the film, Reed and Beck felt that the bullet ants deserved their "own identity"; since the species is primarily indigenous to South America, Beck used ancient Aztec drums and tribal flutes to give them a "regional flavor".

This culminates in the final fight between Captain America, Winter Soldier, and Iron Man, the music for which Jackman described as "somewhat operatic and Concerning the central conflict of the film, Jackman found that he was in "constant danger of tipping it too much" and pushing the audience to one side or the other, so he composed a new main theme for the film to represent that Civil War, which he called "a generic theme to balance everything out", [68] and "a narrative theme toward which all the characters can gravitate.

It wrapped them all up and it helped to bind the movie together rather than do endless disparate themes. It consists of a flute motif tied to the Winter Soldier's Russian handlers and a rising adagio that represents Zemo's twisted determination, and was inspired by the works of Jerry Goldsmith. Captain America's theme could not be too prominent or heroic, as that would suggest that he was the hero of the film when the Russos were trying to create an ambiguity surrounding the main conflict—this does change throughout the film though, becoming more heroic when Captain America "turns out to be right all along".

For the Winter Soldier, Jackman took a "rising string rhyme" that was buried underneath "the chaos and the industrial stuff" in the end of the character's suite from The Winter Soldierand developed that into a much more symphonic theme for the character, in keeping with his much more human portrayal in this film.

Jackman also wrote motifs for the major characters introduced in the film: Spider-ManBlack Pantherand Zemo. Zemo's personal theme was performed on "a lot of these rather unusual tuned bells" that gave him an "otherly sound", as well as a cimbalon to represent his Eastern European roots.

Having known Kevin Feige for some time, Michael Giacchino spent years working with him on potentially scoring one of Marvel's films. When he heard of development on Doctor StrangeGiacchino was particularly interested in working on the film, feeling that it would have more of an independent film feel than other Marvel films. He contacted Feige, "and that ball just rolled very quickly downhill, and I was on" the film. It becomes something new with his music in there that it didn't have with temp music.

The two later became friends. Webb and Fitzgerald were declared winners by Metronome magazine, while DownBeat magazine pronounced Holiday and Basie the winners. Fitzgerald won a straw poll of the audience by a three-to-one margin. By FebruaryHoliday was no longer singing for Basie. Various reasons have been given for why she was fired. Jimmy RushingBasie's male vocalist, called her unprofessional. According to All Music GuideHoliday was fired for being "temperamental and unreliable". She complained of low pay and poor working conditions and may have refused to sing the songs requested of her or change her style.

This association placed her among the first black women to work with a white orchestra, an unusual arrangement at that time. This was also the first time a black female singer employed full-time toured the segregated U. South with a white bandleader. In situations where there was a lot of racial tension, Shaw was known to stick up for his vocalist. In her autobiography, Holiday describes an incident in which she was not permitted to sit on the bandstand with other vocalists because she was black.

In Louisville, Kentuckya man called her a "nigger wench" and requested she sing another song. Holiday lost her temper and had to be escorted off the stage. Because of their success, they were given an extra time slot to broadcast in April, which increased their exposure. The New York Amsterdam News reviewed the broadcasts and reported an improvement in Holiday's performance.

Metronome reported that the addition of Holiday to Shaw's band put it in the "top brackets". Holiday could not sing as often during Shaw's shows as she could in Basie's; the repertoire was more instrumental, with fewer vocals.

Shaw was also pressured to hire a white singer, Nita Bradley, with whom Holiday did not get along but had to share a bandstand. Although Shaw admired Holiday's singing in his band, saying she had a "remarkable ear" and a "remarkable sense of time", her tenure with the band was nearing an end.

This may have been the last straw for her. She left the band shortly after. Holiday spoke about the incident weeks later, saying, "I was never allowed to visit the bar or the dining room as did other members of the band Because she was under contract to a different record label and possibly because of her race, Holiday was able to make only one record with Shaw, "Any Old Time".

By the late s, Holiday had toured with Count Basie and Artie Shaw, scored a string of radio and retail hits with Teddy Wilson, and became an established artist in the recording industry.

Her record label, Vocalionlisted the single as its fourth-best seller for the same month, and it peaked at number 2 on the pop charts, according to Joel Whitburn's Pop Memories: — Holiday was in the middle of recording for Columbia in the late s when she was introduced to " Strange Fruit ", a song based on a poem about lynching written by Abel Meeropola Jewish schoolteacher from the Bronx.

Meeropol used the pseudonym "Lewis Allan" for the poem, which was set to music and performed at teachers' union meetings. She performed it at the club in[41] with some trepidation, fearing possible retaliation. She later said that the imagery of the song reminded her of her father's death and that this played a role in her resistance to performing it. During the song's long introduction, the lights dimmed and all movement had to cease. As Holiday began singing, only a small spotlight illuminated her face.

On the final note, all lights went out, and when they came back on, Holiday was gone. She recorded it again for Verve. The Commodore release did not get any airplay, but the controversial song sold well, though Gabler attributed that mostly to the record's other side, " Fine and Mellow ", which was a jukebox hit.

Holiday's popularity increased after "Strange Fruit". She received a mention in Time magazine. I needed the prestige and publicity all right, but you can't pay rent with it. She also recorded her version of " Embraceable You ", which was inducted into the Grammy Hall of Fame in She used money from her daughter while playing dice with members of the Count Basie band, with whom she toured in the late s. Fagan began borrowing large amounts from Holiday to support the restaurant.

Holiday obliged but soon fell on hard times herself. Mom turned me down flat. She wouldn't give me a cent. With Arthur Herzog, Jr. It reached number 25 on the charts in and was third in Billboard ' s songs of the year, selling over a million records. He said she came up with the line "God bless the child" from a dinner conversation the two had had.

Because she was under contract to Columbia, she used the pseudonym "Lady Day". He signed Holiday to Decca on August 7,when she was The success and distribution of the song made Holiday a staple in the pop community, leading to solo concerts, rare for jazz singers in the late s.

Gabler said, "I made Billie a real pop singer. That was right in her. Billie loved those songs. The record's flip side was " No More ", one of her favorites. Such arrangements were associated with Frank Sinatra and Ella Fitzgerald. I begged Milt and told him I had to have strings behind me. The musical director, Toots Camaratasaid Holiday was overwhelmed with joy. Her s recordings with Wilson used a small jazz combo; recordings for Decca often involved strings.

She wrote "Don't Explain" after she caught her husband, Jimmy Monroe, with lipstick on his collar. Holiday did not make any more records until Augustwhen she recorded "Don't Explain" for a second time, changing the lyrics "I know you raise Cain" to "Just say you'll remain" and changing "You mixed with some dame" to "What is there to gain?

InHoliday recorded " Good Morning Heartache ". Although the song failed to chart, she sang it in live performances; three live recordings are known. Plagued by racism and McCarthyismproducer Jules Levey and script writer Herbert Biberman were pressed to lessen Holiday's and Armstrong's roles to avoid the impression that black people created jazz. The attempts failed because in Biberman was listed as one of the Hollywood Ten and sent to jail.

And very damn little of me. I know I wore a Album) dress for a number I did Holiday's drug addictions were a problem on the set. She earned more than one thousand dollars per week from club ventures but spent most of it on heroin. Her lover, Joe Guytraveled to Hollywood while Holiday was filming and supplied her with drugs. Guy was banned from the set when he was found there Audrey - The Dave Brubeck Quartet - Brubeck Time (Vinyl Holiday's manager, Joe Glaser.

By the late s, Holiday had begun recording a number of slow, sentimental ballads. Metronome expressed its concerns in about "Good Morning Heartache", saying, "there's a danger that Billie's present formula will wear thin, but up to now it's wearing well. InHoliday won the Metronome magazine popularity poll. On May 16,Holiday was arrested for possession of narcotics in her New York apartment. On May 27 she was in court. And that's just the way it felt", she recalled.

Dehydrated and unable to hold down food, she pleaded guilty and asked to be sent to the hospital. The district attorney spoke in her defense, saying, "If your honor please, this is a case of a drug addict, but more serious, however, than most of our cases, Miss Holiday is a professional entertainer and among the higher rank as far as income was concerned.

The drug possession conviction caused her to lose her New York City Cabaret Cardpreventing her working anywhere that sold alcohol; thereafter, she performed in concert venues and theaters. Holiday was released early on March 16, because of good behavior. When she arrived at Newarkher pianist Bobby Tucker and her dog Mister were waiting. The dog leaped at Holiday, knocking off her hat, and tackling her to the ground.

A woman thought the dog was attacking Holiday. She screamed, a crowd gathered, and reporters arrived. Holiday hesitated, unsure audiences would accept her after the arrest. She gave in and agreed to appear. On March 27,Holiday played Carnegie Hall to a sold-out crowd. Her popularity was unusual because she didn't have a current hit record.

Holiday sang 32 songs at the Carnegie concert by her count, including Cole Porter 's " Night and Day " and her s hit, "Strange Fruit". During the show, someone sent her a box of gardenias. After the third curtain call, she passed out. Titled Holiday on Broadwayit sold out. But it closed after three weeks. She married trombonist Jimmy Monroe on August 25, While still married, she became involved with trumpeter Joe Guy, her drug dealer.

She divorced Monroe in and also split with Guy. Gabler said the hit was her most successful recording for Decca after "Lover Man".

The charts of the s did not list songs outside the top 30, making it impossible to recognize minor hits. By the late s, despite her popularity and concert power, her singles were little played on radio, perhaps because of her reputation. The loss of her cabaret card reduced Holiday's earnings.

She had not received proper record royalties until she joined Decca, so her main revenue was club concerts. The problem worsened when Holiday's records went out of print in the s. She seldom received royalties in her later years. Her manager, John Levy, was convinced he could get her card back and allowed her to open without one.

But nothing happened. I was a huge success. AudioNautes Recordings. Accustic Arts Audiophile Recordings. Acoustic Sounds Series. CD Compact Disc. Ultra HD CD bit. XRCD bit. K2 HD CD bit. Blu-ray disc. Utopia For Realists. I've Been Expecting You. MP LP, Album. Blue Banisters. MP 2xLP, Album. Life Thru A Lens. Best of Bond James Bond. MP 3xLP, Comp. Brothers In Arms.

No More Tears. MP 2xLP, Album, La La Land. Sunday At The Village Vanguard. MP 2xLP. Happy Pills. Good Times. My Brother The Cow. Place Beyond The Pines. And Then Life Was Beautiful. The Money Store.

Slaap Kindje Slaap - Fay Lovsky - Daar Buiten Loopt Een Schaap (CD, Album), Susana (Susanna) - Fausto (6) - Susana / Te Quise Tanto (Vinyl), Chanson Denfance - Sarah Brightman - Golden Collection (CD), Down To The Waterline - Dire Straits - Dire Straits (Vinyl, LP, Album), Isle Of Capri - Ken Colyers Jazzmen - The Decca Years Volume 6 - In The Beginning... (Vinyl, LP, Alb, Bye Bye (Firesigns Tribal Anthem Radio Mix) - Mariah Carey - Bye Bye (CDr), Express Yourself - Madonna - Re-Invention Tour (DVD), Tell Your Mother - Downchild Blues Band - Tell Your Mother (Vinyl), Dreams Made Flesh - Dead Can Dance - DCD 2005 - 10th March - Ireland - Dublin (CD), Seize The Day (Phonovisions Symphonic Version) - Wax Tailor - Phonovisions Symphonic Orchestra (Viny, Blowin Free - Wishbone Ash - Argus (CD, Album), Dancing In The Moonlight (Murder Mix) - Body Heat (4) - Dancing In The Moonlight (Vinyl)

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