#Ellington Hotel Berlin

[eptodaytommorowforever]

Events In The History And Of The Life Of Elvis Presley Today On August The 28th In 1971.

Elvis Presley Receives the Bing Crosby Award August 28th,In 1971.

In his dressing room Elvis Presley receives a lifetime achievement award from the National Academy of Recording Arts and Sciences (NARAS). There have only been five previous recipients of the award: Bing Crosby (for whom it has just been renamed), Frank Sinatra, Duke Ellington, Ella Fitzgerald and Irving Berlin.

This is one of the few legitimate forms of recognition that Elvis Presley gets from the recording industry during his lifetime - but it is a highly significant one. B/W Candid Photo below, NARAS reps, Bing Crosby's son, Christoher Crosby with Elvis Presley

Elvis Presley: Receiving the Bing Crosby Award In Is Dressing Room At The Hiton Hotel In Vegas On August 28th, In 1971. B/W Candid Photo Of Bing Crosby's Son Christopher Crosy and Naras Reps Presenting Elvis Presley With The NARAS AWARD.

[crushondonald]

From “Femina Palast” to “Ellington Hotel Berlin“ ... a living piece of history

It was here where Louis Armstrong, Ella Fitzgerald and Duke Ellington performed in the legendary jazz club “Badewanne”, David Bowie, Romy Haag and Lou Reed partied in the no less legendary “Dschungel”, and old UFA heroes and later television stars stood on the stage of the “Berlin Theatre”. The building on Nürnberger Straße 50-55 in the city center west – transformed via loving detail work in 2007 into ELLINGTON HOTEL BERLIN – is an establishment with tradition.

The building known under the names “Haus Nürnberg”, “Femina or Tauentzien Palast” that emerged from 1928 to 1931 under the impression of the pioneering buildings by Berlin architect Erich Mendelsohn was designed by a very successful team of architects at that time, Richard Bielenberg and Josef Moser in a combination of Art Déco and Bauhaus style. They designed one of the longest, most conspicuous and perhaps also one of the most beautiful facades in Berlin: elongated ribbon windows across the continuous shop floor expose the four upper floors. The wall areas are clad with lavish travertine and framed by small ribbons of dark bricks below and above the strongly profiled windows. The 185 metre long façade is structured through staircase towers and oriels. The entrances and display windows of the shop front are framed in brass. This also contributes towards the elegant exterior of this commercial building. 

But the domicile of the Ellington Hotel is not only listed because of the largely originally preserved façade. The entrance rooms, staircases and a few halls inside also preserve the charm of the late twenties and early thirties: in white and green wall tiles, brass staircase railings, stucco ornaments on the ceilings and gold-plated lettering on the walls.

(Source: ellington-hotel.com)

Illustration of “Femina Palast”, one of the most famous ballrooms of Berlin in the early 1930s. Many popular film recordings about Berlin nightlife at that time, including Josephine Baker dancing in her banana costume, were created here.

[artforfriends]

Treppenhaus im ehemaligen Ellington Hotel Berlin

[didanawisgi]

Jazz and freemasonry are unlikely bedfellows, but in the 1950s, the secret society became a support network for musicians and the world’s largest fraternity for black men, among them Duke Ellington and Sun Ra

When the City of London festival found out about a long dormant masonic temple that had been uncovered next to Liverpool Street station, it seemed obvious that this wonderfully opulent hall should be used as a one-off music venue. The only question was – what music should it host?

“The obvious choice would have been to host a Mozart recital, because everyone knows that Mozart was a freemason,” says Paul Gudgin, former director of the Edinburgh Fringe and now director of the City of London Festival. “But it just so happened that I was reading a biography of Duke Ellington which mentioned, in passing, his membership of a masonic lodge. I found it astonishing that such an anti-establishment figure turned out to be at the heart of an establishment organisation. And I thought it would be a perfect place to pay tribute.”

This month, the City of London Festival will host two Duke Ellington tributes in this elaborate, neo-classical masonic temple, now in the basement of the Hyatt group’s Andaz hotel. Saxophonist Tommy Smith plays on 4 July, and pianist Julian Joseph on 11 July.

“It’s something of a badge of honour to hear that Ellington was a mason,” says Joseph. “Not only was he part of a musical elite, but he had managed to enter this secretive and powerful organisation, one that only the privileged few had access to.”

Start digging into the history of freemasonry and you discover that Ellington was just one of many renowned African-American musicians to be inducted into its mysterious world. He was joined by the likes of Nat King Cole, WC Handy, Dizzy Gillespie, Count Basie, Lionel Hampton and Paul Robeson.

“Throughout history, freemasonry has attracted musicians,” says Martin Cherry, librarian at the Museum of Freemasonry in London. “Mozart is the obvious example, but in 18th-century London, a lodge was established called the Lodge of the Nine Muses, which attracted a number of European musicians and artists, including JC Bach. For musicians and artists who were new to a city, the lodge would have been an opportunity to meet fellow artists and network with people with whom they may be able to find work.”

The same applied two centuries later, across the Atlantic. “Musicians often led an itinerant lifestyle,” says Cherry. “Belonging to an organisation that had lodges all over a country could help ease the slog of life on the road, particularly in such a vast country as the US.

“Freemasonry was also charitable towards its members when they fell on hard times, looking after them when they were sick or paying for their funeral. Mozart’s funeral, famously, was paid for by his lodge, and there’s evidence that freemasons paid for the funeral of the blues musician Mississippi Fred McDowell – there are images of his open coffin which show him wearing his masonic regalia.”

Many white jazz musicians and bandleaders were freemasons, including Glenn Miller, Paul Whiteman, George Gershwin and Irving Berlin, as were many country & western stars. But, like so much in American life, freemasonry was segregated, with American masonic lodges split along colour lines.

Black freemasons: the sons of Prince Hall

Black freemasonry dates from before the American war of independence, when a freed black abolitionist and leather worker by the name of Prince Hall (1735-1807) was refused admittance to the St John’s masonic lodge in Boston, Massachusetts. Undaunted by the rebuff, Hall and 14 other free black men were initiated into freemasonry in 1775 by a British military lodge based in Boston.

In 1784, after the British had left America, the grand lodge of England issued Hall with a charter to set up an African lodge in Boston. It proved so popular that Prince Hall was granted the status of provincial grand master, allowing him to set up two further African masonic lodges in Philadelphia and Rhode Island.

Over the next two centuries, Prince Hall freemasonry snowballed across the United States, becoming the world’s largest fraternity for black men. By the middle of the 20th century there were lavish Prince Hall masonic temples around the country – from Los Angeles to Washington DC, from Seattle to Madison, Wisconsin.

“One of the attractions of Prince Hall freemasonry to African-Americans is that it is an organisation started by African-Americans in the 18th century for African-Americans,” says Cherry. “It has a history. And, like all freemasonry in America, it became very popular in the early 20th century, which was a time when Americans tended to join things.”

By 1900, Prince Hall masonry had become a forum for politicised African-Americans, with Booker T Washington (1856-1915) and W.E.B. Du Bois (1868-1963) serving as active members. Throughout the 20th century, many key figures in the civil rights movement were attracted to freemasonry. The father of Martin Luther King Jr – Martin Luther King Sr (1900-84) – was a member of the 23rd lodge in Atlanta, Georgia. Medgar Evers, the National Association for the Advancement of Colored People (NAACP) activist who was assassinated in 1963, was a 32nd-degree freemason in Ancient & Accepted Scottish Rite, Southern Jurisdiction. Alex Haley (1921-92), the writer of Roots and biographer of Malcolm X, was a 33rd-degree mason in the same order. Thurgood Marshall (1908-93), the first black member of the US supreme court, was supported by his Prince Hall lodge in Louisiana. The comedian Richard Pryor (1940-2005) joined a lodge in Peoria, Illinois, while actor and activist Ossie Davis (1917-2005), Paul Robeson (1898-1976) and the boxer Sugar Ray Robinson (1921-89) were all active Prince Hall masons.

“Like all freemasonry, Prince Hall freemasonry does tend to have a middle-class appeal,” says Cherry. “The many Prince Hall visitors to the Masonic Library and Museum in London are often doctors, lawyers or skilled artisans, and a lot of them have a military background. Some join because their family were members; some think it’s a good way of networking. Some like the comradeship and the social aspects; others like the ritual and the regalia.”

As well as being a networking institution, freemasonry might also have had a philosophical appeal to many politicised African-Americans. The mysterious tenets of freemasonry include gnostic texts, references to ancient Egypt and alternative interpretations of the Bible. Prince Hall lodges thus became a forum where pre-Christian knowledge could mix freely with black liberation theories and remnants of African religions...”

[theuncannytruthteller]

Ethel Waters (October 31, 1896 – September 1, 1977) was an American blues, jazz and gospel singer and actress.

She frequently performed jazz, big band, and pop music, on the Broadway stage and in concerts, but she began her career in the 1920s singing blues.

Her best-known recordings include "Dinah," "Stormy Weather," "Taking a Chance on Love," "Heat Wave," "Supper Time," "Am I Blue?" and "Cabin in the Sky," as well as her version of the spiritual "His Eye Is on the Sparrow." Waters was the second African American, after Hattie McDaniel, to be nominated for an Academy Award. She was also the first African-American woman to be nominated for an Emmy Award, in 1962.

Waters was born in Chester, Pennsylvania, on October 31, 1896, as a result of the rape of her teenaged mother, Louise Anderson (believed to have been 13 years old at the time, although some sources indicate she may have been slightly older), by John Waters, a pianist and family acquaintance from a mixed-race middle-class background. He played no role in raising Ethel. Soon after she was born, her mother married railroad worker Norman Howard. Ethel used the surname Howard as a child, before reverting to her father's name of Waters. She was raised in poverty and never lived in the same place for more than 15 months. She said of her difficult childhood, "I never was a child. I never was cuddled, or liked, or understood by my family."

Waters grew tall, standing 5' 9½" in her teens. According to women-in-jazz historian and archivist Rosetta Reitz, Waters's birth in the North and her peripatetic life exposed her to many cultures.

Waters married at the age of 13, but her husband was abusive, and she soon left the marriage and became a maid in a Philadelphia hotel, working for $4.75 per week. On her 17th birthday, she attended a costume party at a nightclub on Juniper Street. She was persuaded to sing two songs and impressed the audience so much that she was offered professional work at the Lincoln Theatre in Baltimore. She later recalled that she earned the rich sum of ten dollars a week, but her managers cheated her out of the tips her admirers threw on the stage.

After her start in Baltimore, Waters toured on the black vaudeville circuit. As she described it later, "I used to work from nine until unconscious." Despite her early success, she fell on hard times and joined a carnival, traveling in freight cars along the carnival circuit and eventually reaching Chicago. Waters enjoyed her time with the carnival and recalled, "the roustabouts and the concessionaires were the kind of people I'd grown up with, rough, tough, full of larceny towards strangers, but sentimental and loyal to their friends and co-workers." She did not last long with them, though, and soon headed south to Atlanta, where she worked in the same club with Bessie Smith. Smith demanded that Waters not compete in singing blues opposite her. Waters conceded and sang ballads and popular songs. Around 1919, Waters moved to Harlem and there became a celebrity performer in the Harlem Renaissance of the 1920s.

Waters obtained her first Harlem job at Edmond's Cellar, a club with a black patronage. She specialized in popular ballads and became an actress in a blackface comedy, Hello 1919. The jazz historian Rosetta Reitz pointed out that by the time Waters returned to Harlem in 1921, women blues singers were among the most powerful entertainers in the country. In 1921, Waters became the fifth black woman to make a record, on the tiny Cardinal Records label. She later joined Black Swan Records, where Fletcher Henderson was her accompanist. Waters later commented that Henderson tended to perform in a more classical style than she preferred, often lacking "the damn-it-to-hell bass."

She recorded with Black Swan from 1921 through 1923. In early 1924, Paramount bought the Black Swan label, and she stayed with Paramount through that year. She first recorded for Columbia Records in 1925, achieving a hit with "Dinah," which was voted a Grammy Hall of Fame Award in 1998. Soon after, she started working with Pearl Wright, and together they toured in the South. In 1924, Waters played at the Plantation Club on Broadway. She also toured with the Black Swan Dance Masters. With Earl Dancer, she joined what was called the "white time" Keith Vaudeville Circuit, a traditional white-audience based vaudeville circuit performing for white audiences and combined with screenings of silent movies. They received rave reviews in Chicago and earned the unheard of salary of US $1,250 in 1928. In 1929, Waters and Pearl Wright arranged the unreleased Harry Akst song "Am I Blue?," which then appeared in the movie On with the Show and became a hit and her signature song.

Although she was considered a blues singer during the pre-1925 period, Waters belonged to the vaudeville style of Mamie Smith, Viola McCoy, and Lucille Hegamin. While with Columbia, she introduced many popular standards, including "Dinah," "Heebie Jeebies," "Sweet Georgia Brown," "Someday, Sweetheart," "Am I Blue?" and "(What Did I Do to Be So) Black and Blue" on the popular series, while she continued to sing blues ("West End Blues," "Organ Grinder Blues," etc.) on Columbia's 14000 race series. During the 1920s, Waters performed and was recorded with the ensembles of Will Marion Cook and Lovie Austin. As her career continued, she evolved toward being a blues and Broadway singer, performing with artists such as Duke Ellington. She remained with Columbia through 1931. She signed with Brunswick Records in 1932 and remained until 1933, when she went back to Columbia. She signed with Decca Records in late 1934 for only two sessions, as well as a single session in early 1938. She recorded for the specialty label Liberty Music Shop Records in 1935 and again in 1940. In 1938 and 1939, she recorded for Bluebird.

In 1933, Waters appeared a satirical all-black film, Rufus Jones for President, which featured the child performer Sammy Davis Jr. as Rufus Jones. She went on to star at the Cotton Club, where, according to her autobiography, she "sang 'Stormy Weather' from the depths of the private hell in which I was being crushed and suffocated." She had a featured role in the wildly successful Irving Berlin Broadway musical revue As Thousands Cheer in 1933, in which she was the first black woman in an otherwise white show. She had three gigs at this point; in addition to the show, she starred in a national radio program and continued to work in nightclubs. She was the highest-paid performer on Broadway at that time. MGM hired Lena Horne as the ingenue in the all-black musical Cabin in the Sky, and Waters starred as Petunia in 1942, reprising her stage role of 1940. The film, directed by Vincente Minnelli, was a success.

She began to work with Fletcher Henderson again in the late 1940s. She was nominated for an Academy Award for Best Supporting Actress for the film Pinky (1949), under the direction of Elia Kazan, after the original director, John Ford, quit over disagreements with Waters. According to producer Darryl F. Zanuck, Ford "hated that old...woman (Waters)." Ford, Kazan stated, "didn't know how to reach Ethel Waters." Kazan later referred to Waters's "truly odd combination of old-time religiosity and free-flowing hatred.". In 1950, she won the New York Drama Critics Circle Award for her performance opposite Julie Harris in the play The Member of the Wedding. Waters and Harris reprised their roles in the 1952 film version, Member of the Wedding. In 1950, Waters starred in the television series Beulah, becoming the first African-American actress to have a lead role in a television series. However, she quit after complaining that the portrayal of blacks was "degrading." She later guest-starred in 1957 and 1959 on NBC's The Ford Show, Starring Tennessee Ernie Ford. In the 1957 episode, she sang "Cabin in the Sky".

Despite these successes, her brilliant career was fading. She lost tens of thousands in jewelry and cash in a robbery, and she had difficulties with the IRS. Her health suffered, and she worked only sporadically in the following years. In 1950–51 she wrote her autobiography His Eye Is on the Sparrow with Charles Samuels, in which she wrote candidly about her life. She explained why her age had often been misstated: her friends had to sign a paper claiming Waters was four years younger than she was to get a group insurance deal; she stated that she was born in 1900. His Eye Is on the Sparrow was adapted for a stage production in which she was portrayed by Ernestine Jackson. In her second autobiography, To Me, It's Wonderful, Waters stated that she was born in 1896. Rosetta Reitz called Waters "a natural ... [Her] songs are enriching, nourishing. You will want to play them over and over again, idling in their warmth and swing. Though many of them are more than 50 years old, the music and the feeling are still there."

Waters had romantic relationships with women as well as men.

In her later years, she often toured with Billy Graham on his crusades.

Waters died on September 1, 1977, aged 80, from uterine cancer, kidney failure, and other ailments, in Chatsworth, California.

She was the great-aunt of the singer-songwriter Crystal Waters.

[tagsde]

Berlin Restaurant , Restaurant Duke - Ellington Hotel Berlin - Dinner - www.dinnerunddrinks.com on tour... #dinnerunddrinks #dukeberlin #duk...

Restaurant Duke - Ellington Hotel Berlin - Dinner - www.dinnerunddrinks.com on tour... #dinnerunddrinks #dukeberlin #dukerestaurant #ellingtonhotelberlin #finedining #dinner #finestfood #florianglauert #gourmet #gourmetrestaurants #instafood #foodie #foodtravel #foodtraveling #foodtraveler #foodlovers #foodielife #foodies #restaurants #gourmetfood #eatmylocal #foodlover #alacarte #restaurantsberlin #berlintipp #bestrestaurants #wineanddine #winelover #foodpairing #sternefresser

from #restaurantsberlin hashtag on Instagram • Photos and Videos https://ift.tt/2PaAcRq via TAGSGERMANY

[andyroda]

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Hey music lovers, catch me here the next few days! 🎼🎤🎧 ❤️ • • 24.05: Oksnehallen, Cph (Corp. Event) 25.05 / 22-03: The Grand Bar, Live Vocal & DJ Set (Soulful House) 26.05 / 12-15: Ellington Jazz Hotel (Jazz Brunch) 06.06 / 19-21: The Pearl, Berlin (RTL After Work) 08.06 / 22-03: The Grand Bar, Live Vocal & DJ Set (Soulful House) • • #live #vocals #soulful #house #pop #jazz #soul #rnb #music #copenhagen #berlin • • (Music: Rock The Boat / Andy Roda available everywhere online RIP #aaliyah ❤️) https://www.instagram.com/p/Bx19qGwhCYF/?igshid=13yhutrvzvkol

[marfis75]

Ellington eye. #treppenhaus #auge (hier: ELLINGTON HOTEL BERLIN) https://www.instagram.com/p/BxJ3peAJBkM/?igshid=cgfkox7sabkt

[nicordes]

Ich bin einer Berliner (weekend variety obvs) #berlin #jazz #hotel #duke #dukeellington #weekender #germany🇩🇪 (at ELLINGTON HOTEL BERLIN) https://www.instagram.com/p/B0Gr5STllXRCP5FJXfygXsrlcQO-xiGhqgjDac0/?igshid=vffn428yr2op

[maxisarwas]

Schau ich hipster-mäßig genug für Berlin? 😅🤘🤞 . . . #moderatorin #maxisarwas #neverstop #selfie #eintaginberlin #tryintolookcool 🥴 (hier: ELLINGTON HOTEL BERLIN) https://www.instagram.com/p/BvjmwwAjip5/?utm_source=ig_tumblr_share&igshid=1f9nogzwn3b0z

[welovetheartssoutherncalifo-blog]

What You Need To Know About The San Diego Symphony

Superlative events in San Diego include the San Diego Symphony. This musical experience of live music in a symphony in Southern California is ranked in the Tier 1 category of the League of American Orchestras. Having performed since its original concert back on December 6, 1910, in what was the new U.S. Grant Hotel's Grand Ballroom, it has become one of the country's top orchestras both artistically and financially with a budget of $25 million.

What concerts does the Symphony perform?

From October through May, this live music is downtown at the Copley Symphony Hall. From late June through early September, its Bayside Summer Nights are at its outdoor venue at the Embarcadero Marina Park South on the downtown waterfront. Performed are over 147 concerts yearly.

How many musicians are in the Symphony?

There are 82 full-time musicians plus ones hired on a case-by-case basis. Particular pieces of music call for less than the full complement.

Dining

For dining, desserts, and drinks before or after the concerts, there are Restaurant Partners, most of which are in or near the B Street Music District just steps away from the Copley Symphony Hall.

Two of the Upcoming Outstanding Concerts

A Celebration of Frank Sinatra

AN EVENING WITH MICHAEL FEINSTEIN

Friday, February 22 at 8 p.m. at the Copley Symphony Hall

Ticket prices are from $20 to $80

Michael Feinstein on piano and with his vocals together with his bass and percussion trio will perform favorite standards from several different decades of music made famous by the magical Sinatra. Included will be some of your favorites as well as some contemporary surprises.

Michael Feinstein has built an extraordinary career over the past three decades around the globe bringing his concerts also featuring his interpretations of the music of Irving Berlin, George Gershwin, Duke Ellington, and Jimmy Webb. His recordings have earned him five Grammy Award nominations for his Emmy-nominated PBS-TV specials and his NPR series.

BEETHOVEN PIANO CONCERTO NO. 2

March 9 at 8 p.m. Copley Symphony Hall

March 10 at 2 p.m. Copley Symphony Hall

Tickets range from $20 to $100

Robert Spano, Atlanta Symphony Music Director and Aspen Music Festival Director, will be the conductor of this concert that will feature the acclaimed pianist, Jorge Federico Osorio, in his debut performance of one of Ludwig van Beethoven’s earliest works. Also on the program will be a rare performance of A London Symphony by Ralph Vaughan Williams.

You can join in 45 minutes before the concerts inside Copley Symphony Hall for "What's the Score?" The lively talk is about the composers and the repertoire.

Put Them On Your Calendar

When you are searching for special events in San Diego, be sure to remember how much you and your family and guests would enjoy the performances of this symphony in Southern California.

We want to thank our amazing friends over at Dixon Security Cameras for helping us share this information about the symphony. Not only do they do this, but they provide some of the best security cameras in San Diego.

Maps Driving Directions:

https://goo.gl/maps/mSH8V63vLpy

[danielgildner]

Maybe it's the same age #1987 why the first meet and the show were just awesome. She is the boss! @julianfmstoeckel (hier: ELLINGTON HOTEL BERLIN) https://www.instagram.com/p/Bp_vzNrnrnE/?utm_source=ig_tumblr_share&igshid=1gmlof2cb38be

[midasmetalljp]

名称　　： Ellington Hotel 所在地　： Berlin（ドイツ） 設計　　： - 施工年　： 2007年 使用金属： 真鍮 施工部分： カウンター側面 施工面積： 約30㎡ 仕上方法： 吹付け（ワックス仕上げ） 備考　　： -

[finedining-magazin-official]

[#SHOUTOUT] Wer kennt BeefTee gebunden mit Süßrahmbutter und Tatar von der Garnele? . Im @dukeberlin kann man den Köchen beim anrichten der Kreationen von Küchenchef @florianglauert in der offenen Showküche zusehen. . Das @ellingtonberlin beherbergt ein Jazzradiosender und Freunde von Jazzmusik kommen Sonntags zum #Jazzbrunch voll auf Ihre kosten. . Zahlreiche Events der Superlative finden in den Räumen des @ellingtonberlin statt, wer gern mehr über geplante Veranstaltungen erfahren möchte, findet die Informationen auf der Homepage des Hotels. . . #lustauffood #exklfoodis #berlin #hotelrestaurant #dukerestaurant #ellington #finedining #berlinfoodies #gastromeals #instagramselected (hier: ELLINGTON HOTEL BERLIN) https://www.instagram.com/p/BokCaaUHwSt/?utm_source=ig_tumblr_share&igshid=1g1gwxp3fg3m5

[jazzgeschichten-world]

Guten Tag, ich möchte Euch herzlich einladen zu

KIND OF GOLDEN – Der Neue Westen 

Jazztour der Zwanziger Jahre

Jazz am Ku`damm! Auf zu historischen Spielstätten des Jazz! Vorbei geht es an Gedächtniskirche oder dem Theater des Westens.

Kontakt: 0171/5483492 oder anja@jazzgeschichten.de

- OKT 17, 15:00 - 17:00 

- Beginnt vor dem Aquarium, Budapester Str. 32, 10787 Berlin. Endet ca 150 Minuten später beim Ellington-Hotel, Nürnberger Str. 50-55, 10789 Berlin. ~ € 15

Wir müssen weiterhin umsichtig bleiben. Lasst uns deswegen die Schutz-Maßnahmen beachten und vorher kommunizieren! 

Jazz am Ku`damm . Das moderne Groß-Bürgertum: Lassen wir uns von dem Glanz der „Goldenen Zwanziger“ nicht blenden! Eine Musik erzählt von den Widersprüchen – Jazz! Wie war sie eigentlich nach Berlin gekommen? Wie wurde sie empfangen? Wo waren ihre Orte? Wer spielte sie? Vor allem, wie klang die Musik? Jazz am Ku`damm begibt sich auf die Spuren von Jazz-Musiker*innen und -Fans! Folgen wir der Technik und den Instrumenten! Doch lauern überall  Rassismus und Antisemitismus - 

Liebe Grüße, Anja