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Gillian, who was originally raised in Merseyside across from Liverpool, is also currently the Beatles news reporter on Beatles-A-Rama. We've got 25 pairs of tickets up for grabs. The Competition opens at Ongoing study of Beatles through infographics, much of which is based on secondary sources such as sales statistics, biographies, recording session notes, sheet music, and raw audio readings.
New York Classic Rock radio station Q The New York Fest will also include two performance stages and expanded hours. The book, The Beatle Who Vanished by Jim Berkenstadt, which uncovers the twisting trail of intrigue that has followed Nicol since his disappearance in the late sixties, is now available as a downloadable Kindle E-Book. He was This autographed White Album is the rarest fully signed Beatles album ever to be publicly auctioned.
In addition, a pair of Beetle cufflinks worn by John Lennon will also be up for auction. The cuff links feature a gold beetle with a red jewel representing the back of the beetle.
They were worn by John in earlyhe can be seen in photos wearing the cuff links on several occasions in For more information, and to register to bid, visit the auctioneer's official website at www.
Got That Something! Kozinn paints a vivid picture of the legendary songwriting duo at work, and the emergence of this distinctively British-sounding tune that-contrary to the assumptions of American record labels-became beloved in the United States, paving the way for the invasion to come and the lasting impact on American music that continues even today.
Allan Kozinn kozinn on Twitter began writing about music for The New York Times inand joined its culture staff in A classical music critic for much of his career, he is currently a cultural reporter for The Times.
The Beatles Room is dedicated to the many connections that link the Fab Four to the resort, including the Winter Gardens shows on November 16, that were filmed by American TV news crews and resulted in the first footage of The Beatles to be shown on US television, three months before the famous Ed Sullivan Show on February Cutting the ribbon, the Mayor of Bournemouth Cllr Dr Rodney Cooper said, "I can't wait to come back here time and time again, there's so much history on show and so many fascinating stories that relate to it.
Everyone have a safe and great Hanukkah and Thanksgiving day and take care. After being out of print for several years, the wonderful album of Beatles Christmas songs by the fabulous Beatles tribute band The Fab Four is now available on a CD called Hark! Music will be supplied by the very talented Fab Twins. For more information, phone Since tomorrow is Christmas eve and we all live in different time zones. I want to wish everyone now and their familys etc.
A safe and great upcoming Christmas day and happy Winter Solstice. In the interview, about performing on the BBC, Ringo said, "Those sessions were really immediate; there were no real overdubs of any sort. They'd tell us, 'We'd like you to be on this show and we'd like you to do 10 songs,' and we'd just say 'OK. Fans of all ages will enjoy sharing Rick and Brigid's experiences. Plus, this latest edition covers the return of the U.
Beatles albums and other forthcoming 50th anniversary events, on-the-scene coverage of Paul McCartney's Japan tour and recent U. A year's subscription in the U. For credit card orders, you can calle-mail goodypress gmail. BoxDecatur GA For more info, you can follow Beatlefan on Twitter at twitter. Also, check out their "Something New" blog at www. Stones: Whose side are you on? Kramer, Freda Kelly, Vince Calandra, and other special guests, curated and moderated by Martin Lewis, will take place on Thursday, February 6, pm.
Laguna Honda Hospital is a long-term, skilled nursing and rehabilitation center, committed to serving seniors and adults with disabilities living in San Francisco. His live broadcast of "Every Little Thing' is heard on For more information on Ken's work on the Beatles, visit www.
In addition to performing Beatles classics on show, the Grammy nominated group will debut "Because They were Fab," an original song written in honor of the Beatles 50th anniversary. Showtime at PM. The free event is sponsored by Hippie Radio and will be webcast live at HippieRadio To learn more about The WannaBeatles visit www. For Cutting Room tickets reservations go to www. For Omni Hotel Nashville information call The call for artists to appear in the show only has a few days left, the deadline for submissions is this Monday, January Artists can submit up to four pieces, there is no size restriction, and no fee to submit.
Artists can submit images of their Beatles inspired artwork to gallery cartersexton. There will be a reception for the show at Carter Sexton on February 7, the 50 year anniversary of Beatles landing on US soil. While the central focus is on the blues, some chapters deal with other forms of black music, particularly jazz; and because the subject offered more than European perspectives and focused on more than a one-way ow of music, the title for the book has been changed to Cross the Water Blues: African American Music in Europe.
The collection begins with my own broad overview of the subject raising some of the issues and concerns to be addressed in more detail by other contributors from a personal historical perspective.
The personal point of view continues with Paul Olivers insight into the appeal of the blues to British audiences of his generation.
As one of the earliest writers on the topic, and now one of the worlds leading authorities on the subject of African American music, Oliver is a prime example not only of the way in which black American culture took hold in Europe, but also how it became part of transatlantic culture. His inuence is reected in this collection in a variety of different waysbut especially in the endnote references in almost every chapter. Broad, general one might say, universal questions about the blues are explored by David Webster looking at the appeal of African American music, particularly the blues, for a white European audience in broad, philosophical terms.
Points raised in these early chapters inform most of the remainder which deal with particular historical and geographical locations: Jeffrey Green challenges the assumption that people of African origin were only active in nonconcert hall or classical music making, and looks at black composers who also went to the United States from Britain in the late nineteenth and early twentieth centuries; Rainer Lotz provides an examination of, and begins.
In her consideration of African American inuences in interwar Paris, Iris Schmeisser, like Parsonage, suggests that in their emphasis on the exotic, European responses showed both the acceptance and rejection of black music as the other in a mixture of fascination, fear, and even envy. Sean Creighton, on the other hand, offers a survey of Paul Robesons visits to Britain that emphasize the wide appeal and success of that talented performer.
In turning to postwar developments Roberta Schwartz examines in detail the work of the evangelists including Paul Oliver who brought the blues to a wider audience, while Bob Groom looks at how the blues were popularized as part of the British skife boom and also raises wider questions about the origins and authorship of specic songs. The often controversial questions of authorship and the incorporation of black music into white pop are taken further in Rupert Tills examination of the blues in the work of three of the major British bands, the Beatles, Rolling Stones, and especially Led Zeppelin.
Also taking the inuence of the blues on British performers in the s as his starting point, Leighton Grist looks at the blues as a product of modernism in an approach that might be described broadly as cultural studies. The nal three chapters return to the wider European context. Guido van Rijns chapter charts the black American cultural presence in the Netherlands from the late nineteenth century on before focusing on the appeal of the blues to modern Dutch audiences.
Special emphasis is given to the detail of Bill Broonzys connections with the Netherlands. In looking at the blues in France, Robert Springer provides a concise overview of the subject and offers some possible explanations for the appeal of black American music for nonEnglish speakers. Finally, Christopher Bakriges explores the attraction of Europe for the black avant-garde and demonstrates once more how musical forms have evolved to transcend geographical, national, and possibly even racial boundaries.
Thus, in one way or another the various contributors to this volume point up the importance not only of African American music to the wider world, but also something of the inuence and signicance of European writers and musicians on this subject which has crossed the water. I am, of course, grateful to all the contributors to the conference from which these papers originated, but I am especially grateful to those who then contributed to this volume.
They have been enormously patient over a twoyear period and have unfailingly taken on board whatever suggestions were made to them by myself, editors, and readers. Anonymous readers made helpful comments in the early stages of production; David Evans read the whole manuscript in draft and provided extremely helpful feedback.
Craig Gill was very encouraging from the start and showed enormous perseverance, and Valerie Jones dealt with the many errors I missed. The volume is better as a result of all their comments, although I may have chosen to ignore a fewsometimes at the insistence of the particular contributor!
Special thanks are due to Paul Oliver who has always been supportive and whose inuence on blues writing is evident in almost every chapter of this book.
Paul not only suggested the title, but his own work is the greatest proof that African American music did indeed Cross the Water. Neil A. NOTES Most references in this book appear in the endnotes of respective chapters; where there are either few or no notes, references have been provided in separate bibliographies, and, where appropriate, discographies are also provided. Apparently there is some degree of uncertainty about the date of Handys discovery although Handy claimed to have rst heard the blues at a station in Tutwiler, Mississippi, he also printed a blues song that he heard around and referred to hearing a tune called East St.
Louis in Embassy, London. The impact African American music had on specically British popular culture was celebrated in the widely shown television documentary Red, White and Blues, directed by Mike Figgis as one of the seven-part series Martin Scorsese Presents the Blues made to celebrate the centenary of the blues in So much has the blues become a part of British musical culture that the Observer Sunday newspaper could run an ad as the lead up to its monthly edition on music marking years of the Blues or as it described it, Celebrating a century of sorrow inviting readers to ll in missing lyrics with the lines which began, of course, I woke up this morning.
Although little mention was made of wider European interest in the blues in Scorseses documentary series and accompanying publication, African American music and culture has long had an audience beyond the English Channel. According to one of the leading authorities on the blues, the Englishman Paul Oliver, the rst jazz critic in the world was probably the Belgian writer Robert Gofn, who published reviews in and established the rst jazz magazine, Music, in Not only did the University of Gloucestershire host the conference in which produced this book, but in the university signed an agreement with the European Blues Association based in Cheltenham to act as custodian to a major part of the Paul Oliver Collection of African American Music and Related Traditions for use in teaching and research.
By way of introduction to this collection I want to use my personal perspective to examine some of the reasons for the spread and inuence of African American culture in western Europe particularly in the s and s, but also in the twentieth century as a whole. Firstly, I want to look at the way I was inuenced by African American music and culture as a teenager.
Secondly, in doing this I want to locate my journey in a broader context and briey consider the well-known story of the way in which African American culture became part not just of British popular culture, but also of a wider transatlantic culture. Although I will focus on the postWorld War II period, I will also try to provide a broader historical overview of this interaction.
Thirdly, in the process I want also to look at how this history was also part of an ongoing and continuing discourse on race. Like many British teenagers in the s I was inuenced by black American music. For about two years between the ages of sixteen and eighteen although suffering from impaired hearing and possessing little musical ability! The play list for our rst paid appearance in Edinburgh in is very revealing.
Higginbotham a. Again, like many other people at the Dont You Love Me Any More - Louis Armstrong And His Orchestra - Louis Armstrong (Vinyl, I was drawn back from modern versions to the original songs and their antecedentsand in doing so followed exactly in the footsteps of the new leading groups of the daythe Beatles and Rolling Stones. Both were heavily inuenced by black American music. This mixture continued through several of their early albums, and Chuck Berry numbers were a regular Beatles feature on long play and extended play records.
However, my favorite of the two groups, the Rolling Stones were, recalled their bass player Bill Wyman, totally obsessed by the blues. Drummer Charlie Watts had played and still plays in a jazz band. What the Stones and other British groups did was take this music, reinterpret it, and play it louder and faster than the originals had.
As the black American bluesman Little Walter remarked inthey were playing the hell out of the blues. By visiting black singer Nina Simone could recall that all the kids in London were singing Negro rhythm and blues. More than this she noted, they give credit and respect where it is due, something they dont do too much at home. These black musicians had begun to visit Britain rst of all in the s, partly as a result of a revival in folk music, and partly as a result of growing interest in jazz.
Another factor was certainly the programs sponsored by the U. A few years later, in to be exact, Lonnie Donegan, the Glasgow-born banjo player with Chris Barbers jazz band began to play guitar and sing versions of American folk and blues songs during the bands intermission. One of these songs, Rock Island Line, originally recorded by Leadbelly although as Bob Groom points out, he had heard it rst from prisoners in Arkansaswas so popular it was released as a record insold three million copies, and became a hit on both sides of the Atlantic.
The skife craze was launched. This, combined with the emergence of rock n roll in the United States, encouraged many young British teenagers to take up guitars and form groups. By there were estimated to be more than ve thousand skife bands in Britain; one of these, the Quarrymen, eventually became the Beatles. World War II. His new amplied sound was more suitable to city clubs and bars, and it reected the mood of the growing northern urban black populations.
It was to have an enormous impact in Britain. Although he promised to learn some of the old blues numbers before he returned, by the time Waters toured again inthe city blues had caught on in Britain.
The spread of the blues in Britain was due in part to the evangelistic journalism and writing of record collectors and blues devotees described by Roberta Schwartz. The intermission performances in the jazz sessions had become full evening blues sessions; Barbers guitarist Alexis Korner soon left to open his own blues club and form Blues Incorporated, and very quickly there was a proliferation of blues clubs in and around London in the Thames Valley cottonelds of Richmond, Windsor, and beyond.
Some, like several jazz players before and after them, made their homes on this side of the Atlantic: Champion Jack Dupree moved rst to Switzerland, then Sweden before marrying and settling in Halifax, England; Memphis Slim became established in Paris where he organized blues tours. Sonny Boy Williamson spent all of in the United Kingdom, and he adopted an English tailor, wore a bowler hat, and carried an umbrella! Firstly, it was new, different, American.
Some British listeners said they did not initially realize the music was performed by African Americans Honey that it was of African American origin; they were attracted just because it was American. A ban by the British Musicians Union from until had limited the opportunities for American musicians to perform live in the United Kingdom, and the war and postwar austerity had also limited access to records. Nonetheless, there was already an audience in Britain that had heard American music on the radio, on the American Forces stations, or on imported records from U.
Paul Oliver recalled that he overheard African American servicemen in Suffolk in It was the strangest, most compelling singing Id ever heard. Similarly the British jazz singer, journalist, and raconteur George Melly became addicted when he chanced to hear a Bessie Smith record.
He later captured the sense of novelty when he commented on going to hear Big Bill Broonzy inthat the idea of hearing an American Negro singing the blues was almost unbearably exciting. Jazz had come to Europe during and immediately after the First World War, and so by the s already had a long-established following, but also, as Catherine Parsonage makes clear, had provoked some less than favorable responses.
Jazz provoked controversy all around Europe. Jazz particularly was even questioned in terms of its musical value. In Britain a reporter in the Times, January 14,described jazz as one of those American peculiarities which threaten to make life a nightmare.
The object of a jazz band, apparently, is to provide as much noise as possible. One critic in Sweden suggested in that any musician who played jazz for any length of time would lose their musical ability and eventually become an idiot! A later Swedish reviewer of a concert by Louis Armstrong said jazz was hardly music at all, merely an irritating rhythmic throbbing, which in its grotesque ugliness and eccentricity can never be enjoyable and hardly ever fun to hear.
In Paris, where jazz was everywhere bythe new music was particularly associated with the red-light district of Montmartre and was viewed by some as a threat to the traditional chanson. For a time it was banned by the Parisian police; jazz dancing was also banned in Italy in Introduced to the country by the avant-garde poet Valentin Parnakh following his visit to Paris in rather than by visiting Americans, dzhaz was accepted initially both as revolutionary and, with blues, associated with the black proletariat.
The oldest jazz orchestra in continuous existence, the Russian State-Chamber Orchestra of Jazz, had its origins in the orchestra started by Oleg Lundstrem in while he was in Shanghai. Apparently it was not until when Sam Woodings band appeared with the thirty-ve. However, the Soviet authorities later tried to prohibit jazz as bourgeois, and the Russian author Maxim Gorky in his essay The Music of the Gros in Pravda, described it as. For a while, even the playing of a saxophone was prohibited in the USSR.
Urban suggests that blues reached the USSR largely through the records of white British bands like the Rolling Stones and Yardbirds, and it was not until with tours by B. King and Gatemouth Brown that Russian audiences really encountered authentic live blues. However, a further period of cultural repression held back the development of blues until after Perestroika in Thus blues and jazz were linked very much to internal political developments.
If not always seen in such political terms, throughout Europe in the interwar years many people spoke explicitly of jazz in moral, religious, and racial terms, casting black secular music as the Devils music: a Canon Drummond of Maidenhead, England, condemned jazz dancing as, one of the most degrading symptoms of the present day. The dance of low niggers in America, with every conceivable crude instrument, not to make music but to make a noise. While jazz and blues were often regarded critically in moral, musical, and racial terms, black church music, gospel songs, and spirituals, on the other hand, were equally seen in terms of stereotypes, but of a more acceptable nature.
Black musicians had visited Europe right through the nineteenth centuryMajor Dumbledons Ethiopian Serenaders came inthe Georgia minstrels toured inand most famously the Fisk Jubilee Singers performed before Queen Victoria and attracted crowds in their thousands in the s in Britain and elsewhere in Europe.
A reviewer of their performance on February 21,given in St. James Hall, London, for the benet of the YMCA and the Factory Helpers Union, said that: following an introduction by the Countess of Portsmouth, the ten singers proceeded to sing the curious programme of sacred and secular songs which created so much interest in them in days long gone by. The effect of their singing is almost indescribable. Obviously the singing cannot be measured with the ordinary yard-stick of criticism.
It is not ordinary. It is not even singing in the ordinary sense. It is an agglomeration of the most weird musical sounds, the most unordinary rhythmical nuances. The connection with later black music is made explicitly by a writer describing the Negro in the theatrical journal Performer in He traced the line of development in a telling fashion: First he brings his slave ditties Then he charms us with his coon songs, Now hes sending us barmy with Jazz Whats his next stunt?
The minstrel tradition, of white performers in blackface singing the songs of the old South and presenting stereotyped images of happy, carefree, simple slaves, was also long established in the British music-hall at least since the Ethiopian Serenaders in and survived into the twentieth century.
One of the ironies of my own experience was to observe the pleasure with which my parents, who railed against the jungle music of Elvis Presley, watched the George Mitchell Black and White Minstrel Show that ran on British.
In part, as Sean Creighton demonstrates, this was due to the enormous range of his talent, from Shakespearean theater and movie actor through to classical music performer, but it was also due to the fact that his performances were often set within conventional white forms. Possibly, too, his rendition of spirituals, the music of survival and hope for an oppressed race, had a particular appeal to audiences experiencing the worst effects of the Depression.
Clearly, some black performers and musical styles did not divide their European audiences in the way that jazz, or later blues, did. In fact, of course, both critics and fans of black music shared some similar ground. It was precisely because jazz and blues were new, loud, often discordant, and questioning of established values with their use of the double entendres and open sexual references that they seemed attractive to young people in the jazz age of the s and again to teenagers in the s.
In Britain George Melly could recall how his prep school headmaster in the s would switch off any jazz discovered accidentally on the radio screaming lthy jazz. Melly noted he would mentally add jazz to Bolshevism and the lower classes. Nonetheless, jazz, in the form of swing, survived and indeed became a form of rebellion against the authoritarian regime.
Louis, Missouri, experienced personal freedom and artistic liberation. Baker rose to stardom demonstrating the unbridled sexuality, frenzy and primitivism that captured the white audiences. He pointedly remarked that the attraction of Paris was not just the life-style, although that was clearly importantwe had wonderful contracts as well.
Surely one of the most signicant jazz guitarists ever was Django Reinhardt, the Belgian-born musician who converted to jazz after hearing Ellington and Armstrong on record in For Sartre, jazz represented notre temps our times with its strange rhythms, abrupt phrases, and heavy voluptuous songs. It is the black jazz singer in Nausea and the song Some of These Days although ironically a song written by a black Canadian and sung by a white woman, Sophie Tuckerthat give Sartres character Roquentin some hope.
Gaily obscene, doudou about jazz in the excess of their boredom, I can do tracking, the Lindy-hop and tap dance. For Sartre and others in pre and postWorld War II Europe, black music was attractive also because it was a vehicle of the dynamism of American culture in all its immediacy and uncompromising energy.
At the same time, ironically, in its liberation and identication with the African American minority, it was a mode of protest. Thus it was that jazz bands frequently led the Campaign for Nuclear Disarmament CND demonstrations against American nuclear might and the presence of U. Similar social attitudes and positivist humanist values informed them both. Du Boiss famous sense of two-ness.
Blues and jazz both could trace their origins back to the music of black slaves and could as several scholars including Paul Oliver have shown trace their roots back to Africa, if only indirectly. Recognizing the links with slavery, Larkin recalled being hooked on the rhythm that had made the slaves shufe in Congo square.
Smith and Gertrude Ma Raineynot only represented a predominantly rural southern community, they did so in the years before Dont You Love Me Any More - Louis Armstrong And His Orchestra - Louis Armstrong (Vinyl mechanization of the cotton industry in the s.
Their songs reected a bygone era for most white audiences, a pre-modern era with an oral tradition and references to mojos, black cat bones, and John the Conqueror; they also reected a life of hardship and suffering. For some British converts to black music, there was a sense of identication with the socio-economic hardships of African Americans.
Indeed, Leighton Grist suggests that the music had a particular class-based appeal. In a neat reversal Hooker, who performed in Newcastle, once asked a friend if he had ever heard of it; the friend racked his brain and asked Newcastle, Mississippi? Hooker replied No, Newcastle, Britain and commented on playing there, that was rough.
Although my father worked, we were far from well off, life was a struggle. Years later I found that many black musicians grew up in the Southern States of the USA in difcult circumstances, something of a shared experience.
It is doubtful that Wymans childhood really stood comparison with growing up black in the American South as he properly acknowledged when he indicated that he did not experience the awfulness of segregation and the problems of being treated as a second-class citizen. My family was lower, but aspiring, middle class, I went to a good school, and was fortunate enough to have a grant to support me through university.
Most of the members of the British blues bands seemed to come, with some exceptions, from similarly comfortable backgrounds; many like Mick Jagger, Keith Richards, and Eric Burdon were university or art college students.
This seemed true too of earlier generations of British lovers of African American music. Historian Eric Hobsbawm, while describing jazz as the.
At the same time not surprisingly, writers who were presenting gritty, northern working-class realism, together with politically left-wing inclined members of the middle class, could easily identify with what they saw as the music of the proletariat. Several of my colleagues have recalled that they were captivated rst by hearing someone play a harmonica or guitar although one also associated it with a teenage broken heart!
In the s and s music became much more accessible with the growing popularity of the guitar. My sixth-year class in Boroughmuir senior secondary school in Edinburgh in included at least four guitarists and two drummers, none, to my knowledge, with any formal music training.
Time and time again people like Eric Clapton recall hearing various blues artists, and although feeling empathy with the underdog, also became obsessed more with trying to master the guitar techniques they heard. Ironically the blues was rediscovered and reintroduced to white American audiences at the very moment that many African Americans were disassociating themselves from what they saw as down-home, old-fashioned, and even Uncle Tom music.
King reported playing in a key venue in before audiences that were 95 percent black; by the audience was 95 percent white. With the rise of civil rights came the discovery of black history. While this was especially true in the United States with the growth of Black Studies programs, it was also the case in British institutions. At my university in Edinburgh in there already was a well-established department of African Studies and the history department offered not just courses in American history, but LP) unusually, one in black history.
At the same time African American history was part of the developing revisionist critique of the superpower by then heavily involved in the war in Vietnam. American race relations was also something the wider public were made increasingly aware ofblack civil rights leaders like Martin Luther King and Malcolm X were both visitors to Britain and other parts of Europe, as were writers like James Baldwin, and sports personalities, most notably Muhammad Ali.
One of the attractions for me was the sense of an alternative history. Although I didnt realize it at the time, here was a very early but I think not widely recognized as such among the historical profession example of the emerging new social history. This history came from below and looked less at the dominant narrative of historical fact, the meta-narrative of the white hierarchy, but the lived experience of a people for whom the major dramas of national history often had little real signicance.
In writing of these often unknown performers and their songs, people like Paul Oliver, and LeRoi Jones in Blues Peoplerescued them from the enormous condescension of posterity, as the British Marxist historian and jazz writer Eric Hobsbawm noted, using the words of E. Thompson and the Making of the English Working Class, itself a seminal work of the period.
Black historian Robin Kelley has suggested that blues songs offer a hidden transcript for a people, many of whom could neither read nor write, and reveal the infra politics of segregated life in which black popular culture, if not directly oppositional, offered an alternative view of.
As the writer Ralph Ellison suggested, the blues express both the agony of life and the possibility of conquering it through sheer toughness of spirit. African Americans no longer wished to see their campaigns, their history, nor their culture appropriated by whites, no matter how liberal or well-meaning they might be. As Paul Garon and others have argued, what makes the blues unique is a system of reference based upon a shared experience in the past and the present, and this is the black experience, the experience of race prejudice.
Kings song, that provided me with my title Why I Sing the Blues, locates him overtly and specically in a history that stretches from slavery to urban ghetto. But more than this, as Paul Gilroy and others have clearly demonstrated, African American culture was also a transatlantic culture: while Chris Bakriges shows how through transatlantic migration jazz became more than just an American music, John Cowley has also demonstrated the varied links between Afro-Caribbean, Afro-American, and British Caribbean music.
Black musicians. Jazz, said saxophonist Bud Freeman, has moved to Europe. Thus, in the discovery and rediscovery of black music, and in the varied responses to it, Europeans have often revealed not only the universal appeal of the music, but also a constant element in the discourse on race and the transatlantic relationship. They too, share a part in African American history. NOTES 1. I rst gave a version of this paper at my Inaugural Address, University of Gloucestershire, April 20, Silander and C.
Wallin, eds. The Observer, November 16, Peter Guralnick, Robert Santelli, et al. The oldest extant independent jazz label in Europe is Storyville, established by Karl Emil Knudsen in Copenhagen in Paul Oliver, Jazz is where you nd it, in C.
Bigsby, ed. Quoted in Melody Maker, October 3, The rst country bluesman to visit Europe was probably Huddie Ledbetter Leadbellywho played in Paris in shortly before his death. Wald, Josh White, See van Rijn, Lowland Blues. Roberta Schwartz, Preaching the Gospel of the Blues.
Jeffrey H. Sam Wooding probably merits a chapter on his own in a book like this. A tenor horn player in the army during World War I, Wooding and his band joined The Chocolate Kiddies revue on a tour that began in in Germany where Woodings became the rst jazz ensemble to record in Europe. The revue went on to tour Russia, Turkey, England, and Italy. Wooding returned to the United States in See article by Susan C.
Times, March 15, Times, April 8,and see issues for detailing radio broadcasts. Allen, Times, February 22, The Ethiopian Serenaders, described in the London Illustrated News as negroes, were apparently whites in blackface.
A black group, the Ethiopian American Serenaders performed in Europe in the s. I am grateful to Rainer Lotz for this information. Melly, Owning Up, Berndt Ostendorf, Subversive Re-education? Baker was one of few jazz performers to abandon American citizenship in favor of their new country of residence. However, several shared the sentiments of Sidney Bechet when he remarked, every man has two countries, his own and France.
Quoted in Moody, The Jazz Exiles, The location of the black performer within the modernist movement is also the subject of Christopher Bakriges, Cultural Displacement, Cultural Creation: African American Jazz.
Musicians in Europe From Bechet to Braxton. It is interesting to note here that it is probably no coincidence that Paul Olivers other some might say, main area of expertise is in vernacular architecture on which he is a leading world authority.
Larkin, All What Jazz, Wyman, Blues Odyssey, 9. Shapiro, Alexis Korner, The African American history course was taught by George Sam Shepperson, a Marxist historian whose writings included several works on W. Du Bois and aspects of the African diaspora. Cambridge University Press, A lovely woman in her 50s who should have a long time yet to live.
I always knew. When you were young. Now youve got so much fear, Charlie. Meeting Greg, and leaving your Dad. Then meeting Scott and leaving Greg. I could never get the sequences right. And p. For the better. Mary Baker thinks. Got it. And thinks. It came to me. WOMAN is inside. Going up? And the door opens. The one Ive got I dont want it to be it. Charlie follows with a cell phone, making the call. Marys sweatpants fall down around her ass.
Its not a pretty sight. Its a big and affecting laugh. Come here. Charlie smiles Okay, then. I love you, Charlie. Have fun in Bucharest. Mary Baker gets in the elevator and the doors close. No, we dont have any books on Bucharest. You know why? Because no one from there can read or write is why. All they can do is have sex with child prostitutes and get AIDS. Oh wait. They can also harvest organs like nobodys business. Its world capital of that shit.
Nadia whats-her-face and all? Its super pretty and they shoot all the pornos there. Id like less dumb-ass information. Wheres your head at? Im off at Bring a bottle. She doesnt notice. He reaches into an old winter boot and pulls out a KEY.
A GIRL is asleep. He watches her until he hears a FART. Charlie laughs. Melissa wakes up and sees him. Theres a GUY there. Charlie doesnt laugh. He goes. Melissa comes after him. Go home. Forget it. You love that I call you Charles.
No more. Hes Ted. TED Everything cool? My name is. Dont go to bed. Forget what she said. Stay here instead. Do not go to bed. Not back where you far Melissa tries to keep a straight face.
Okay, Ted? Who gives a shit. Give us a minute. Ted blushes. Hey, bro! TED Enough! Melissa turns Ted toward the bedroom. She whispers in his ear. Ted Dont You Love Me Any More - Louis Armstrong And His Orchestra - Louis Armstrong (Vinyl at Charlie, and goes. Coming here being funny. Youre not funny, Charles. With the AIDS and the organ harvesting? Its the place for me.
Its supposed. All you do is sit in your apartment and do nothing. Fucking do something for once. Like Godzilla. I see. Well, Melissa. I had a nice time being your boyfriend for a while even though all we did was fight and you made me cry when it was over.
He offers his hand to shake. She hugs him. He pulls back. I myself had sex tonight. Not by myself. It was me, along with another individual. A girl. He wears a suit. He reaches an office, knocks. A woman, JAN, is inside. Shes happy. Are you serious? Effing nailed it! Never cease to amaze.
Save Secure Backup is my crowning achievement. JAN Whoa. I told you you came back from bereavement too soon. Take the week. Dont do anything rash. JAN Thats rash, Charlie.
Its something Ive got to do. Being paperless and all. JAN Dont talk crazy, Charlie. Charlie and Scott are bellied up. Scott lifts a shot of Sambuca. Wherever the hell. They drink. Charlie looks a little piqued. SCOTT contd. Charlie nods We did the right thing. I know it. Look how sad, dahlinge. The poor soul. We want so badly to believe he does the right thing for himself. But how can we, when we know how it ends for him? I will tell you how -- because of love. We may comfort ourselves knowing that love awaits him.
He tries to push the man back, but he wakes. Hes got high gray hair and the bluest eyes. Never mind. Istvan touches Charlies face. The eyes. You look bad. What is wrong Scott cries. Charlie goes. I am sorry for you. My wife died many years time ago. I have never had another woman since. But I see your point. Ur Isten! I dont go to Bucharest! Were going to Budapest. I take another flight to Bucharest.
I am in Bucharest one time. Never again. Charlie takes out a BOOK. You do not like to speak with me. No trouble for me. Should you not want to know what I am doing in Chicago? Why an old Magyar man is going to there? Magyar is Hungarian word for Hungarian. See, you can learn something by talking. Im curious. He sets it atop his. So she send me to Chicago to visit a game with the Cubbies Istvans blue eyes brighten and his face beams.
Charlie smiles. Weeping happily. I mean, you live in Hungary. Jack Brickhouse and the Cubbies on the black market and we listen together under the blankets for fear of being caught by secret police. We are, how do you say, long time suffering. Always an invasion or occupation, always beaten in the wars. We are the heartbreak people, but our character is always strong. Same as the Cubbies. May I show to you something incredible? Istvan puts it on and smiles.
You think she will love it? This is what I thought! Who wouldnt. Istvan is asleep, leaning on Charlies shoulder again. Charlie sleeps too. He wakes. Istvan still leans on him. He gently tries to move him. Somethings wrong. Istvans face is ashen. Charlie tries to shake him. Oh shit. Can someone This man is-People begin to stir. I think hes, um, I dont know.
He was fine. Rigor mortis. Charlie looks sick. Youll alarm the others. Is there a doctor on board? They look back at the body. At Charlie. He remains in his seat by the window. Trapped, stunned. After a bit, Flight Attendant approaches Charlie.
This man is from there and it really does simplify things. We are sorry for the inconvenience. Well keep them coming. Theres a dead person sitting next to me. Lets try to make the best of it, shall we? Charlies had enough drinks to be drunk. Flight Attendant comes over. Youll have to climb over, I suppose.
She goes. Charlie stands and tries to squeeze, but the person in front of Istvan is reclining and asleep. Hes getting up. Istvans sheet moves. Charlie, come in to here.
Charlie looks around to see if someone is talking to him. Theyre not. Charlie lifts the sheet. Istvan smiles at him. I tell her you are going to Bucharest. She smiles for you. I see also my wife and she made some sex with me. It is my daughter -- perhaps you will give her my gift, and tell her she is my deshem lny. Istvan is gray and dead again. Charlie comes out from under the sheet. Everyones looking at him like hes a freak. Passengers disembark, moving around Istvan like hes, well, a dead body.
Charlie is stuck there. The official takes Istvans bag from the floor. It is belonging to me. Ha ha. Its What? It was the dead mans funny hat. The official takes the hat. Charlie turns to the passenger. Tell him its my funny hat. How do you say youre a fucking asshole? The official gives Charlie a cold stare.
Dont let the American take the funny hat. The guys move Istvan away from the gate. He pockets it. How do we choose, dahlinge, between something and nothing, if nothing is all weve ever done? Charlie is going to explode. God dammit, we must do it! Charlie breaks into a run.
Hes going for the hat. The official sees him. No time to react. Charlies there. The official yells. Charlies heading right for them. He doesnt see them. Charlie is knocked to the ground. He slides into the wall, in a heap. The guards jump him, yanking him up. He flails wildly.
You fucking pricks! Lemme go! Charlie convulses, and goes limp. He seems dazed. His hair is staticky. His suitcase is there. He checks his watch. He calls through the open door.
Guard One has the beer hat on, and is slurping coffee from a cup set in one of the holders. Soon a weary-looking MAN in a cheap suit arrives. Guard One takes the hat off and hands it to him. He enters the room, holding the hat and Charlies passport.
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